Datasets:

Lambent

/

creative-writing-2048-fineweb-edu-sample

like 3

Part of the December 2019 STEM Resources Digital Calendar! I still remember the storybooks I created when I was younger. They were made by stapling or gluing construction paper over notebook paper and illustrating the pages with crayons and marker. Students still enjoy creating physical storybooks, but now their stories can be preserved digitally forever with free web tools and apps. The tools and apps below make it easy for students to illustrate, animate, and share their stories with friends, family, and a wider audience. Not only can students create stories about any topic, but they also have the opportunity to be published authors which motivates many to continue reading and writing. 💡Discover more ways to integrate technology effectively by taking one of my fully accredited online courses or get one of my books! Tips and Ideas The following are tips and ideas for further supporting students through the process: Students can create their own storybooks, work in pairs, or contribute to a class storybook.Provide students with templates, checklists, and rubrics.Read, Write, Think has several interactives that walk students through the story creation process- Story Map, Literary Elements, Flip Books, the Hero’s Journey, Story Cube, and Fractured Fairy Tales.Walk students through the self and peer editing process.Students can create stories that retell history, portray themselves as superheroes, set in the future, highlight different cultures, or to teach others math, the alphabet, or to be better citizens. The choice of topics is endless!Tools and Apps for Creating Digital Storybooks Book Creator– Web, iOS and Android app to create and publish digital books with personal photos, audio, video, and more.Elementari– Create a free class account for up to 30 students. Students use the web tool to create a storybook with sounds, animations, shapes, and more.Buncee– Web tool and iOS app to create and publish a digital storybook with free library of animations, stickers, templates, frames, stock photos, video, audio, and more.Storybird– Web tool that is easy to create a written storybook. Students choose art created by professional artists and add their words and ideas.My Storybook– This web tool requires no registration and is simple to use with very young learners and elementary students. Children create a storybook with drawings, images, characters, and more.Storyjumper– Choose characters and backgrounds to visualize a written story. Not able to embed.BoomWriter– Create collaborative class storybooks. Features include peer editing and a voting process.Google Slides and Docs are also great free options. Students can easily search and insert images, add video clips, and more! Student collaboration is easy and students have access to accessibility features and translation tools. Publish as PDFs or embed as a slideshow.Subscribe for FREE to receive regular updates! 💡Get your copy of Hacking Digital Learning or The 30 Goals Challenge or take a fully accredited online course for graduate credit (Online Learning Best Practices, Connected Educators or TESOL Methodologies)! To thank you for your sharing, friendship and support over the years I am sharing free tips, learning resources, web tools and apps for 25 days in my Digital December STEM Advent Calendar. Just click on the calendar below and a post will appear for that day. NOTE! The post will not appear until that day. If you enjoy these resources, then take one of my fully accredited continuing education and graduate online courses or check out my latest book, Hacking Digital Learning Strategies with EdTech Missions! Interesting essay samples and examples on: https://essays.io/grant-proposal-examples-samples/

<urn:uuid:8416706d-3f4a-473a-95e3-a075a6bbce5a>

CC-MAIN-2021-17

https://ellerstudentcouncil.com/tips-and-tools-to-support-students-in-publishing-their-own-digital-storybooks/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00619.warc.gz

en

Drama and Expressive Arts Miss K Hardwick (Head of Department and Head of the Faculty of Performing Arts and Sport) Important Information: COVID-19 GCSE: Years 10-11 KS4 General Information – Style and Genre BBC Bitesize: GCSE Drama KS4 HWB: Go on Home Page and search Drama - WJEC GCSE Drama: Set Text Notes – Two Faces AS/A2: Years 12-13 KS5 HWB: Go on Home Page and search Drama - The Radicalisation of Bradley Manning WJEC Website – Resources AS and A Level Set Text Notes - A View from The Bridge – Year 12 Text - Sweeney Todd – Year 13 Text - The Radicalisation of Bradley Manning – Year 13 Text Key Stage 3 Expressive Arts: In Year 7, pupils will receive five lessons a fortnight in Expressive Arts. This is made up of two lessons of Art, one lesson of Drama and two lessons of Music. Pupils will develop a range of skills through a thematic approach to the Expressive Arts, where each unit will end in a showcase or celebration of pupil’s work. Pupils will also have a range of opportunities to experience working with outside providers and there will be many opportunities to further their skills in the rich extra-curricular programme provided – Various Lunchtime Clubs, Termly Concerts, and Showcase Evenings. Theme: African Culture Learners will explore a sense of identity and belonging through the lens of African tribal cultures. Skills: Pattern, Colour, Ceramic Work, Movement Skills, Ensemble Skills, Singing Skills, Keyboard Skills, Rhythm Skills. Theme: Land of My Fathers Learners will explore 'What it means to be Welsh', and strengthen their appreciation for Welsh traditions culminating in a celebration of pupil's work at the annual school Eisteddfod. Skills: Observational Drawing, Imaginative Composition, Performance Skills, Storytelling Skills, Vocal Skills, Communication Skills. Learners will discover artistic works that reflect time, culture and place. Skills: Drawing Skills, Communication Skills, Imagination and Empathy, Mime Skills, Slapstick Comedic Skills, Dialogue Skills, Improvisation Skills, Composition Skills. Drama: For Year 8/9, Pupils are taught Drama once a fortnight. As it is a practical subject there in very little written work at KS3. Pupils work mainly in groups to create drama pieces in response to stimuli. This work is then performed or presented to an audience followed by discussion. The curriculum is delivered via a themed approach and at the end of each unit pupils are assessed on skills taught. If pupils have a particular flair or interest in the subject they are encouraged to attend Drama Club and participate in the various extra-curricular projects throughout the year – Drama Club Showcase Evenings, Young Playwrights' Festival. Theme: Status & Relationships High & Low Status - Developing Dramatic Techniques. Blood Brothers - Working with Text – Improvisation/Script work. History changers - Developing dramatic techniques, soundscapes, monologues. Exploring Stock Characters - Role Development. Performing Melodrama - Devising Skills. Gang Culture - Developing Dramatic Techniques. Working with Text - West Side Story / Romeo & Juliet. Theme: Comedy & GCSE Drama Technical Project - Developing Technical Skills. Comedy Project - Comic Techniques. The White Rose Story - Developing Dramatic Techniques / Script Work. Script Work - Stone Cold / Walking with Shadows. Ways in which parents can help: - Encourage pupils to actively participate in lessons. - Complete homework tasks: - Learning Lines - Research Tasks – Melodrama Stock Characters and History Changers - Encourage pupils to attend Drama Club. - Gang Culture - Clips from West Side Story - Clips from Romeo & Juliet - Physical Comedy Characters - Melodrama Stock Characters - History Changers - Recording of Blood Brothers Extract for Assessment

