CHAPTER ONE

Understandings (Literature Review)

I believe it is time to call the bluff of every educator who claims to prize democratic principles. Anyone who truly values democracy ought to be thinking about preparing students to participate in a democratic culture or to transform a culture into a democracy, as the case may be. The only way this can happen, the only way children can acquire both the skills of decision making and the inclination to use them, is if we maximize their experiences with choice and negotiation. Alfie Kohn

Overview
When I reflect on my five years of teaching at High Tech Middle, I question the degree of democracy in my class projects. I have always striven to incorporate student interests and ideas into project designs. I have even utilized choice extensively as a means of differentiation. However, at the core, my projects have been authoritarian. I have generated most of the ideas about what and how students will learn and dictated the project expectations and parameters. Only throughout the last year have I deliberately used student input and criteria to develop project ideas. The results have been mixed, but through the experience I have seen great potential for valuable learning, enhanced student engagement and a sense of ownership. But I have always been left wondering, How can I build more democracy into my classroom, yet maintain enough control to guide my students to success? What are the various structures at play in a democratic school, classroom or curriculum? In a democracy, the role of education is to prepare students to actively participate in society; to give them the tools to do so successfully. As public education continues to evolve into a tight, centralized system defined by standardization of content, reductive assessment and authoritarian approaches to teaching, we risk exacerbating student disengagement and inequity (Price, 2010). Under these conditions, educations role of exploring and extending democracy is at risk. Throughout my action research, I hoped to explore an alternative approach to project-based learning (PBL). I wanted to democratize my projects by starting from scratch, developing projects from the questions, concerns and wonderings of my students. My approach mixed constructivism with PBL by exploring practices common to democratic classrooms. I used co-design as the vehicle for enhancing democracy in our work. I wanted to see students make the transition from knowledge consumers to meaning makers. I though this could empower them to play articulate and meaningful roles in society as they grew into adults by giving them the opportunity to develop as choice-makers as young people. The goal of this book is to provide a rich narrative of the experience with my students so that future teachers might use my action research as a model for their endeavors. The body of work surrounding democratic schools and collaborative-design


is extensive, yet most of it pertains to units of study or activities. My hope is to add on to this body of research in a meaningful way that provides a deeper understanding for how project-based learning may be designed and managed in a manner that coincides with democratic values and principles.

Defining The Ideas Behind My Inquiry

My action research deals largely with these overarching ideas: Democratic schools Co-design Curriculum integration

Project-based learning Before embarking on this research, I needed to examine the literature around these ideas, consider how other teachers have practiced them and how I visualize them in my own classroom.

Democratic Schools
Neil Postman, in The End of Education (1995), writes about the disparity between democracy as American students experience it in public schools and their later role as participants of a democracy when they graduate. He argues that schools fail students by immersing them in a totalitarian dictatorship throughout their childhood and then expecting them to participate successfully as members of a representative democracy in their adult life. As I began to read up on collaborating with students through projects/curriculum design, I was drawn time and again to a body of work created by proponents of democratic schools. The idea for my action research turned out to be a central idea in this educational movement. The modern democratic school movement traces its roots back to progressivism in the 1880s. John Dewey believed it was the schools primary purpose to be a social institution, improving society through the furthering of democratic values and ideas (1916). Followers of progressivism saw freedom as an explicit ideal in school. If organized correctly, it would allow each member of the school community to play a role in decision-making. Sharing experiences was key to ensuring that decisions were meaningful. Progressivists saw pupil-teacher planning as one of the keys to developing democracy in the classroom, providing freedom for both the students and teachers. Later, social reconstructionists like Theodore Brameld (inspired by Dewey) focused on the long-term growth of society, furthering the idea of a democratic education. An education for a reconstructed society would require that students be taught to analyze world events, controversial issues, and develop a vision for a new and better world (Johnson, Musial, Hall, Gollnick & Dupuis, 2005, p. 349). In this case, teachers utilized democratic methods to promote democratic goals with students.

