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ĚŇĢĿİȘĦ-ĿǺŇĢŲǺĢĚ ĿĚǺŘŇĚŘȘ
Bỳ Tabitha Dell'Angelo
Đěčěmběř 1, 2014 Ųpđǻțěđ Ǻųģųșț 31, 2015
Enter most schools and you will hear about literacy instruction or the "literacy
block." However, literacy is not a subject it is something much bigger. Paulo
Freire (http://en.wikipedia.org/wiki/Paulo_Freire) encouraged a broader definition of
literacy to include the ability to understand both "the word and the world." Literacy
includes reading, writing, listening, speaking, and analyzing a wide range of texts
that include both print and nonprint texts.
support literacy standards. Photography supports literacy in several ways:
1. It is an excellent way to provide differentiation for Englishlanguage
learners.
2. It relieves pressure from reluctant students or striving readers and writers
by providing the opportunity to read and analyze photographs instead of
traditional print texts.
3. It represents a culturally responsive teaching method as it demonstrates a
way to welcome all voices in the classroom to be heard and valued.
This methodology is based on the work of Wendy Ewald
(http://literacythroughphotography.wordpress.com/wendyewald/), who writes extensively
about literacy through photography.
The use of photographs provides a novel way to engage in analyzing text.
Students can verbally describe their observations, ideas, and analysis in addition
to listening to the ideas of their classmates. The use of photographs allows
students to reflect and organize their thoughts in a creative way that cannot be
achieved simply through writing. And for many students, this practice provides
needed scaffolding for processing and organizing their thoughts in order to be
ready to write about them.
5 Photo-Based Strategies
For students with limited English proficiency, this is particularly important
because literacy skills can be advanced and improved without relying on prior
knowledge of extensive vocabulary. Instead, these practices can capitalize on
vocabulary in a child's native language while also building his or her vocabulary
in English. The following approaches require students to engage in highlevel
literacy practices, work collaboratively, and produce highquality work.
Fǿčųș
Try to help children focus their gaze and guide their thinking about the photos,
but still leave them lots of room to give their own ideas. Ask students to "read"
images by examining the details of a photograph and describing what they see.
These discussions tap into children's prior knowledge and may help to inspire
their storytelling and writing as well as preparing them for taking their own
photos.
Pǿřțřǻįțș
Have students view a wide variety of portraits. Find portraits of political figures,
regular people, celebrities, etc. Put all of the photos down on a table and ask the
children to sort them. Some children may sort them by gender, age, or some
other variable. It really doesn't matter what they decide. After they sort, ask them
to describe why they sorted them the way they did.
You can also ask students to guess who these people are based on the photo.
What does the photo tell you? Have students think about the intention of the
photographer. Who took this photo? Was he or she an insider or outsider? How
do we know? Ask students where the camera is. Where are the subjects looking?
As an extension activity, students can frame selfportraits or take portraits of one
another or family members.
Bųįŀđįňģ Vǿčǻbųŀǻřỳ ǻňđ Ųșįňģ Ěvįđěňčě
Find photos from past eras. You can do a Google search or find a photography
book by someone like Helen Levitt or Dorothea Lange, or a site like the Library of
also do something as simple as make lists of everything they notice in a
photograph. This practice is about both noticing and building vocabulary.
Next, students make inferences about when this picture was taken, and are
asked to provide evidence for their guess. Ask students to think about what the
photo tells them about the people in it. Look at the expressions on their faces,
their poses, the background, etc. How does each detail contribute to how the
portrait makes you feel? Support students in understanding that the very same
picture could make some people feel happy and others sad (or any other range
of emotions).
Pěřșpěčțįvě Țǻķįňģ
Students choose an object and take a photo of it from six inches away, from six
feet away, from below, and from above. All four pictures are displayed, and
students discuss how the different perspectives communicate a different feeling,
tone, and message. Notice that when the camera is low, it might make the
person or object look more powerful, while when the camera is higher, it might do
the opposite.
Țěŀŀįňģ ǻ Șțǿřỳ
Students take photos that they feel tell a story. They bring these photos to class
and trade with a partner. Each partner examines the photo and decides what
story they feel the photo is telling. After a few minutes, partners tell the story they
feel their photo conveys. Then they debrief about how their partner's analysis
agrees or disagrees with their own intent as the photographer. The next step is
for the students to either write a story that goes with their own picture or with a
picture by one of their classmates.
Have you expanded your literacy practice to include photography? How
important is it to use images with your Englishlanguage learners? Please tell us
about it in the comments section below.
FİĿĚĐ ŲŇĐĚŘ
Teaching Strategies English Language Arts
ĚŇĢĿİȘĦ-ĿǺŇĢŲǺĢĚ ĿĚǺŘŇĚŘȘ
know and building initial knowledge that they need in order to access upcoming
content.
We have found this strategy to be essential to teaching all of our students, both
those who are proficient in English and those who are acquiring English
language skills. To go even further, this strategy lies at the heart of our teaching
philosophy—our students already possess a wealth of knowledge and
experiences they can build upon as they encounter new learning. It’s up to us to
facilitate this process by developing relationships with our students so that we
learn what they already know and ensure that they feel comfortable sharing it.
ĚŇĢĿİȘĦ-ĿǺŇĢŲǺĢĚ ĿĚǺŘŇĚŘȘ
bright Saturday afternoon. “Write the word below the drawing,” I say. The word
apple goes under the apple, tree under the tree. Afterward, they practice with
vocabulary flashcards for a half hour. At a bathroom break, all three bolt down
the hall in search of a soccer ball, teasing each other in Arabic.
