Prewriting: Cubing by Melanie Dawson (printable version here) Cubing is a writing exercise used as a prewriting technique.

Cubing, forcing a writer to think and re-think a topic, allows a writer to explore various aspects of that topic. We all know that a cube has six sides. If you had to describe that cube, you would try to discuss each side of the object. Of course, you would have to change your perspective in order to examine and write about the cube's six faces. This exercise challenges you to examine various perspectives of an object or idea. The first time you attempt a cubing exercise, follow these guidelines: Choose a small, three-dimensional object. Choose an object that is somewhat geometric in shape; a round object would not be appropriate for this exercise. Place the object in front of you and write for two minutes about what you see. When your time is up, turn the object a little and write for two minutes about that side of the object. Next write about the underside. Keep turning the object until you have written about six aspects (or sides) of it. Be fairly strict with your time-keeping. Don't get frustrated if you feel you can write more about one side of the object than another. For the sake of the exercise, just keep writing. Push yourself to discover as much as you can about the object and about your descriptive abilities.

Remember how you wrote your cubing exercise using an object. Now try the exercise again; this time write about a concept or an idea rather than a concrete object. You may want to test out a topic for a paper or a writing assignment: Time your writing with a clock or timer so that you write about six aspects of your topic for equal amounts of time. Push yourself to write about at least six views of your topic even if you can only think of three or four initially. Even if you think you know what your topic and thesis statement will be, try cubing for a few minutes. You may discover a new "angle" for your paper and create new avenues of discussion that will give depth to your argument. Cubing may also help you determine the most interesting aspect of your topic. You then have a good start on focusing your paper.

Prewriting: Cubing by Melanie Dawson Cubing is a writing exercise used as a prewriting technique. Cubing, forcing a writer to think and re-think a topic, allows a writer to explore various aspects of that topic. We all know that a cube has six sides. If you had to describe that cube, you would try to discuss each side of the object. Of course, you would have to change your perspective in order to examine and write about the cube's six faces. This exercise challenges you to examine various perspectives of an object or idea. The first time you attempt a cubing exercise, follow these guidelines:

Choose a small, three-dimensional object. Choose an object that is somewhat geometric in shape; a round object would not be appropriate for this exercise. Place the object in front of you and write for two minutes about what you see. When your time is up, turn the object a little and write for two minutes about that side of the object. Next write about the underside. Keep turning the object until you have written about six aspects (or sides) of it. Be fairly strict with your time-keeping. Don't get frustrated if you feel you can write more about one side of the object than another. For the sake of the exercise, just keep writing. Push yourself to discover as much as you can about the object and about your descriptive abilities.

Remember how you wrote your cubing exercise using an object. Now try the exercise again; this time write about a concept or an idea rather than a concrete object. You may want to test out a topic for a paper or a writing assignment: Time your writing with a clock or timer so that you write about six aspects of your topic for equal amounts of time. Push yourself to write about at least six views of your topic even if you can only think of three or four initially. Even if you think you know what your topic and thesis statement will be, try cubing for a few minutes. You may discover a new "angle" for your paper and create new avenues of discussion that will give depth to your argument. Cubing may also help you determine the most interesting aspect of your topic. You then have a good start on focusing your paper.

Teaching Writing:
Helping Second Language Writers Experience a Sense of Ownership of their Writing
By Nada Salem Abisamra
Fall 2001

Writing allows us to EXPRESS ourselves. Through writing we can inform others, carry out transactions, persuade, infuriate, tell how we feel, come to terms with problems, and learn to shape our thoughts, our ideas and our lives. However, we all know that writing -- and learning to write, especially in a second language -- is not simply a matter of "writing things down"; the process is very complex, and the old saying, "If you can say it, you can write it," is very simplistic. This would not be the kind of writing that students should strive to learn and teachers to teach. Good writing involves the knowledge of the conventions of written discourse in the ESL culture as well as the abilities to (1) choose from near synonyms the precise word that conveys ones meaning, (2) select from a variety of syntactic structures those that transmit ones message most precisely, and (3) adopt a style that will have the most positive rhetorical effect . How should student writers be taught in order to become competent writers?