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The influence of B.F. Skinners behaviorism, widespread preoccupation with testing and development of centralized national standards moved public education away from many of the ideals of early progressive school movements (Smith, 1998). Tighter centralized control (of schools), standardization of content, reductive testing, authoritarian and sterile teaching methods have raises hurdles for the extension of democracy in education (Apple & Beane, 2007). However, in fragmented pockets, progressivism has been kept alive by a handful of academics, teachers and schools. Michael Apple and James Beane, innovators in the field of democratic schools, explain that democracy is not only a process, but also a way of life that includes values and principles that can be utilized in schools (2007). These ideas play a role in democratic schools today: Concern for the common good Allowing ideas to flow freely Trusting in people individually and collectively to generate solutions to problems

Extending a democratic way of life (Apple & Beane, 2007). Apple and Beane offer a picture of a classroom that offers a wide array of resources and information to students and emphasizes their right to have their viewpoints heard. Students are encouraged to look at resources critically and ask authentic questions like, Who said this? Why did they say it? Why should we believe this? And who benefits if we believe this and act upon it? The educator in a democratic setting plays a role of guiding students in seeking out a variety of ideas and developing their own voices. Additionally, teachers and students collaboratively design the curriculum by listening to each others interests, hopes and concerns (Apple & Bean, 2007). This exploration of multiple viewpoints and shared vision between student and teacher is also part of collegial pedagogy. Elisabeth Soep (senior producer and research director of Youth Radio, an organization that offers young people the chance to produce stories for local and national media broadcasts) uses the term collegial pedagogy to describe the process that guides the learning at the organization. Young people and adults jointly frame and carry out projects in a relationship marked by interdependence and mutual accountability [offering] a key substantive contribution. She points out that youth, possess something the adults dont have: a certain kind of access, understanding, experience, or analysis directly relevant to the project at hand (Soep, 2006, p. 5). A truly democratic approach to learning always considers the unique perspective and insights of the youth. Teachers in democratic schools encourage students to develop their ideas and communicate them as in Soeps project. So whats the difference between a democratic and student-centered education? John Dewey (1902) argued that an over-reliance on the students determination of quality and quantity of learning could be detrimental. He suggested that adults play a role in guiding children through the experience. Democratic doesnt mean disposing of

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the adult guide and centering all power in the students. That would actually destroy the democracy, as much as abolishing the executive, judicial and legislative branches of our own government would bring a halt to the effectiveness of our democracy. Just as elected officials assure the workings of a governments democracy, teachers are fundamental to facilitating the success of democratic learning. Democratic values and ideals can be explored through a variety of approaches ranging from simple activities to extremely complex projects. A classroom discussion on communities destroyed by mudslides in South America prompts students to consider the inequality of economic structures at the heart of the problem and perhaps a richer and more ethically committed sensitivity to the societies around them (Apple & Bean, 2007, p. 16). A more intricate example involves students identifying problems in their communities and working to resolve them through student-centered projects. I considered this in my action research, as I strove to embrace democracy in my classroom. The next section will discuss co-design, which is a fixture in many democratic classrooms.

Co-design
When I talk about co-design in my action research, I am referring to a process that involves students and teachers collaboratively planning the curriculum or projects together. Co-design can take various forms, as I will show in the following section. I will explore a few cases that have stoked the flames of inspiration in my research. Finally, I will explain my approach to co-design in my own classroom.

Barbara Brodhagens Collaborative Planning

The evening I saw Alfie Kohn speak to a crowd of parents and educators (University of San Diego, 2012), my eyes were opened to the possibilities of a different approach to learning. His presentation focused on the characteristics of truly progressive schools in America. On that evening Kohn mentioned a few great examples of inspiring progressivism. The standout was a middle school in Madison, Wisconsin where teachers designed the school year from scratch with the students, collaborating together as one team. They kicked off their co-design with two questions: What do you wonder about the world? and What do you want to know about yourself? The idea had me on the edge of my seat. I knew in an instant that this was the approach I wanted to try next with my students. The teacher, as I later found out, was Barbara Brodhagen. Brodhagen, a teacher at Marquette Middle School, built what I consider the ultimate democratic design for a school curriculum with her colleagues and students. At its center were students questions and the virtues and principles of democracy that I seek in my own class. Brodhagen best summarizes it herself: Many wonderful things can happen when students and teachers jointly plan the curriculum. Everyone has opportunities to participate in making decisions