They might be eager to learn English, too—but I feel I’ve lost them already.
ȚĚǺČĦĚŘȘ ẄĚİĢĦ İŇ
Working with traumaaffected students is a difficult balancing act.
We acknowledge the harmful impacts of the past, and hold out hope for a future
of healing. We create a safe environment for students to share their lives, yet
maintain professional boundaries. We provide our caring and our help to others,
but have to pay attention to our own wellbeing, too. We work in our classrooms
but depend on the support of our community.
ȘǾČİǺĿ ǺŇĐ ĚMǾȚİǾŇǺĿ ĿĚǺŘŇİŇĢ
Resilience and motivation come from having a sense of purpose, believing you
have value to others, and engaging in acts of service that confirm that value.
When these point in a positive direction, children gain momentum and positive
accomplishment; when they don’t, we see downward spirals and increasing
distance from college, career, community, and life success.
There are some things we should know about all of our students because
knowing them will greatly influence our teaching (and parenting). They reflect the
conditions necessary for students to learn, be happy, feel relevant, and be
resilient.
Read Full Story
ȚĚǺČĦİŇĢ ȘȚŘǺȚĚĢİĚȘ
Four years ago, I was introduced to the work of John Hattie, which changed my
vision of my role as an educator. Hattie convinced me to think of myself as a
change agent (https://www.youtube.com/watch?v=7XWMAteuaks) who could apply the
tools of Visible Learning to guide my students to succeed in math beyond their
own expectations.
To do this, I had to create a classroom where my students knew exactly what
they were learning, how well they were doing, and where that learning would take
them.
Reclaiming a Sense of J oy
Eight simple, quick strategies for easing the stress of
teaching and remembering to take pleasure in the work.
Bỳ Shane Safir
Ǻųģųșț 10, 2018
It’s the end of the school year and I’m sitting with a young principal I coach who
has deep expertise, heart, and knowhow. Suddenly, she breaks down sobbing.
“I’m miserable in this job,” she says. “I want to stay the course, but I don’t know
how to get my head above water. I just don’t feel any joy in this work.”
When we live in constant stress, our brains start to downshift. According to
scholars Geoffrey Caine and Renate Nummela Caine, downshifting is a
psychophysiological response to threat
(https://us.corwin.com/enus/nam/12brainmindlearningprinciplesinaction/book244451) that
results in a sense of helplessness or fatigue. A downshifted person has a
nagging sense of fear or anxiety and begins to lose the ability to feel excitement
or pleasure.
İŇQŲİŘỲ-BǺȘĚĐ ĿĚǺŘŇİŇĢ
Embracing Inquiry‑Based Instruction
A veteran teacher shares the frustrations and challenges
of this studentcentered teaching model—and why she
finds it so powerful.
Bỳ Christi Alper
Ǻųģųșț 17, 2018
Recent education reforms call for a shift in pedagogy to provide students with the
skills necessary to be competitive in a global society. One such shift, inquiry
based instruction, is supported by evidence
(https://www.nap.edu/catalog/9596/inquiryandthenationalscienceeducationstandardsaguide
for)
as a successful approach to fulfill the goals and processes of the Next
Generation Science Standards (NGSS).
Inquirybased instruction is a studentcentered approach where the instructor
guides the students through questions posed, methods designed, and data
interpreted by the students. Through inquiry, students actively discover
information to support their investigations.
ĚĐŲČǺȚİǾŇ ĚQŲİȚỲ
Looking at Edtech Through an Equity Lens
As technology becomes ubiquitous in classrooms, it’s
critical to ensure that it doesn’t widen equity gaps.
Bỳ Rupa Chandra Gupta
Ǻųģųșț 17, 2018
Two years ago, I went from buyer of education technology to builder of it. I was
formerly the redesign administrator at a district personalized learning school, and
I oversaw the implementation of many edtech products. I left to build a
technology platform that helps students set goals, reflect on learning strategies,
and focus on the process of learning rather than just the products of it.
One issue bubbled up consistently at my school, and now it’s something that I’m
actively working to design against: a concern that edtech products can impact
our most struggling students in a way that leaves them further behind.
ȚĚǺČĦĚŘ ẄĚĿĿŇĚȘȘ
Recently, I made a request on Twitter: “Could anyone tell me what it’s like to
teach while battling depression?” Twelve heartbreaking emails answered my
question.
The teachers reported several symptoms of depression, including a feeling of
shame. After his wife suddenly left him, Phillip had to fight the urge to break
down in class. (Names throughout have been changed, aside from teachers who
have publicly written about their struggles.) A diagnosis of posttraumatic stress
disorder fueled these feelings. “I felt guilty and silly telling people I had PTSD—
that was something warriors and soldiers got.”
ȚĚǺČĦİŇĢ ȘȚŘǺȚĚĢİĚȘ
and communication. I want my classroom to be a place where students want to
be, a place where they feel safe and loved and valued. And I want it to be filled
with student voice—I want them to tell their stories. These two qualities are
inextricably linked: When students belong, they open up, and when they open up,
they belong.
I’ve found that an effective and meaningful path to both community and
communication in my classroom is circle practice, inspired by restorative justice
(RJ). Though it originated in the context of criminal justice, RJ has become
popular in schools as many educators use it as an alternative to traditional
discipline approaches—it’s a shift from focusing on consequences to focusing on
responsibility and relationships.
Ģ Ě Ǿ Ř Ģ Ě ĿŲ Č ǺȘ Ě Đ Ų Č ǺȚ İ Ǿ Ň Ǻ Ŀ F Ǿ Ų Ň ĐǺȚ İ Ǿ Ň
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