In this paper I will try, first, to elaborate on the contemporary thoughts about the teaching of writing, and second, to suggest ways to help second language writers experience a sense of ownership of their writing so that they become competent.

Writing Contemporary Thoughts

The teaching of writing has undergone a dramatic change in recent times. There has been a shift from the traditionalproduct-oriented approaches that dominated the language-teaching scene for decades and which focused on the written text, to a process- oriented approach which views writing as a complex, nonlinear, recursive, messy, and generative process involving pre-drafting (planning & re-scanning), composing, and revising. This process approach also involves consideration of purpose and audience and consultation of the writers background knowledge. Writing has become a process of natural generation of ideas with focus on meaning and communication that precedes concerns about form and grammar. Consequently, ESL writing instruction has become focused on the literacy beliefs of heuristics, experimentation and emergent fluency rather than mechanical accuracy and fidelity to form. Thus, although with caution, ESL student-writers are encouraged to manage their writing acts by proceeding somewhat independently in a discovery mode in order to determine and solve the problem of their composing. Then we can say that the process-oriented pedagogies could improve instruction, if implemented properly (without totally neglecting the "product"), since they: Provide opportunities for involving students in their own writing : an experience of ownership and self-sponsoring of writing is often said to be empowering. Support the beliefs that composition cannot be taught via sets of identifiable rules and that the classroom can be a setting for real communication. (Both beliefs are congruent with making meaning and peer collaboration that are hallmarks of the process approach)

Ways to Help Second Language Writers Experience a Sense of Ownership of their Writing
Before I enumerate the different ways teachers might follow in order to help second language writers experience a sense of ownership of their writing, I would like to say that the teacher alone cannot succeed; there are a lot of other factors that play a great role in the teacher/students success, such as the instructional materials selected; they should meet the teaching objectives of particular groups of student-writers without neglecting their level and the skills they need to develop. (Lets not forget that there are some available supplementary materials in the form of teaching guides, transparencies, test packets, and computer software programs intended for ESL instruction and that could prove to be very helpful to assist teachers in their jobs.) How can second language writers be given opportunities to self-sponsor their writing? How should teachers proceed to create classrooms for authors and have students own their writing? A- Eclectic Approach: There are several approaches to teaching writing as creative communication (the Controlled-toFree Approach, the Free Writing Approach, The Communicative Approach, The Process Approach, etc.). For ESL classes , Raimes (1983) recommends the use of an eclectic approach

that is responsive to learners needs as their skills develop, and asserts that there is no one answer to the question of how writing should be taught. Oluwadiya* (1992) advocates a "marriage" of the techniques of the product-oriented approach with the techniques of the process-oriented approach; we should aim at using an enriched process approach that borrows freely strategies and techniques that belong to the product-oriented approach. B- Skill-Getting & Skill-Using: In order to make students effective writers who own their writing, we should train them in composing, exploring, conceptualizing, drafting, revising, creating not only writing or transcribing. One of the most difficult and important tasks for the teacher is to know how to effectively bridge the gap between skill-getting (writing down, writing in the language Form) and skill using (flexibility measures, expressive writing function) activities , which means teaching "at the bone level, not only at the skin." One possible solution would be to minimize the use of writing practice activities that are manipulative or impersonal in nature and choose instead activities that are contextualized, meaningful, and personalized, even when students are focusing primarily on form . Moreover, it is suggested to use a blend of diverse tasks that elicit performance ranging from the careful style to the vernacular style. As students competence increases, writing assignments should become less structured, less teacher-directed, and more creative in nature. After all, students should be encouraged to use the language independently to inform, narrate, describe, question, persuade, express feelings and attitudes, discuss ideas, and support points of view . C- Composing Process & Phases of Instruction: When designing writing practice at the Advanced level, it is important to include various aspects of the composing process in the instructional sequence. The various steps of the composing process need to be taught, and practiced more overtly than has typically been the case in many foreign language programs. Therefore, a few texts have been developed for advanced students (Valdes, Dvorak, and Hannum, 1984; 1989) that lead them through various steps or stages as they engage in creative and expressive writing, concentrating on organization, style, and the development of greater precision in grammar and vocabulary in the process. In these texts students practice various types of writing, including description, narration, and exposition, using rhetorical techniques such as definition, classification, comparison and contrast, and argumentation. The typical writing lesson involves three phases: 1) Prewriting: (It is defined by Oluwadiya* as "any structural activities oral, written or experiential -that influence active student participation in thinking, talking, writing, and working on the topic under focus in a writing lesson, stimulating higherlevel thinking as well as writing skills.)