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about what our work will be. Young people see their teachers listening to them and treating them seriously. Respect and trust between teachers and students grow as both observe how actions and words bring the curriculum to life. Early group planning creates a climate of openness for the rest of the year, a large part of which is a curriculum with far fewer hidden aspects than a traditional curriculum. (2007, p. 90) Brodhagens approach to co-design can best be outlined in the following steps (2007). The facilitation and involvement of the teacher is implicit in each step: 1. Students identify questions and concerns they have about themselves and the world. 2. Students develop questions individually, then find common or shared questions in small groups. 3. They find connections between the self and world questions. 4. Connections form themes around which curriculum is organized Isms; Outer Space; Time: Past and Present; Mind Bogglers; Environment; Death, War, and Violence; and Conflict. 5. Students recommend activities to respond to the questions/themes. 6. Students create unit/theme evaluations and complete self-evaluations. 7. Students review portfolios of completed work and summarize what theyve learned. 8. Students create goals for next unit/theme. 9. Notebook (processing journal) for daily reflection of learning used as daily check-in by teachers. 10. Teacher/student conferences (8-10 students) address student concerns, reactions or requests for additional instruction or materials. 11. Students list their learning on a board (list of concepts/skills)

Mark Springers Soundings

Springers book, Soundings: A Democratic Student-Centered Education (2006), documents his democratic program for 8th graders at Radnor Middle School in Pennsylvania. He uses a method informed by Brodhagens approach. He extends the notion of democracy through the creation of affirmations (a list of words defining the work students will do together) and a bill of rights that lead into his co-design with students. The process they use for generating ideas and making decisions for these two documents establishes a democratic foundation for the co-design. James A. Beane (1997) points out the strengths of collaborative planning models like Brodhagens and Springers. First, there is a better chance for knowledge and activities to be placed in the context of the students prior experience. Additionally, students can elect activities that work best for them in their pursuit of knowledge and experience. Finally, as the process moves from individual to group questions and from

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personal to larger world concerns, students have direct experience with the integration of self and social interests (Beane, 1997, p. 53). This fusion of self and social interests is vital for the development of the middle school students I teach. After all, middle school is a transitional time between childhood and young-adulthood. Students are becoming less self-centered and gaining greater consciousness of the world around them. This pivotal age determines whether or not they will engage as learners, connect their interests and knowledge with the larger community (local and global), thus preparing them to play an active democratic role, or remain in an extended state of immature adolescence. Collaborative planning seems to be a viable method for assisting the socialemotional development of middle schoolers.

Curriculum Integration
Its important to provide a context for collaborative planning in the larger scope of what Beane calls curriculum integration (CI). CIs goal is promoting a democratic education that fosters authentic opportunities for learning and a respect for the various needs of all people in the United States. It relies exclusively on the practices of collaborative planning and projects. In CI, teachers and students identify and research problems and issues without preoccupation for subject-area boundaries. CI consists of organizing themes that are culled from real-life experiences, students utilizing skills from all disciplines to research personal and world concerns and a broad access to knowledge (breaking beyond textbooks or standardized materials) (Beane, 1997). CI is seen as a vehicle for creating a strong sense of community (within a class or school), strengthening relationships through a shared purpose between students and teachers and inspiring teachers to pursue a high pedagogy which centers around solving problems and addressing pressing issues. Beane states, Nothing is as apt to signal curriculum integration as the use of large, whole-group projects that integrate all aspects of a unit (1997, p. 61).