<urn:uuid:88f0402c-4185-4daf-9985-68a42809d6f2>

CC-MAIN-2021-17

https://www.porthcawlschool.co.uk/curriculum/drama.asp

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00577.warc.gz

en

By- Angela Padrón No matter the age, learning is a process. And storytelling is a huge and important part of that process for many reasons. Many times, students form a connection to a story. Being able to relate to a story helps students remember information because the content is meaningful. In addition, stories allow students to discover and develop their imagination and creativity. This helps them think beyond the box to solve problems as well as foster intercommunication between students with like interests. Here is a list some ways how storytelling and learning collide: #1- Stories connect the audience to the underlying message It’s easier for people to remember something when they have a meaningful connection to it based on some kind of emotional response. When stories invoke the emotions of the listeners or readers, or remind them of an experience, it helps them to better relate to the story and to feel invested in the story. As a result, this increases the chances of the students remembering the message or lesson from the story. #2- Storytelling helps organize information to present to students. When presenting information to a group of students, using a story format of a beginning, middle, and end helps students remember the main topics of the presentation. #3- Stories develop listeners’ imagination and listening skills A good story can transport learners out of their current environment and into a world of imagination and adventure. This allows students to perceive things differently, think about issues in new ways, and come up with new ways to solve problems. Also, listening skills are further developed when students listen to a story and pay attention to particular details. #4- Stories can motivate listeners to learn When students hear stories that grab their attention, they become motivated to learn. Students who are self-motivated are more independent and responsible for their own work and actions. They’ll want to learn more about a particular topic or pick up a particular book. Stories can also encourage and inspire students to take action or complete a task they’ve been putting off for a while. They may even decide to write their own version of the story! #5- Stories help students reconnect with themselves In this day and age of technology, social media, and other distractions, hearing a story can bring people back down to Earth and focus on the now. It can help people relate to each other through common interests and emotional connections. Students who are English language learners can also further develop their desire to learn English and new vocabulary, and their confidence to learn content. #6- Stories that are interesting are more likely to be shared When people like a story, they share it with others, whether orally, in written form, or through social media. This allows students to connect with each other, share information, and spread news or topics that could affect others in a positive way. You may also like: Seven Ways to Integrate Art in the Classroom

<urn:uuid:eb26db11-d076-4f84-a49e-186518e34101>

CC-MAIN-2021-17

https://vhlblog.vistahigherlearning.com/the-importance-of-storytelling-in-the-learning-process.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00457.warc.gz

en

A few decades ago, the U.S. Air Force wanted to find out what happens when cats experience weightlessness. Watch the experiment in this vintage footage: The men and the cats are in a Convair C-131 airplane that can simulate the weightlessness you and your feline companions would experience in space. Often called a “Vomit Comet,” the plane follows an elliptic flight path; climbing steeply up and then nose-diving back towards the Earth. The maneuver, according to the film, creates about 15 seconds at zero gravity. That’s when the cats start to fly. It’s not exactly clear what the Air Force learned from tossing cats around in weightlessness. If you watch the extended version (below) beginning at around the 3-minute mark, you can also watch them toss pigeons, who appear to panic not knowing if they’re flying right-side up or upside-down. Some may say that this experiment represents cruelty to animals, and depending on your definition, they might have a point. Space agencies around the world have a long history in sending animals into space. You’ve probably heard of Laika, the stray dog blasted into space on the Russian’s Sputnik 2, or Able and Baker, the two monkeys who traveled 300 miles up in the nose of an Army Jupiter missile. A cat named Felix was the first cat in space, launched into space by France in 1963. Felix survived a parachute descent, but the next French cat in space was not so fortunate. Rabbits and jellyfish have also spent time on shuttles. In 1998, the space shuttle Columbia set a record by sending two thousand creatures into space. Even today, biological experiments are a regular part of space flights. Students can watch butterflies or spiders develop in zero gravity and compare them to their own, Earth-bound insects. Animals have contributed a lot to our understanding of life in space, and even showed us how to get there. And thanks to this video, we know that there’s no way that a weightless cat can land on its feet. Learning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.

<urn:uuid:6bc57f9b-c40e-4e2c-9198-4697f3f99d1b>

CC-MAIN-2021-17

https://earthsky.org/space/cats-%E2%80%93-and-other-animals-%E2%80%93-in-zero-gravity