Discussing the type of writing to be attempted by students (description, narration, and exposition) Working on a writing model Analyzing the models organization and style Considering the readers and writers purpose Doing a series of exercises that focus on both organizational devices and topics appropriate to that writing function

{Oluwadiya offers all student-writers a series of prewriting techniques as mental warm-ups to help them get started on their writing process: -Oral group brainstorming Clustering - Looping Dialogue writing - Cubing Free writing - Debating Fantasizing - Outlining Oral compositions - Oral reading Silent reading _extensive/intensive - Interviewing Use of pictures to stimulate students - Visits to places of Lecturing interest in the school locality Classical invention } Teachers of writing at all levels of the educational system in ESL situations ought to be familiar with most of the pre-writing techniques available, and adapt and use them to meet the needs of their students in order to help them experience a sense of ownership of their writing. "Pre-writing activities generate ideas; they encourage a free flow of thoughts and help students to discover both what they want to say and how to say it on paper. In other words, pre-writing

activities facilitate the planning for both the product and the process." Pre-writing activities should be used as a therapy to help inexperienced or incompetent students who tend to slow down their pace of writing by insisting on a perfect essay from the onset. These students should be made aware that by doing so, when they try to put down only the "right word in the right sentence." they hinder their own fluency and give themselves the "Writers Block." They should be told to leave matters of correctness and form to the revision and editing stages, when they can re-see, rethink, and rewrite their essay to polish it as well as make it Reader Centered not Writer Centered prose. 2) Composing: (focuses on organizational and mechanical considerations)

Writing preliminary outlines and answering a series of questions within an organizational framework Making ongoing decisions about every aspect of writing, from vocabulary choice to syntax, style, and organization Reviewing, rereading, and anticipating what will come next Reformulating and adjusting parts of the manuscript as it evolves

3) Revision:

Contemplating the finished draft Revising the organizational and stylistic features of the composition Revising the grammatical features

While reviewing, student writers should check the following items:

The clarity with which the thesis is stated, developed, and supported

The sufficiency of the support and development of the thesis for the reader The degree to which the writer has accommodated the needs of the intended audience The degree of grammatical and lexical cohesion and overall coherence of the composition, including the organizational and stylistic features besides the choice of diction, syntax, spelling, and punctuation

D- Feedback and Evaluation: The teacher's attitude toward correction, the way in which he offers it to students, and students own feelings about the teacher in general are significant factors in the effectiveness of correction strategies. It is recommended that teachers focus more on process in their comments and use multi-draft assignments; they should teach students how to use feedback to enhance their writing skills (selfcorrection has proven to be very effective; being aware of ones errors and rewriting them using problem-solving techniques is significantly beneficial for developing writing skills.) Moreover, teachers should provide feedback that addresses the specific instructional needs and expectations of the various groups of student-writers. While certain student-writers expect feedback on the content, style, and rhetoric, others may value corrective feedback of their lexical and grammatical misuses. Consequently, ESL classroom practices need to enrich the lexical and grammatical resources of student-writers as well as equip them with the strategic, discourse, and cultural knowledge in order to help them improve their fluency, manage the complexity of their composing, and engage their readers. E- Extensive Reading: A high degree of writing competence can be achieved through extensive reading (Krashen). Teachers should encourage their students to read a lot by giving them the opportunity to make oral/written presentations, book reports, etc. Conclusion After having elaborated on the contemporary thoughts about the teaching of writing in the ESL classroom, and suggested some ways for teachers to help student-writers self-sponsor their writing, be creative and competent, I would like to say that the writing activities should be structured in ways that help students learn to produce cohesive and coherent discourse on their way to become self-sponsors of their own writings.

Finally, the primary focus of writing practice "should not be the word, the phrase, or the sentence, but the larger elements and processes that must be integrated and synthesized for effective written communication."