Steven Levys Pilgrims 92 Project

Steven Levy, an award-winning teacher from Massachusetts affiliated with Expeditionary Learning, writes about a project that utilized curriculum integration. Herein lies the art of teaching: leading the students from their own experiences and interests to the depth and breadth of the world within the framework of the subjects I am supposed to teach (1996, p. 29). Levys most well known collaborative project (Pilgrims 92) took a democratic approach to a common 4th grade social studies unit, the Pilgrims. Whereas, Brodhagen and Beane suggest allowing themes to emerge from their students authentic questions, Levys project began with a very deliberate design meant to draw out students authentic questions about a predetermined theme. While this might seem contrived, the results of his project were stunning. He stripped his classroom of all desks and chairs, starting from scratch on the first day of school (as the Pilgrims did upon their landing in North America). His students collaboratively

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designed their learning based on their questions about what the class should look like, how the furniture could be built and how they would later proceed. Each step of the way involved students authentically learning skills to master real challenges calculating the cost of wood for desks, researching the approach that Pilgrims took to finance their voyage and writing letters to potential investors (1996). The skills and knowledge broke down the stratified barriers of common subjects and combined math, science, social studies and mathematics. While Levy operated as a facilitator, his students made major decisions by consensus. We sat in a circle on the floor, and each person had a chance to state an opinion or pass. After all opinions were heard, students were invited to defend their idea or explain how their idea had been modified by what they heard from their classmates (1996, p. 56). Throughout the year, Levys students forged authentic relationships with local businesses and drove their own learning through continual inquiries always returning to primary sources from the Pilgrims to guide their learning.

What Will Co-design Look Like In My Class?

Two years ago, I had a student named Csar in my class. He wanted to learn about the Mayan Empire. I had other plans; projects I had designed over the summer. I postponed his interest and lost his engagement right off the bat. We studied the Greeks instead. He did a good job writing and illustrating a retelling of the myth of Dionysus. But I always wondered what his Mayan project would have looked like. When I recently asked Csar about that situation, he remembered it well. I asked, How did you initially feel, knowing that we werent going to study the Mayans? Csar replied, I was really disappointed. I mean, thats like one of the holy goals of school, right? Teachers want kids to be interested in learning about something. When I asked him what teachers could do to stop this from happening he provided a deceptively simple, yet creative answer: I saw a movie about a kid who didnt get into the college that he wanted, so he started his own school. At the entrance there was a bulletin board where people would post questions what they wanted to learn about. This one kid who played guitar saw that there were students interested in learning to play. He became their teacher. So it was students teaching students. We could do something like that here. On the first day of class the teacher could erase the whiteboard and ask the kids to add their questions to the wall. Theyd turn those questions into projects. If there were a clearer picture of how to run things democratically and collaboratively, I have yet to find it. Cesars idea is articulated in the following approaches.

Clarifying Curriculum Integration

As I dug deeper into James A. Beanes work on curriculum integration, I found the idea for this type of democratic curriculum becoming clearer. Beane has done

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considerable research on the origins of this approach (dating back to the 1920s during the first wave of progressivism). He goes to great lengths to distinguish real curriculum integration from the watered-down version that emerged in recent years. The graphic below shows the difference:
Pure Curriculum Integration A curriculum design that is concerned with enhancing the possibilities for personal and social integration through the organization of curriculum around significant problems and issues, collaboratively identified by educators and young people, without regard for subjectarea boundaries (1997).

Fake Curriculum Integration The rearrangement of existing lesson plans and units to create a sense of integration.

vs.

In preparing for my action research, I had some concerns about letting students generate the ideas at the foundation of our project. After all, what would have happened if the students wanted to study monster trucks or Pokmon characters? My colleagues and team parents would certainly have declared, Lack of academic rigor and relevance! Throughout my four years teaching 6th grade, I have definitely seen students shift the conversation from academic to non-academic in brainstorms and question generating activities. Beane explains that themes in an integrated curriculum are found at the intersection of personal concerns of young people and larger world concerns (p. 48). The planning is based not simply on interest, but the questions and concerns that students have about themselves and the world (Beane, 1997). The process that lies at the heart of this approach takes integration to a deeper level. Students literally integrate their personal questions and concerns with global questions and concerns. There is an integration of self and social interests (Bean, 1997, p. 53). Whimsical topics are averted by the sincere and serious nature of curriculum integration.