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00257.warc.gz

en

- 1 What is a plot easy definition? - 2 What is an example of a plot? - 3 How do you explain a plot? - 4 What are the 4 types of plot? - 5 What’s the definition of point of view? - 6 What is plot and its types? - 7 What are the elements of the plot? - 8 How do you start a plot? - 9 What are the 7 elements of plot? - 10 What is a good plot? - 11 What are the 3 basic types of plots? - 12 What is setting and plot in literature? - 13 What is the difference between a plot and a script? What is a plot easy definition? Plot is a literary term used to describe the events that make up a story, or the main part of a story. These events relate to each other in a pattern or a sequence. The structure of a novel depends on the organization of events in the plot of the story. What is an example of a plot? “We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. ‘The king died and then the queen died,’ is a story. ‘The king died, and then the queen died of grief’ is a plot. How do you explain a plot? In a narrative or creative writing, a plot is the sequence of events that make up a story, whether it’s told, written, filmed, or sung. The plot is the story, and more specifically, how the story develops, unfolds, and moves in time. What are the 4 types of plot? Five types of plots Exposition. Exposition is the beginning of the story and prepares the way for upcoming events to unfold. Rising Action. It is that point where the main problem or conflict is revealed. Climax. Falling Action. Resolution. What’s the definition of point of view? : a position or perspective from which something is considered or evaluated: standpoint. What is plot and its types? Plot – the structure of the action of a story. In conventional stories, plot has three main parts: rising action, climax, and falling action leading to a resolution or denouement (Harris & Hodges, 1995, p. 189). What are the elements of the plot? The 5 Elements of Plot Exposition. This is your book’s introduction, where you introduce your characters, establish the setting, and begin to introduce the primary conflict of your story. Rising Action. Climax. Falling Action. Resolution /Denouement. How do you start a plot? How to Plot a Short Story Brainstorm. You don’t need to have multiple short story ideas ready to go at a moment’s notice. Write out the central conflict. The foundations of your main conflict or theme often form a short story’s rising action. Create a brief outline. Pick a point of view. Select the right story structure. What are the 7 elements of plot? Gustav Freytag, the 19th Century German playwright and novelist, drew a simple triangle to represent dramatic structure and highlighted seven parts he considered necessary to storytelling: exposition, inciting incident, rising action, climax, falling action, resolution, and denouement (French for “the ending”). What is a good plot? A good plot is all about organizing ideas in a way that is appealing to the reader. It is also, and more importantly, the guideline that helps the author make sure he doesn’t get lost on all of the ideas and characters that start to come up whilst the book is written. What are the 3 basic types of plots? Three Types William Foster Harris, in The Basic Patterns of Plot, suggests that the three plot types are the happy ending, the unhappy ending, and tragedy. What’s the difference between the second and third types? What is setting and plot in literature? Any fictional story has certain elements that make it a story. Among these essential elements of literary fiction are plot and setting. The plot is the what of the story, and the setting is the where and the when. The plot includes the elements of conflict, rising action, climax, falling action, and resolution. What is the difference between a plot and a script? As nouns the difference between plot and script is that plot is the course of a story, comprising a series of incidents which are gradually unfolded, sometimes by unexpected means while script is (countable|obsolete) a writing; a written document.

<urn:uuid:94e02c05-825f-46bf-a0f2-735d1ffcdc1d>

CC-MAIN-2021-17

https://www.myriam-chansons.net/faq/plot-definition-literature.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00459.warc.gz

en

Open up your notebooks. Set up a new entry in your table of contents with the title: What is theme? Set up the page. What is partition in India? Slideshow and discussion. Please get a BLACK textbook from the shelf, if there is not one on your desk. Open your notebooks to What is Partition in India and be ready to complete notes on the subject. After, we will begin to work on the short story, along with some analysis questions, and then collect notebooks (as promised). Read “When Mr. Pirzada Came to Dine” In notebook, Page 12 Title: Analyze Lines for Character Development and Theme 1-14 Describe the details about Mr. Pirzada’s life and what that reveals about his character. 31-44 What do the details about the narrator’s parents reveal about them? What broad theme of the story might be suggested by the details? 110-116 Do Lilia’s parents feel she is receiving a good education? Cite details to support your answer. 9/28 Read and analyze lines: 149-151 What do these lines reveal about Mr. Pirzada’s connection to his homeland, even though he is thousands of miles away from it? 223-232 What do Lilia’s thoughts and processes reveal about theme? 10/4-10/5 Analyze lines: 336-343 (what inferences can you draw about Lilia’s emotional growth?) 366-371 (What do these lines indicate about Mr. Pirzada’s connection with Lilia?) What do the two different reactions Mr. Pirzada had after heard in the news reports tell us about him? Answer: What feeling or message is conveyed by the scene of the adults sitting together with the TV turned off and Mr. Pirzada in the uncharacteristic pose of his head in his hands? What might have happened? Answer: Paraphrase lines 538-540 in your own words. How does repetition lend power to the description, here? Repetition is a rhetorical device writers use to focus attention on a particular idea or image. Please get out your notebooks. Open to the table of contents. The date is 10/8/18, the new title will be Grammar: Parts of Speech. I think we are on page 15? Turn to page 15. Number the page, but do not title it. Wait for instructions. I will check the questions from Friday while you are doing this.

<urn:uuid:8875e952-b174-4651-8ae3-7d55e646d0d1>

CC-MAIN-2021-17

http://msnavarrosyellowjackets.com/2018/10/927-108-english-1-and-9rcp-agendas/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00179.warc.gz