*Oluwadiya, Adewumi (1992). "Some prewriting techniques for student writers." English Teaching Forum, 30/4: 12-15

Comprehensive site on "Teaching Writing"

A Collection of EasilyAdaptable, Best Practices From Narragansett Teachers

Gathered from presentations at the Understanding by Design course offered Spring, 2004 Paolucci/Warner Instructors

NOTE: These instructional strategies were shared by Narragansett teachers. Some are original designs while others may be classics or designs obtained through other trainings. Every effort has been made to cite original work.

Strategy: Alphaboxes I Shared by: Kristen OMahony Franco

Alphaboxes can be used as a brainstorming strategy to elicit students prior knowledge and to activate their learning.

Directions: 1. Each student is given a blank alphabox sheet (see below) and is asked to think of a word or phrase associated with the given topic and match them to each letter in the alphabet. For the Canada unit, for example, the M box can be filled with the word moose and speaks French could be written in the S box. 2. As they independently brainstorm, their thoughts are recorded (in no particular order) in the alphabet boxes. 3. Students work alone for at least 10 minutes generating relevant words and ideas (think). 4. Students then move into small groups and work together to fill in letter boxes they have not completed (pair). 5. The teacher puts the blank Alphabox on the overhead projector, and the class reports out and shares their ideas. 6. Alphaboxes can also be used at the end of a unit to assess what students have learned.

Sample Alphabox (make larger): A B C D

XYZ

Strategy: Alphabox II Shared by: Carol Prest

Alphaboxes can be used in a variety of ways. In this example, alphaboxes are used to reflect on a story or a unit of study.

Directions: 1. After reading or completing a unit of study, students work in pairs or small groups to brainstorm words that reflect important parts of the story or unit. 2. Students place words in the appropriate alphabox trying to complete as many boxes as they can. They must be able to explain why each word is important.

3. The class can then try to compile a list of the most interesting words generated by the groups, making a point to hear each justification. The result will be a lively discussion of the vocabulary and different perspectives about the focus story or unit.

Variations: ABC Brainstorm graphic organizer (Jones) could be used for the same activity (from Reading Quest http://www.readingquest.org) Two-Word Strategy (Hoyt) After a thoughtful read-aloud, students are asked to write only two words that reflect their thinking about the passage. They then write their justification for choosing the words. Think*Pair*Share can be done as students explain why they chose their words to a classmate then pairs share with the whole class. This often leads to a rich discussion as students explain their differing perspectives. Short-Cut After a read-aloud chapter book give students sticky notes and ask them to write down two words that tell what they think the story was mostly about.

Sources: Hoyt, L. (1999). Revisit, reflect, retell. Portsmouth, NH: Heinemann. Jones, R. C. ABC Brainstorm. Available: http://www.readingquest.org.

Strategy: Chalk Talk Shared by: Kristin Hayes

This strategy may be used to determine prior knowledge, as a hook, to informally assess student understanding, to increase class participation in discussions, or to explore controversial topics. Chalk Talk can be used in all disciplines and at all grade levels.

Directions: 1. Inform students of the rules: a. Absolutely not talking during the Chalk Talk. b. When you are finished writing, hand the chalk to a student who has their hand raised or to someone who has not had a turn yet. c. Take your time reading and responding to the comments of others. d. You may respond in writing to the question posed by the teacher, to another students answer, or you may ask a different question if it seems appropriate to the talk. e. Pay attention to what is going on up at the board so that you are ready to respond. f. No more than six up at the board at one time. 2. The teacher writes a provocative question on the board based on the intended purpose and hands out no more than 6 pieces of chalk to students, who then go to the board to respond to the question. 3. This activity may last as long as it has life to it (5-10 minutes). 4. Wrap up by asking students what was different about this type of discussion (i.e. more or less student participation, passion, depth of knowledge revealed, etc. before moving on to discuss actual information and opinions expressed on the board. 5. If possible, leave on the board for the next class to read.

Strategy: Compensate/Appreciate Shared by: Kathleen Lyons Peabody

I close my eyes to see

Paul Gauguin

Directions: 1. Students are blindfolded and led into the working area. They are instructed to compensate for their lack of sight by paying closer attention to the messages from their other senses. 2. Students follow auditory instructions to make their pinch-pot. 3. Pots are collected and initialed. 4. Students take off their blindfolds. 5. Having regained their sight, students see if they can identify their own work. 6. Formal and/or informal reflection could follow.