PBLs Connection to Curriculum Integration

Beane writes that nothing is as apt to signal curriculum integration as the use of large, whole-group projects that integrate all aspects of a unit (1997, p. 61). The use of large projects extends to the multiple dimensions of integration. Beane goes on to address the authentic purpose that exhibitions give learning. Knowledge is not simply something individuals accumulate for themselves. Rather it is put to use for the groups further understanding of the problem or issue around which the unit is organized (1997, p. 61). He calls this performing knowledge.

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 Considering the use of Knowledge in Curriculum Integration

Beane emphasizes a democratic use of knowledge when designing learning with students. Teachers must find an approach that recognizes the value of both high culture and popular culture. Students, in the pursuit of their questions, will often turn to the types of knowledge they are familiar with to do research. Beane offers this defense for teachers who defy the tradition of the official knowledge box: Longer lists of fragmented, subject-based content and skill do not make for higher standards or a more challenging curriculum, nor do they make knowledge more accessible for young people. Instead emphasis on real issues, contextual learning, problem solving, thinking, critical inquiry, and so on does make for higher standards, for a more challenging curriculum, and for broader access to knowledge. (1997, p. 64)

Community Building: The Foundation of Curriculum Integration

Since one of the goals of curriculum integration is to promote social integration, building a community with students at the beginning of the year thoroughly discussed in the works of Beane, Brodhagen and Springer. Family history projects and class constitutions are two common examples found in the literature. Beane explains, The sense of community is built not only on the relationships among the adults and young people, but on the idea that they are mutually engaged in addressing shared questions and concerns. In these ways, young people have an opportunity to learn through experience the social knowledge that is part of the democratic way of life. (1997) Barbara Brodhagen (2007) offers us a clear picture of community building throughout the description of her family history project. Augustus Springer, founder of the Soundings program at Radnor Middle School in Pennsylvania, gives us multiple examples of community building activities that precede his co-design (2006). As he explains, Going through the community building activities is not a separate curriculum piece; it is, in fact, an integral part of planning with students. We need to think in terms of the whole complex system and not expect pieces of it to work adequately if isolated from the others. And now were ready to apply what we have been learning to the planning of our themes for the year. (p. 64)

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 A Question of Design: Whole Class vs. Individual?

How do we straddle that balance between whole class and individual when we make decisions in our design and begin projects?

Grouping
My gut says that its important to maintain a sense of community through a massive project with sub-groups exploring one common theme or question. Beane reminds us that curriculum integration, is meant to bring young people together in a shared experience of mutual concern rather than to deal with independent interests of each individual (1997, p. 65). He explains that a project-based format lends itself to students pursuing their individual interests, but always within the context of a larger group project.

Decision-Making
Springer (2007) recommends mixing up the protocols used for decision-making in projects. Throughout his Soundings program, students use a range of decisionmaking models from whole class, consensus discussions to steering committees who present decisions back to the group. He says, What really matters is the consistent level of empowerment that is maintained throughout the process (p. 89). He warns teachers against pushing kids in predetermined directions which could result in sense of hypocrisy.

Project-Based Learning
What do I mean by project-based learning or PBL? Anyone who has received a public education in the last 80 years can recount a time when they designed, built or constructed a project for their history or science class. Most Californians can recall studying early Spanish colonization and building a mission out of clay and Popsicle sticks. These types of projects lodged at the end of a unit of learning are not truly PBL, but they can serve as an entry-point for understanding PBL. When I talk about PBL, I am referring to an approach used by many of the teachers at High Tech High (San Diego, CA), where I currently teach. PBL, like democratic education, spans back to the early 20th centurys progressive education movement and the teachings of John Dewey. Some strands of PBL limit its democratic nature. According to The Buck Institute, PBL is an extended process in which students respond to a complex question or problem. While allowing for some degree of student voice and choice, rigorous projects are carefully planned, managed, and assessed to help students learn key academic content, practice 21st Century Skills (such as collaboration, communication & critical thinking), and create high-quality, authentic products

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& presentations. ("What is pbl?," 2012) Others envision a brand of PBL that is more democratic in nature. Alec Patton, an author who collaborated with High Tech High to produce Work That Matters: A Teachers Guide To Project-Based Learning, explains, Project-based learning refers to students designing, planning, and carrying out an extended project that produces a publicly-exhibited output such as a product, publication, or presentation (2012, p. 7). PBL is closely related to and often incorporates elements of problem-based learning and inquiry-based learning. What distinguishes it is the emphasis of producing work for a real audience (public exhibition) and concentrating on a student-created product. PBL involves these elements (Patton, 2012):