en

A guide to storytelling with your kids - Posted by Jacinta Bender | - Tuesday 18 November 2014, 12:40 PM (AEDT) Children's librarian Lee Castledine is passionate about the art of storytelling. Her passion is not only for reading books out loud to children, but also for the ancient craft of oral storytelling. For thousands of years storytellers have used their voice, facial expression and interaction with an audience to weave their tale and could include visual props to help bring the story to life. It's a tradition that Lee continues today. Introduced to storytelling at a young age by her mother and grandmother, Lee knows firsthand the benefit to children of storytelling. She works with toddlers up to primary school age in her role as librarian and tailors her storytelling according to the children's ages. She uses props including felt boards or puppets and her approach is strong on audience participation. In her storytelling kids are asked to move around, respond and even chant. She believes storytelling strikes a chord with children because it engages them in a way that differs from how they respond when a book is read aloud or when watching/using a screen. "Children like storytelling because it is so different," Lee says. "If parents take the time to take their children to a storytelling session [at a local library] it is a great success," she adds. "It is so much fun and it is a wonderful chance to bond with a child and an opportunity to help a child's imagination." Home, says Lee, is a great place to begin storytelling. Here are her tips for parents: - When you begin, if you feel more confident holding a book, read the story and also use visual props to ‘tell' the story. Props don't have to be costly; something as simple as a drawing, cardboard box, finger puppets or toys you already have will do the job. Use your imagination. - When you feel ready to move on to telling stories without incorporating a book, you can use favourite stories the child knows or try out new tales. Family stories can be great. - If your child is very young, exaggerate your emotions to help them understand the story. "They might not understand all parts of the story but they will get the emotion," says Lee. - Stories for younger children can be short, and tales involving colours and counting work especially well. (Stories can be told to children as young as 12 months old.) - Older children can help ‘tell' and develop a story. Start the story and ask your child what might happen next. - If your child appears disinterested or tired, know when to stop. Don't be discouraged and try again later. "If they are hungry, or need a nap or are full of beans and would rather be running around outside, try again another time," Lee advises. - Enjoy yourself! "It's a wonderful bonding experience and a memory the child will have later," Lee says. Dr Louise Phillips, lecturer in arts, early years and literacy education at the University of Queensland has researched the benefits of oral storytelling in early childhood . Her advice for teachers who are keen to include storytelling in their class activities is that follow-up is key to getting the most from a storytelling session at school or pre-school. She recommends, as a minimum, to have a discussion about the story afterwards; ask the children what the story told them and explore what stayed with them. She also recommends encouraging children to visually express the story, through drawing, painting or clay work. "As storyteller you have all these gorgeous faces transfixed and there's a moment of ‘yes' it really works," she says. "It is so important that we keep storytelling alive." For more advice on storytelling see www.australianstorytelling.org.au Image: 'Storytelling', Wikipedia, CC 18 November 2014, 05:26 PM (EST) To weave the magic and mystery of one's own personal narrative brings message, meaning and validation to all those, to whom we have the pleasure of their company 19 November 2014, 12:00 AM (EST) In the interests of increasing literacy in the home I would love to have this post embedded with some audio for parents in my school community to listen to. Supporting these ideas further could include some video of parents being wonderful story tellers to show other parents what they could do. Or perhaps there is a need for a package of parent friendly resources that could be available to schools to present and share with their community. 19 November 2014, 03:21 AM (EST) Thanks Louise & Lee for your comments. Love this article - here's to many more to inspire storytelling in every home! X Anna 25 November 2014, 12:34 AM (EST) Lee is a fabulous story teller and childrens librarian. Blacktown City Council 27 November 2014, 12:33 AM (EST) Looking for something to share with parents and children online? Try the Baby Rhyme Time Online videos by Blacktown City Libraries at http://www.libraries.blacktown.nsw.gov.au/Children_and_Young_Adults/Children/Baby_Rhyme_Time. There are eleven programs and videos designed for parents and carers who want to enjoy time with their children and improve their literacy. Feel free to link these videos to your site.

<urn:uuid:b0a7a6d9-8a54-43f3-981e-14efe432c536>

CC-MAIN-2021-17

https://education.abc.net.au/newsandarticles/blog/-/b/1579969/a-guide-to-storytelling-with-your-kids

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00379.warc.gz

en

Many teachers use graphic novels and comics in the classroom. There are amazing books on the subject that include useful tools on how to effectively implement these resources for learning. The main thing teachers need to consider is purpose. I know, we love books and tools, but as with technology, sometimes we get wrapped up in the tool instead of first thinking about the purpose. Here are some reasons why you might select a graphic novel or comic to read, or why you might have students create their own. Thinking about these reasons will help you focus on your purpose in your instruction. Reasons to Work With Graphic Novels and Comics Differentiating instruction: Graphic novels and comics can be a great way to differentiate instruction for learners in terms of reading and also in terms of assessment. Perhaps you want to offer your students a graphic novel to support their reading of a chapter in a rigorous text. There are many graphic novel adaptations of classics out there. Maybe you’re doing a project-based learning (PBL) unit in which you want to provide voice and choice for the student assessment. Students might be choosing between a letter, a comic, or a podcast to answer a driving question such as: How can we debunk myths and stereotypes about world religions? Building critical reading skills: Reading standards around higher order thinking skills can be met through complex analysis and evaluation of graphic novels and comics. Have students look at how the authors and illustrators use colors, textures, words, text boxes, frames, and camera angles, and then make connections between these elements and evaluate their effectiveness. Assessing student learning: PBL calls for the creation of authentic products that are useful and credible to the group. You can have students create comics or graphic novels, or components of them, as a useful formative assessment to check for understanding of important content. A comic made to combat bullying can be used as a summative assessment, as Suzie Boss has suggested. Make the graphic novel or comic a product that students create to meet a need. Don’t just make it a regurgitation of knowledge—give it an authentic purpose. Studying the genre itself: In his book Understanding Comics, Scott McCloud asserts the legitimacy and complexity of comics and graphic novels as a genre. Pairing selections from his work with a graphic novel or comic can generate interesting discussion and inquiry into the elements of the genre itself. Genre study is an easy way to utilize literature circle groups and instructional lessons, where students get to pick from a variety of options. Examining literary elements: Graphic novels take traditional literary elements like symbol, character, and plot, and modify them—characters may become heroes and villains, and visual symbols that would be described in a novel are actually drawn and created. There are many other purposes for graphic novels in the classroom, from looking at different cultures and backgrounds to utilizing technology in authentic ways. Just make sure you select the graphic novel or comic with a clear purpose in mind. I’ll leave you with some favorite graphic novels and comics that I’ve used in my classroom. - Persepolis, a memoir of a girl growing up during the Islamic Revolution in Iran, was recently made into a motion picture. - Maus, a top favorite for many, explores themes of the Holocaust through a memoir populated by mice and cats. - American Born Chinese is the tale of three characters: Jin Wang, the only Chinese-American in the neighborhood; Chin-Kee, the ultimate Chinese stereotype; and the Monkey King, a character from ancient fables. - Uncanny X-Men Volume 3 In this issue, the X-Men travel into Dante’s Inferno.