Extensions: Students listen to a passage from literature. With eyes closed or blindfolded, students create a visual response.

Variations: Images from music, images, smells. Students are given 2 minutes to feel contents of their bag and then try to visualize and draw it.

Strategy: Cubing Shared by: Agnes Cwiklinski

Cubing gives students the opportunity to construct meaning about a given topic through six different ways. Cubing can be used in all disciplines. Each side of the cube asks the student to use different thinking processes:

Description (What is it like?) Comparison (What is it similar to or different from?) Association (What does it make you think of?) Analysis (How is it made or what is it composed of?) Application (What can you do with it? How is it used?) Argumentation (Take a stand, arguing for or against it)

Directions: 1. Provide students with a pattern for making a 3-dimensional cube. You may also provide a handout and a direction sheet for the student to use to write out some ideas for each of the 6 sides (see above). 2. Students make the cube with their responses written on each of the sides.

Example:

Task: You will examine one of the characters in the novel, To Kill a Mockingbird. In order to gain a deeper understanding of one of the characters in the novel, complete the cubing activity as described below: Use the instructions and handouts to help guide your thoughts and ideas. Analyze those ideas. Write your best idea for each topic on the blank cube provided.

 Cut out the cube and assemble it.

Describe it:

Describe the character: physically, mentally, likes, dislikes, etc.

Compare it:

The character is like Make associations with family, friends, celebrities, etc.

Associate it:

The occupation that the character may have and the way he/she is because of it. Experiences the character may have had and the effect those experiences may have. The knowledge that the character has acquired and what impact that knowledge has.

Analyze it:

What does the character refrain from down? Towards what is the character drawn? What does the character think during certain situations?

Apply it:

The actions/behavior of the character during certain situations.

Argue for or Against it: What does the character finally pursue? Is it worth it? Do you Agree with the character? Why or why not?

Strategy: Graphic Organizers Shared by: Karla DeBlois

Graphic organizers organize students ideas to generate more effective writing pieces. This example of a graphic organizer is flexible and children can utilize it independently.

Directions: 1. A mini-lesson (such as on a good hook or a concluding sentence) is always given before the graphic organizer is made and filled out. 2. The graphic organizer is placed on the overhead projector. Students copy the organizer on a piece of paper. It is hoped that when a student is given a writing prompt, that student can create their own organizer. 3. Before the students use their own organizer, the teacher models his/her own generated from the students ideas. 4. Students use their brainstorming to choose their favorite ideas. These ideas are circled or highlighted and transfored onto their organizer. 5. Dialogue between students is encouraged; they may bounce their ideas off each other. 6. The teacher circulates around the room helping various students who are having difficulties. 7. Students are told that the organizer is their map for their rough draft, which will be written the following day. Ideas can be changed.

Sample graphic Organizer: Favorite Character

Hook/Introduction:

Dont Forget: Simile:

Character Trait:

Character Trait:

Character Trait:

Evidence:

Page #:

Evidence:

Page #:

Evidence:

Page #:

Closure:

Strategy: Jigsaw Shared by: Timothy Fee

NOTE Source of this Text: www.jigsaw.org

The jigsaw method is a specific cooperative learning technique with a track record of success. According to Elliot Aronson in his article, Jigsaw Classroom, the jigsaw method and process encourages listening, engagement and empathy by giving each member of the group an essential part to play in the academic activity. Similar to a jigsaw puzzle, each piece or the students role is essential for the completion and full understanding of the final product. Therefore, it can be said that each students part is essential because group members must work together as a team to accomplish a common goal. This cooperation by design facilitates interaction among all students in the class, leading them to value each other as contributors to their common task. Be sure to be very clear about the direction for the jigsaw.