Elements of Project-Based Learning

Project Idea & Design - Teachers start with an idea stemming from their passions or interests, which connect with the needs and interests of students. Many times the idea is rooted in a problem calling for a solution. From this idea, a plan is drawn up involving the following elements. Essential Question - Heres where the inquiry within PBL emerges. Teachers develop an essential question to be answered throughout the project. This essential question relates to an overarching theme in the project and is often answered with further questions. Product Students must produce something to demonstrate what theyve learned. The product should drive the learning. It should be authentic, bearing relevance in the real-world and serve a real purpose for an audience. Jeff Robin, a senior art teacher at High Tech High, has always impressed upon colleagues, Do the project first! (Robin, 2012). This pre-project model helps the teacher and students understand the learning and process required to do the project, identifying any hurdles beforehand. Furthermore,

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students can develop a sense of the projects expectations by examining a models successful qualities (Patton, 2012). An examination of Grant Wiggins and Jay McTighes work in their guide, Understanding by Design (2005), illuminates the importance of establishing the end result of the project before all else. Wiggins and McTighe outline three steps in their recommendations for backwards design: 1. Identify desired results 2. Determine acceptable evidence 3. Plan learning experiences and instruction Backwards design may be thought, in other words, as purposeful task analysis We might think of it as building a wide itinerary, using a map: Given a destination, whats the most effective and efficient route (Wiggins & McTighe, 2005). Backwards design ensures that the product determines the learning. What do students need to know, understand and be able to do in order to successfully design and create the end product? Models are invaluable in projects. Timelines/Benchmarks & Learning Goals - In order to avoid the pitfalls of poor structure and a lack of rigor (Patton, 2012), teachers should clearly plan a timeline for their project, including benchmark due dates of drafts or components of the final product. Equally, goals for learning should be explicit. A teacher should identify what students will know, understand and be able to do. Much of this is accomplished through backwards design. Exhibition An audience should always be in mind throughout the project. According to Patton, [A public exhibition of student work] inspires a level of ambition and commitment much greater than is fuelled by the incentive of getting good marks. In addition, students families, as well as other people from the local community, get to see what is going on in the school, providing an opportunity to strengthen the relationship between the school and community. (Patton, 2012, p. 13) Multiple Drafts & Peer Critique Ron Berger, author of An Ethic of Excellence: Building a Culture of Crafstmanship with Students, discusses a shift from emphasizing quantity of work to quality of work. He stresses building a strong culture of craftsmanship that elevates everything. Peer critique is at the epicenter of his idea and essential to creating high quality projects (2003). Requiring students to submit multiple drafts of their work allows them to gauge their own learning and allows teachers to informally assess their learning as well. A multiple draft requirement helps students avoid the syndrome of procrastination and turning in inferior final products. Peer

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critique, defined as students giving one another feedback on their work, can afford students . . . The opportunity to learn from each others work and from each others feedback in a structured, safe context this can include critique of the process (how I made this thing) as well as product (the thing I made). Critique sessions can become lessons in their own right, because they provide the opportunity for teachers to introduce concepts and skills at a point when students will be eager to learn them. (Patton, 2012, p. 14) Real World Connections in PBL Patton provides us with a solid overview of the integral parts of PBL, but what sort of measure should teachers and students use to assess the authenticity of projects? After all, the projects we create should go above and beyond the contrived science fair or sugar cube pyramid of yesteryears projects. Adria Steinberg, in Real Learning, Real Work (1996), provides six criteria for making projects engaging and relevant to the real world. These criteria are frequently used to guide teachers at High Tech High in their project designs: Academic Rigor. Projects address key learning standards identified by the school or district and helps students develop habits of mind and work associated with academic and professional disciplines. Authenticity. Projects use a real world context (e.g., community and workplace problems) and address issues that matter to the students. Applied Learning. Projects engage students in solving semi-structured problems calling for competencies expected in high-performance work organizations (e.g., teamwork, problem-solving, communication, etc.). Active Exploration. Projects extend beyond the classroom and connect to work internships, field-based investigations, and community explorations. Adult Connections. Projects connect students with adult mentors and coaches from the wider community. Assessment Practices. Projects involve students in regular exhibitions and assessments of their work in light of personal, school and real-world standards of performance. (Project-Based Learning and Integrated Curriculum: A Planning Workshop for High Tech High Learning Sites, 2002, Unknown)

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 Why Project-Based Learning?