<urn:uuid:3c7ddd0f-1db5-410a-a8a5-b73d11defac7>

CC-MAIN-2021-17

https://www.edutopia.org/blog/graphic-novels-comics-andrew-miller?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+EdutopiaNewContent+%28Edutopia%29

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00619.warc.gz

en

Students will be able to identify the various aspects of the CROW principle and apply them to their performances by playing “Freeze”. Play “Location, Career, Death” in three different groups. After the groups are done, go over physicality’s importance once more with the students, discussing what worked and what did not. Remember to tie in the other elements of storytelling! Step 1: White the word CROW on the board. Inform the students that this is an acronym in the improvisation world. It stands for the most important things one must be able to identify early in whatever game is being played. Ask them to think about what elements of storytelling they just reviewed and how they might tie into this idea. Ask them to guess what each letter represents and write the correct word on the board vertically (under the corresponding letter). They are as follows: • C = Character • R = Relationship • O = Objective • W = Where The students will hopefully guess the C. R will probably be brought up with the idea of “yes, and…” or working as a team. O may be brought up with what is going on or what you want, or perhaps the plot/conflict. W will be brought up with setting. If it helps the students to remember, write the following in parentheses beneath the words: • Character (Who are you?) • Relationship (How do you relate to your partner?) • Objective (What do you want?) • Where (Setting) Go over each word of CROW and discuss its importance, being sure to tell the students that no element is more important than another–they should all carry equal weight. Step 2 (Instruction): Teach the students how to play the game “Freeze.” This game is played in a large group, the class creating a circle. In the middle of the circle are two people, who are given a setting (W!). The two in the middle must come up with a scene and act it out, making sure to use the elements of CROW and use their physicality well. At any point, someone who is watching from the circle may yell “Freeze!” and the people in the middle must freeze in whatever position they are in at that time. The person who yelled freeze comes into the circle and taps one of the people out (and that person takes the tapper’s previous spot). The person who just entered the circle takes up the person he or she just tapped out’s exact frozen position, and then uses that position to create an entirely different scene, which the other person must use the “yes, and…” principle in order to join and help continue. Remind the students to respect their partners and their audience by keeping the content of their scene school appropriate, as this game as a reputation in older groups to get out of hand very quickly thanks to its quick-thinking and very physical nature. Step 3 (Class Practice): Play “Freeze” as a class, making sure that all of the students have participated. Make sure you let the students know that each person must participate before you begin. You may have to coax some of the students. If it becomes necessary, freeze the scene yourself and ask the students to enter who have not. As you feel you can, freeze the scene and ask students (by cold calling names) what elements of CROW they have heard in the scene, then allow the game to continue. This should take at least ten minutes, as students tend to deeply enjoy this game and are still just learning it at this stage. Step 4/Informal assessment: Once the game has picked up and students seem to be understanding the principle of CROW and showing it, ask them to split into three smaller circles. Instruct the students that they must have every student participate at least once within the circle and that they must still be responsible for CROWing. Give all three groups the same setting to start out with (such as a carnival) and then monitor the games, keeping track of who has entered the circle and who has not. If students have not entered the circle, their participation points will be lost for the day. Before the bell rings, ask the students to return to their seats. Ask students to share some moments of CROW that really worked in their circles.

<urn:uuid:43e7ba0c-31e6-45a2-8579-29b6c92e0c99>

CC-MAIN-2021-17

http://tedb.byu.edu/?page_id=629

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039568689.89/warc/CC-MAIN-20210423070953-20210423100953-00259.warc.gz

en

The Infant & Toddlers’ learning environment is organized into the following areas: – - Practical Life – Activities to enhance fine motor & self-help skills. - Sensorial – Stimulate sensory development and learn proper vocabulary to describe the feeling, texture and identify the differences. - Physical development – gross motor activities like walking stairs, climbing, crawling, pushing, pulling, lifting, running. - Listening and Speaking – Through storytelling, singing of rhymes, music & movement activities. - Creativity – Through art & crafts, dramatic play, cookery to stimulate their imagination. As the young children are at their early stages of developing their fine and gross motor skills, the focus is more on the process rather than on the final product. The Preschoolers’ learning environment is organized into the following areas: – The purpose of practical life activities is to promote independence and self-reliance through gaining competence in many adult-like skills. These activities help develop eye-hand coordination, gross and fine motor skills, concentration, attention to detail and a sense of order. All learning is integrated through the senses. The sensorial apparatus are designed to enhance sensory development. Children learn to discriminate colour, shapes and feel as well as proper vocabulary to identify attributes. The purpose of the language curriculum is to encourage clear, meaningful communication both as means of self-expression and as the foundation to foster better understanding amongst individuals. The Montessori method of association of sound and symbol through work with sandpaper letters, metal insets for tracing and “movable alphabet” letters enables the child to learn through his senses and make discovering language fun. Children experience pre-math preparation in Practical Life and Sensorial through exercises focusing on one-on-one correspondence, ordering, sequencing, estimating, measuring, conservation of quantity and geometric shapes. These experiences will enhance their learning when they are ready to utilize the Mathematics materials. Children are inspired by an appreciation for the wonder of our universe and BM aims to encourage children to come to realize their part in it. The cultural curriculum includes the study of botany, zoology, geography, physical sciences, geometry and history. Using of theme based activities to introduce new words, rhymes, art & crafts and stories to children. Enhance children’s understanding and confidence in using Mandarin through small group teaching. Pre-writing Chinese characters and new words are introduced to children using similar Montessori method. Our specially made materials allow children to learn new words at their own pace.

<urn:uuid:f97d2476-599e-4cff-ae70-1ecdbc377fad>

CC-MAIN-2021-17

http://www.bambinimontessori-childcare.com/curriculum/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038078021.18/warc/CC-MAIN-20210414185709-20210414215709-00457.warc.gz