Directions: 1. Divide students are into jigsaw groups of 4-6 people per group. The groups should be diverse in terms of gender, ethnicity, race, and ability. 2. Appoint one student from each group as the leader. Initially, this person should be the most mature and responsible student in the group. 3. Divide the days lesson into 5-6 segments. For example, if you want students to learn about the first act of Macbeth, divide the scenes into segments. It is important to make the directions very clear and focus the lesson with an essential question. 4. Assign each student to learn one segment or scene, making sure students have direct access only to their own segment if possible. 5. Give students time to read over their segment at least twice and become familiar with it. There is no need to memorize. 6. Form temporary expert groups by having one student from each jigsaw group join other students assigned to the same segment. Give students in these expert groups time to discuss the main points of their segment and to rehearse the presentations they will make to their jigsaw group. 7. Bring the students back into their jigsaw groups.

8. Ask each student to present his or her segment to the group. Encourage others in the group to ask questions for clarification. It is helpful if the students ask a few specific questions. 9. Float from group to group, observing the process. 10. At the end of the session give a quiz or some form of assessment on the material so that students come to realize that sessions are not just fun and games. Some kind of reading guide or other written work should be submitted by the students. In addition to the chosen assessment to be handed in, a class discussion would allow the students and teacher to address the essential question together. Strategy: Mental Calisthenics Shared by: John OBrien

Calisthenics is an effective strategy to limber up students minds and get them thinking creatively. It is most naturally used as a pre-lesson exercise, but could also be used at any time during a lesson and/or unit. Its a great hook. It gets students relaxed and focused and prepares them mentally for any lesson/unit that requires higher level thinking skills. This activity can be used K-12 and across the disciplines.

Directions: 1. Divide students into groups of 3-4. One student should act as scribe and another should be the spokespersonM 2. Give each group an object. It can be something either strange or familiar. 3. Advise students that they have eight minutes to brainstorm different ideas about what the object is or could be. Make it a contest and see which group comes up with the most ideas. 4. Allow each group two minutes to share their list of ideas.

Strategy: Using Music Instead of Memorization Shared by:

This strategy was demonstrated for instructing students about linking verbs. It can be used in a variety of other subject areas and grades.

Directions: 1. Have students take a pre-test on the topic or skill. 2. Sing childhood songs to show how easy it is to remember words set to music. 3. Explain the difference between action verbs and linking verbs; comment on how linking verbs are much more difficult to identify. 4. Sing a song using some common linking/helping verbs. 5. Take the post-test.

Strategy: The Art of Questioning Shared by: Susan Naysnerski

If students are not required to think, they forget that they can. A growing body of research suggests that there are many classrooms in which teachers rarely pose questions above the readit-and-repeat-it level. True questions are request for new information that belongs to the person and are initiations of mutual inquiry.

I cannot teach anybody anything. I can only make them think. Questioning is the beginning of wisdom. ~Socrates

Directions: 1. Utilize Blooms Taxonomy (1959) regularly. 2. Let students do most of the work. 3. Example questions:

Knowledge Comprehension Application Analysis Synthesis Evaluation Application Evaluation Synthesis

List the items used by Goldilocks while she was in the bears house. Explain why Goldilocks liked baby bears chair the best. Demonstrate what Goldilocks would use if she came to your house. Compare this story to reality. What events could not really happen? Propose how the story would be different if it were Goldilocks and the three fish. Judge whether Goldilocks was right or wrong. Defend your opinion. Illustrate the main idea of the story on a poster. Rank the characters from best to worst and explain how you ranked them. Create a new story by placing red in a modern-day city.

Strategy: Tableau Shared by: Christine McNamee

The word tableau, which comes from the phrase tableau vivant, means living picture. It is a skit, or performance in which you use your body to represent something. Tableaus are usually done with a group and are almost always silent. The directions below are for using tableaus to review what was learned about types of clouds. This strategy, however, can be used for many subjects and grade levels.

Directions: 1. The day before the tableau activity, the class compiles a list of characteristics of four different types of clouds (cirrus, cumulus, stratus, and cumulonimbus) on chart paper. 2. On the day of the tableau activity, the characteristics of these clouds are written on chart paper and taped where all can see to refresh the students memories. 3. The class is divided into four groups and told that they will become their type of cloud using their bodies. Everyone in the group must participate, and must remain silent. They are able to use desks and chairs if needed. Students are told that the teacher will be looking for levels, facial expressions, and body shape and size. 4. Cloud types are assigned to each group without letting other groups know which group is assigned which cloud. 5. The students then begin to construct their tableaus. 6. After about 10-15 minutes, the class meets to watch each group perform their tableaus. The audience guesses which cloud is being depicted and give positive feedback to the group.