According to Rob Riordan, president of High Tech Highs Graduate School of Education, he and Larry Rosenstock (HTH school founder) originally saw High Tech High as an equity project. Doing projects was the way to get students from diverse backgrounds working together, side by side (Riordan, 2011). If the goal of a democratic education is to provide an empowering, equitable experience for students, then PBL is the prescribed approach. Projects provide students with a rich opportunity to collaborate with their classmates in a social setting that [is] created and/or developed with much student input and ownership (Wolk, 1998, p. 96). Projects mirror real life experiences, immersing students in context-rich learning that opens the doors for learners of all styles and cultures.

Evidence of Student Engagement, Inquiry and Understanding Engagement

David Price, in his article Engaging Students (2010), identifies a set of conditions found in a deeply engaged student. He explains that student engagement is commonly seen as three-pronged, consisting of cognitive, emotional and behavioral aspects. What kind of engagement did I look for in students during our collaboratively designed project? Deep engagement. How does that look and feel? The student cares not just about the outcome, but also the development, of their learning. [He or she] takes responsibility for their learning, brings discretionary energy to their learning task(s), can locate the value of their learning beyond school, and wishes to prolong their learning beyond school hours (Price, 2010). These are all indicators that I was able to observe or elicit in surveys or interviews. Price explains that teachers have to see engagement as more than a vehicle to improve student performance or discipline within school (2010). Engagement must be seen as a prerequisite for deep and meaningful understanding.

Sense of Inquiry
Years ago, I created a poster for my classroom wall that says, Questions are the keys that open the doors of knowledge. Time and again I have seen how important it is for students to master the art of asking and pursuing questions. We can design engaging, enriching and democratic projects, but if the students authentic wonderings arent at the heart of it, something is lost. Beane and Brodhagens curriculum integration models are built on the foundation of student questions. Rothstein and Santana, in their work, Make Just One Change: Teach Students To Ask Their Own Questions, explain, When students know how to ask their own questions, they take greater ownership of their learning, deepen comprehension, and make new connections and discoveries on their own. However, this skill is rarely, if ever, deliberately taught to students from kindergarten through high school. Typically, questions

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are seen as the province of teachers, who spend years figuring out how to craft questions and fine-tune them to stimulate students curiosity or engage them more effectively. We have found that teaching students to ask their own questions can accomplish these same goals while teaching a critical lifelong skill. (2011)

Depth of Understanding
Throughout our learning collaboration, I gauged changes in the students depths of understanding. I had a hunch that if more of the learning was designed and driven by the students, their understanding would manifest itself in fuller dimensions the learning will be deeper and more meaningful. To assess this, I analyzed the cognitive domain of learning. Benjamin Bloom (1956) identified six major categories of learning from simple behaviors to the most complex (knowledge, comprehension, application, analysis, synthesis and finally, evaluation). Our foray into collaboratively designed projects lifted us beyond the realm of memorized lists of facts and skills geared towards standardized achievement tests (Blooms knowledge and comprehension). I was looking for a deeper quality of learning that leapt into the upper levels of cognition. Analysis and synthesis or bust! How do we attain such a level? Apple and Bean identify a rich knowledge as . . . Intimately connected to the communities and biographies of real people Knowledge comes to life for students and teachers only when it is connected to something that is serious. Rigorous intellectual work is prized, not for the sake of symbolic standards or agreeable publicity, but because of its ability to make a difference in how we live. (2007) Learning that is connected to communities? Learning that has the capacity to change lives? That sounds like democracy.

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