en

Why is it important to be digitally literate in the 21st century? Digital literacy also creates new ways to teach and learn within the classroom. Students are discovering new ways to interact with their interests online and through other digital media. They are no longer confined to just physical text when it comes to reading or learning more about their possible interests. How has literacy evolved in the 21st century? In the twenty-first century, literacy skills increasingly reflect technology use and the abilities necessary to problem-solve, collaborate, and present information through multi-media. As technology becomes more readily available to all students, concepts of literacy change. What do you mean by being literate? The definition of literate is someone who can read and write, or someone who is educated in a specific area of knowledge. A person who is well-educated is an example of someone who would be described as literate. Why is being literate so important? Why is literacy important? Students need literacy in order to engage with the written word in everyday life. Being able to read and write means being able to keep up with current events, communicate effectively, and understand the issues that are shaping our world. How does being literate help you? Literacy gives you knowledge and the ability to share and express this knowledge with other people. Literacy also gives you the ability to receive knowledge being brought to you by other people. If you do not have the basic literacy skills then you may never experience the quality of life that you seek or deserve. What is the best way to teach literacy? Tips on Teaching Literacy to Elementary StudentsTime: spend more time on reading and writing.Text: have lots of books for children to read.Teach: actively teach useful strategies.Talk: let students talk about how and what they are learning.Task: give students longer assignments to build stamina, instead of short tasks. What are the characteristics of a good literacy teacher? What makes an effective reading teacher?Good teachers believe in their students. Good teachers are introspective about their teaching. Good teachers are constantly monitoring students’ response to their instruction. Good teachers develop good relationships with students and parents. Good teachers are good learners. How do you implement literacy in the classroom? Set aside time for independent reading. Create Literacy-Rich Environments in every K-12 Classroom. Support High-Quality Classroom Libraries. Encourage Read Alouds. Create a ‘Caught Reading’ Campaign that features Teachers as Readers. Invite Guest Readers into Classrooms. Encourage Students to Read Widely. What does a literacy rich classroom look like? From the atmosphere and decor of the room to interactions with peers and teachers, every element of the classroom is designed to allow students with disabilities explore the elements of literacy. The literacy rich environment emphasizes the importance of speaking, reading, and writing in the learning of all students. How can you promote early literacy in the classroom? 50 Ways Schools Can Support Early LiteracyInvite student talk with engaging questions.Up your participation opportunities. Make time for storytelling. Focus on building knowledge along with skills. Plan interactive read alouds. Read it again! Honor pre-readers’ interactions with books. Invite students into the club right from the start. How do you develop your literacy skills? 5 Tips to Strengthen Early Literacy SkillsTalk to children often. Make reading together a daily routine. Play rhyming games with children. Set up an art/writing table in your main living area. Provide kid’s activities at home that support motor development. What are the basic pre literacy skills? Six Early Literacy Skills. Young children need a variety of skills to become successful readers. Vocabulary. Print Motivation. Print Awareness. Narrative Skills. Letter Knowledge. Phonological Awareness. What are the six literacy skills? 6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness. What are the most important skills that help literacy emerge? Emergent literacy skillsPrint motivation. This component relates to a child’s interest in and enjoyment of books. Vocabulary. The component “vocabulary” relates to the knowing of the names of things. Print awareness. Narrative skills. Letter knowledge. Phonological awareness.

<urn:uuid:20b37490-804e-4339-86c7-d71651b0cbe3>

CC-MAIN-2021-17

https://www.skinscanapp.com/essay-writing-blog/why-is-it-important-to-be-digitally-literate-in-the-21st-century/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00260.warc.gz

en

The students are turning 13 years old and experience their pre-pubescent development. The interest in the opposite gender arises with a curious mix of materialistic and idealistic outlook on the world. The boundaries are being challenged and some responsibility has to be handed over, so the children can get the experience of working together; also some elements of control need to be negotiated for the maturing student. The timeless search for truth evokes questions and historical events, personalities and qualities of the development from the Birth of Christ through to the Renaissance give opportunities for inquiries and explorations. Art and imagination remain an important medium as impulses are worked with and processed and find individual expressions. Themes in English are: - Arthurian Literature - Literature of the Medieval World/ Age of Discovery/ Renaissance - Creative Writing on Wish, Wonder and Surprise Themes in History are: - Middle Ages - The Renaissance World Students learn skills of using resources and analysis, perspectives and interpretation, research, explanations and communication. Themes in Geography are: - Voyages of Discovery - Encountering the Landscape of the Newly Discovered World - New Cultural Encounters of Tribal Societies Students learn skills to use maps and doing fieldwork. This period of inner development of the students resonates with key themes of the chapter in World History of the Great Voyages and the renewal of culture that took place during the Renaissance. Teachers support students to discover new perspectives that direct their attention towards the explanation of the outer world and away from the newly experienced unrest in their inner life. Students will be given many opportunities for active learning and group interaction. This is an overview of the different strands in Math the students will be exposed to: - Number: negative numbers expand to index notation, ratio and proportions, speed, distance and time - Finacial Math: Percentages and profit and loss - Patterns and Algebra: Formulas and algebraic expressions - Measurement: measuring and developing formulas for perimeter, surface and area of 4 and 5-sided shapes, triangles and compound ahapes, - Perspective drawing - Geometry: parallel lines, angles, theorems, Pythagoras and Trigonometry This is an overview of the different areas in Science: - Biological Sciences: Physiology, Composting and harvesting - Chemical Sciences: Combustion Processes - Earth and Space Sciences: Ring of Fire of Polynesia, link between lifestyle and environment - Physical Sciences: Galvanic electricity, electric circuits and magnetic fields Students will learn about the development and nature of science and the use and influence of science. Professional Development, Health and Physical Education Physical activities include for this age group aerobic conditioning, strength training, joint mobility, Fitness testing, track and field events, athletic events, a range of sports, like basketball, handball, cricket, volleyball, tennis and stick wrestling, orienteering, archery, sailing and horse riding. At this age we start with the use of digital technology and the understanding of it from a mathematical point and the social boundaries.