Extention: Students write haikus for each cloud type.

Strategy: Everybodys a Teacher Shared by: Mark Westkott

The purpose is for students to take on the role of researcher, learner, and teacher.

Directions: 1. Students are divided into groups. Each group is assigned a concept or topic. For example, for the study of the water cycle, one group could be assigned evaporation and another group could be assigned condensation, etc. 2. Each group is given the challenge of becoming not only an expert on their respective topics but also a teacher of this topic. 3. As a group, they will discover the important and key ideas about their topic. Research materials, information, and ideas for demonstrations may be provided. The students must plan what they will teach to the other students and how they present the materials. This phase can happen over a variety of time frames depending on the content, grade level, etc. 1. Once each group has prepared and planned their topics, the teachers ware regrouped with one person from each of the other groups. In their new groups, each student will be responsible for teaching a concept to their peers.

Modifications: To ensure that key concepts are discussed by the teachers, the teacher can include a list of key concepts or ideas that the students need to include. The teacher may want to discuss some ways to present information with the students. The teachers may be required to come up with some form of assessment for their peers. Students can do self and peer evaluations after the process is complete.

Strategy: Think*Pair*Share Shared by: Terry Burke

Description: Think*Pair*Share allows students to address a question alone, in a pair, and with the entire class. In this demonstration lesson, a picture of a ceramic mug created by artist Tony Bennet was presented. Participants were asked: How does form follow function in a container? What visual clues tell us about the contents? The Think*Pair*Share followed the following procedure:.

Directions: 1. Think: After asking the students a thought provoking question or prompt, the students are given a few minutes to think about the question. 2. Pair: Students are paired u with a neighbor to talk about their answers for a few seconds. They can compare mental notes or what they have written down. 3. Share: The teacher may then ask each pair to share their thoughts with the rest of the class. Any way the teacher wants to handle the questioning is fine. Each pair should share their answer. Answers may be recorded on the board or on a large sheet of paper.

Strategy: Trouvez la Faute! Or Find the Error Shared by: Jenn Biafore

The purposes or uses of this strategy are to build or review vocabulary, strengthen grammar skills, or use as a reading skill/comprehension activity. This technique can also be used as an assessment.

Directions: 1. The teacher constructs sentences, paragraphs or equations with purposeful mistakes in them. 2. Students work independently or in teams to locate the errors. 3. Students can underline or highlight the errors and then, depending upon the sophistication or the purpose, they could simply correct the sentence or paragraph and/or write an explanation as to why it was wrong. 4. Teachers can then discuss the results with the whole class or visit individuals or groups to monitor their progress.

Strategy: The Truth About Me Shared by: Sandy Menke

This strategy is used to engage the student and provide an opportunity for active participation in a learning activity. It s used as a getting to know you activity and is a fun and useful tool to use during the first week of school as a classroom community builder.

Directions: 2. Everyone stands in a group. 3. One person steps out of the group and says, The truth about me is and makes a statement about himself/herself. 4. Everyone in the group that agrees with that person will walk over and join that group. Anyone who disagrees stays where they are. 5. Another person, at random, steps to a separate place in the room and makes another statement beginning with, The truth about me is and the process is repeated. 6. Individuals may move from one group to another whenever the situation fits. 7. At any time in the process, the groups can be directed to pause and have a discussion.

Variations: After reading the first part of an unfamiliar story, the students could be asked: What do you think will happen next? How do you think the story will end? The activity could be focused around the question, If you could live in any period of history, which would you choose? Or How do you learn best? This activity could be used to talk about how students applied math skills in the past 24 hours.

Strategy: Visualizations and Visual Literacy Shared by: Carol Batchelder

Visualizations can make use of computer-supported, interactive, visual representations of data which have the potential to help students learn core concepts in science, math and geography and develop essential skills of inquiry and investigation. The use of digital images can help students develop deeper and broader understandings of concepts, events, and people.