<urn:uuid:59d36eff-a774-4ee4-ba36-f4360ed1c479>

CC-MAIN-2021-17

https://rainbowridge.nsw.edu.au/class-7/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00139.warc.gz

en

Storytelling in learning is one of the most effective ways to engage your learners. Regardless of age, profession or nationality, we all love stories. A friend of mine once went on a workshop about negotiation skills. He told me about a story that delegates had been told on the course. It went something like this; you may have heard it or a version of it before: Two explorers in the Arctic kill an elk. They divide the elk in half and start to make for their next camp on separate sleighs drawn by huskies. A pack of wolves smell the blood of the elk and start to pursue the explorers. The first explorer hears the baying of the wolves and decides to gee up his dogs to outrun the pack. After a somewhat tense pursuit, the wolves fall back and instead turn their attention to the second explorer. Explorer Number Two decides on a different course of action. He cuts off an elk steak and throws it to the wolves to divert them. Although this seems to work initially, it only has the effect of making the pack more determined in pursuit. They catch him, devouring both the unfortunate explorer and the elk. In the negotiation workshop my friend attended, this had been used as an analogy about negotiations. If you give up something too easily, then the other side will only pursue you for more concessions. A catchphrase in the course was “Don’t give the other side an elk steak”. I thought of this story the other day when I was trying to find a way to convey a new concept to a diverse audience. I was considering whether I could use a story or more particularly, an analogy, to do this. So, what is an analogy? The dictionary definition of an analogy is: ‘the comparison between things that have similar features, often used to help explain a principle or idea.’ Using analogies is a very old tradition dating back to at least the ancient Greeks. Professor Edith Hall in her book Aristotle’s Way explains how much the ancient philosopher Aristotle respected them. According to Hall, Aristotle highly valued the skill of drawing analogies. He believed they offered an opportunity for ‘accelerated learning’. Today, telling storytelling in learning is commonplace. If you are a learning designer, you will probably already use a range of storytelling techniques in your projects. You might for example, tell the story of a company’s history or create scenarios where learners use their decision making skills. However, using analogies can also be very useful but these must be deployed with care. To be successful, analogies need to be: You can probably only use one analogy per course. Using more than one will overload your course with ideas, making it difficult for learners to retain information. Reflective of the learning goal Your analogy should be genuinely reflective of the principle you want to get across. For example, the elk steak analogy would not work very well if it the workshop had been about relationship building If you’re delivering to a global audience, your analogy must be cross-cultural. Some analogies may not translate well to international learners, so bear this in mind. Your analogy needs to be appropriate for your cohort of learners. Don’t patronise them with something too simplistic, or over dramatise the story, it may turn learners off. What’s more, in the digital world we live in, do not be afraid to take your storytelling one step further. For example, video can help bring your story to life, in ways words would struggle to. But, regardless of medium, analogies can be very powerful and live long in the memory. Take the elk steak story: I never even attended the workshop. But years later I still remember the story, proving the ultimate success of storytelling in learning. Want to learn more about storytelling in learning? Check out this on-demand webinar from Cursim, our learning design agency: Editors note: This blog was first published in December 2018. It has been updated for clarity, with fresh new content included.

<urn:uuid:a668c571-8e5e-49d8-a55b-596b336664b9>

CC-MAIN-2021-17

https://omniplex.co/blog/storytelling-in-learning/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038073437.35/warc/CC-MAIN-20210413152520-20210413182520-00218.warc.gz

en

Welcome to the website of We Share the Same Moon. This project is a collaboration between storyteller Cassandra Wye and astrophysicist Dr Megan Argo. Our aim is to bring science into primary schools in a creative and innovative way, using stories about the Moon. Why “We Share the Same Moon”? As this site develops – we will include sky-lore folktales, myths and legends from all the 200 plus communities and cultures living in UK, to celebrate the fabulous diversity of cultures that enrich our life and our learning. Within these stories are embedded key concepts of science learning. We can tell any of these stories purely for pleasure, for language and literacy development, for learning about different countries and cultures. But – we can also use them as a catalyst for science exploration. Why tell Stories as part of Science Education? Stories are a great catalyst for sparking children’s interest and imagination in science exploration. Stories don’t offer a scientific explanation, but they do have an amazing power to captivate children and inspire them to be curious, to ask questions, to want to learn more. Once we have caught their interest and invited them to wonder, we can start talking about the science embedded within the story. A story is a “hook” on which we can hang a lesson. How the Site Works We have linked at least one folktale to a range of 20 topics within the UK Early Years and Primary Science Curriculum including: Rocks (Meteors and Comets); Light (Eclipses and Aurora); Earth and Space (Constellations, Stars and the Solar System) and of course the Moon. We have categorised the stories and activities by suggested age range and by UK curriculum topics. But you are welcome to use them in any way that would most benefit your children. What we invite you to do: Embed the science – by telling a Story Tell, read, listen or watch one of the folktales (5 – 10 minutes in length) as an introduction to a selected science topic of your choice. At the end of the story: Explain the science Use the science story and science explanation (5 – 10 minutes in length) to expand their understanding of the science concepts embedded within the story heard. - Ask questions within your explanation to test existing knowledge - Use the images and or videos included to enhance your explanation - Invite questions to explore elements that they have not understood. Then: Expand the Science Select one of the follow-on activities (approx 45 minutes in length) that best suit your class and curriculum. We have included not just scientific activities, but also arts activities, craft activities, model-making, story-making, sensory activities, ideas for outdoor locations as well as classroom-based sessions. Extend the Science To extend the learning process, depending on the children’s’ line of inquiry. - Tell a second story to illustrate another element of the topic. - Use one of the linked activities to explore the science topic further and consolidate learning - Link to non-science elements of the curriculum to reinforce learning And then at the end of the session – we invite you to complete the evaluation below. Please tell us what was useful to use and what you would like more of! And in return – we will keep you posted with latest developments, activities and opportunities to take part in We Share the Same Moon’s future events. We Share the Same Moon will be testing a new range of stories and activities to promote the use of sky-lore storytelling across the curriculum throughout 2019 with organisations around the globe. If you would like your school or organisation to be a host venue for any of our piloting process – please do get in touch and let us know. Cassandra Wye, Megan Argo We Share the Same Moon Needs YOU! The aim of We Share the Same Moon is to create story-based resources for use in science education – But how useful is it? Help us to find this out by filling in this form (word; pdf; pages). And in return – have the opportunity to take part in future pilot events! Please complete the attached form and send to Cassandra Wye: firstname.lastname@example.org