Directions: 1. Present images as rich mysteries to be investigated. Set a tone of inquiry and help learners to perceive visualizations as sources of information and data rather than as illustrations for casual viewing. 2. Start with what they know. As a whole group, students are given an image and asked, What do you notice? What do you see? What questions do you have? Dont make interpretations at first. Take some time for this. 3. Students move into small groups, communicating with each other to start trying to make sense of the image. Individually or collaboratively, they identify as many features as possible, setting the image in its larger context using atlases, maps and globes, constructing ideas. Questions like, Where is this? What do you notice? help get students oriented. 4. Groups come back together and share the results of their investigations.

See: http://aggie-horticulture.tamu.edu/earthknd/earth.jpeg http://humanities.ucsd.edu/courses/kuchtahum4/pix/earth.jpg http://earthobservatory.nasa.gov/Newsroom/BlueMarble/ Picture Australia http://www.pictureaustralia.org/ http://rubens.anu.edu.au/

Australian National University ArtServe Over 35,000 images. The National Gallery of Australia http://www.nga.gov.au

The Thinker - A collection of more than 20K works of art from San Francisco Fine Arts Museum. http://www.thinker.org

The web museum

http://sunsite.unc.edu/louvre/ http://lcweb2.loc.gov/ammem/

The Library of Congress

Go to http:: neirtec.terc.edu> Resource> Experience It Resources OR go to http://trackstar.hprtec.org/>Find a track, type in 73303 as the track ID

Variations: Artwork used to tell a story, journal writing http://www.wildlifeart/org/ArtTales/index.html Photographic images http://www.fnopress.com/PLOZ/v islit.htm Students own digital images Math concepts shapes, patterns Writing http://pegasus.cc.ucf.edu/~ucfcasio/gvmath.htm

http://www.kent.k12.wa.us/curriculum/tech/lessons/5/digcam poetry.htm http://www.lubbockisd.org/r2/CameraActivities.htm

Alan Feldman, TERC alan_feldman@terc.edu

Strategy: Vocabulary Charade Shared by: Madeline Marcotte

Vocabulary Charade can be used for any age group and for any subject. The purpose of this technique is to review vocabulary previously studied. The technique utilizes visual/spatial, bodily/kinesthetic and interpersonal intelligences.

Directions: 1. Make one set of cards with one students name on each card and another set with one vocabulary word on each. 2. Tell students that they will be reviewing vocabulary. 3. Each student will have a chance to go up to the front of the room and select two other students with whom to work. They will be given a card with a vocabulary word printed on it. They are to QUIETLY huddle and plan how they will act out the word for the class without using oral language. A kitchen timer can be used to keep students limited to one minute of planning. The group then acts out the vocabulary word, trying to get the class to identify it. 4. The first student to guess the word being acted out is the next to go up to the front and select two partners. ORthe student whose name comes up next in the pile of name cards goes up next. 5. This technique can be used in conjunction with a visualizing activity in which students draw a small picture or symbol next to each word in their notes.

Strategy: Wordsplash Shared by: Jean Gredler

A wordsplash is a chart of new vocabulary and key concepts created by the instructor to assist the students in activating their prior knowledge about a given topic. Introducing a wordsplash before reading a content area book enables the children to anticipate what they will be learning about and gives the students a purpose for listening. Reviewing the wordsplash after the reading helps build understanding of the key concepts and vocabulary highlighted in the wordsplash. Incorporating the wordsplash strategy facilitates the learning of students in the elementary grades through high school in all subject areas.

Directions: 1. The instructor creates a chart of vocabulary and key concepts related to a book she is going to read to her students. 2. The wordsplash is introduced to the students and they are asked to think about how the words relate to the topic. Students are invited to share their ideas about the words on the chart and what they have to do with the topic. 3. Next, the instructor introduces the book to be read. She asks the students to be listening for the words highlighted on the wordsplash and to be thinking about why those words are important to the topic of study. 4. After reading the book, the instructor invites the children to choose a word from the wordsplash and tell how it relates to the topic. 5. Following the discussion of the wordsplash vocabulary and concepts, the students are asked to think about why words were grouped together. This can be done by color-coding groups of words on the wordsplash. This encourages the students to make connections and build understanding.