<urn:uuid:ec6ed492-f5ca-4051-a6ad-97e888041462>

CC-MAIN-2021-17

https://www.wesharethesamemoon.org/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00459.warc.gz

en

- What are literacy skills examples? - What are the six early literacy skills? - How do you develop your literacy skills? - What is personal literacy? - How do you promote general literacy? - What is early literacy skills? - What are the 7 literacies? - What are literacy skills for adults? - What are the 5 components of literacy? - What are the four types of literacy? - What is new literacy? - What are foundational literacy skills? What are literacy skills examples? Six Early Literacy Skills. Young children need a variety of skills to become successful readers. What are the six early literacy skills? 6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness. How do you develop your literacy skills? 5 Tips to Strengthen Early Literacy SkillsTalk to children often. … Make reading together a daily routine. … Play rhyming games with children. … Set up an art/writing table in your main living area. … Provide kid’s activities at home that support motor development. What is personal literacy? One of the literacies we develop over our lifespans is personal literacy, also called vernacular literacy. Personal literacies are the reading and writing practices individuals engage in during activities of their own choice and for personal satisfaction or to meet personal goals. How do you promote general literacy? How to Promote Literacy Development in Young ChildrenTalk while doing everyday things. … Read books, sing, and say rhymes with your child every day. … Provide your child with writing materials and the time and space to use them.Go to museums, visit libraries and enjoy hobbies that broaden your children’s knowledge of the world beyond their home and neighborhood. What is early literacy skills? Early literacy refers to the development of skills students need in order to transition from learning to read, to reading to learn. These skills include vocabulary, phonics, language, and numeracy, to name a few. Early literacy gives students the foundation they need in order to learn and grow. What are the 7 literacies? Seven Literacies: HomeHome.Basic Literacy.Early Literacy.Civic/Social Literacy.Digital Literacy.Financial Literacy.Health Literacy.Legal Literacy. What are literacy skills for adults? Chall distinguished learning to read—that is, the mastery of decoding, word recognition, and reading fluency—from reading to learn or to do—that is, using text to build one’s knowledge or accomplish specific goals. Adults at or below Level 1 have needs at both levels. What are the 5 components of literacy? Reading skills are built on five separate components: phonics, phonemic awareness, vocabulary, fluency, and comprehension. What are the four types of literacy? Reading and Writing. Traditional definitions of literacy usually refer to the ability to read and write. … Digital Literacy. … Financial Literacy. … Cultural Literacy. What is new literacy? New literacies refer to new forms of literacy made possible by digital technology developments. Commonly recognized examples include instant messaging, blogging, social networking, podcasting, photo sharing, digital storytelling, and conducting online searches. What are foundational literacy skills? Simply put: Foundational skills cannot be separated. Print concepts and phonological awareness support phonics instruction, morphological instruction extends students’ word recognition, and fluency automatizes word reading.

<urn:uuid:907b59f9-6381-4797-973a-444cd0c6f8af>

CC-MAIN-2021-17

https://colorexcel.com/qa/quick-answer-what-are-the-literacy-skills.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00179.warc.gz

en

Multi-modal literacy supports the ability to create meaning through the combination of different modes including written, spoken, visual, audial, spatial, and gestural means. Each mode provides a level of meaning and the combination of mulitple modes creates an even fuller understanding as it engages a variety of senses. Picture books can be read with just the text or just the pictures but the combination of both provide a more complete understanding of the story through a multi-modal experience. Examples of multi-modal works: Overview and Definitions of different modes from the Department of Education and Training from the State Government of Victoria, Australia: Conveyed through written language via handwriting, the printed page, and the screen. Choices of words, phrases, and sentences are organised through linguistic grammar conventions, register (where language is varied according to context), and genre (knowledge of how a text type is organised and staged to meet a specific purpose). See: Writing and Reading and Viewing In bilingual or multilingual texts, written meaning may be conveyed through different scripts and laid out differently, whether typed or handwritten. EAL/D learners may also write words from their home languages using English letters (transliteration). Spoken (oral) meaning Conveyed through spoken language via live or recorded speech and can be monologic or dialogic. Choice of words, phrases, and sentences are organised through linguistic grammar conventions, register, and genre. Composing oral meaning includes choices around mood, emotion, emphasis, fluency, speed, volume, tempo, pitch, rhythm, pronunciation, intonation, and dialect. EAL/D learners may make additional choices around the use of home languages to create mood or emphasise meaning. See: Speaking and listening pedagogic resources. Conveyed through choices of visual resources and includes both still image and moving images. Images may include diverse cultural connotations, symbolism and portray different people, cultures and practices. Visual resources include: framing, vectors, symbols, perspective, gaze, point of view, colour, texture, line, shape, casting, saliency, distance, angles, form, power, involvement/detachment, contrast, lighting, naturalistic/non-naturalistic, camera movement, and subject movement. See Visual literacy metalanguage. Conveyed through sound, including choices of music representing different cultures, ambient sounds, noises, alerts, silence, natural/unnatural sounds, and use of volume, beat, tempo, pitch, and rhythm. Lyrics in a song may also include multiple languages. Conveyed through design of spaces, using choices of spatial resources including: scale, proximity, boundaries, direction, layout, and organisation of objects in the space. Space extends from design of the page in a book, a page in a graphic novel or comic, a webpage on the screen, framing of shots in moving image, to the design of a room, architecture, streetscapes, and landscapes. Conveyed through choices of body movement; facial expression, eye movements and gaze, demeanour, gait, dance, acting, action sequences. It also includes use of rhythm, speed, stillness and angles, including ‘timing, frequency, ceremony and ritual’ (Cope and Kalantzis, 2009. p. 362). Gestures and body language may have diverse cultural connotations. Literacy and Media Lab: The Literacy and Media Lab is a collaboration between Lafayette Elementary and the School of Education at the University of Colorado-Boulder. We host after-school programs each semester, facilitated by CU students (and current K-12 teachers) pursuing their MA in Literacy Studies. This website features lessons they planned and implemented, as well as media produced by Lafayette Elementary students. Integrated Storytelling and STEM through Multimodal Composing: Powerpoint presentation by Bridget Dalton at University of Colorado providing an overview of using STEM tools to create multi-modal elements in storytelling in conjunction with Build a Better Book.

<urn:uuid:7c48a270-9998-47de-84e6-14e2aa8266d6>

CC-MAIN-2021-17

https://www.colorado.edu/project/bbb/multi-modal-literacy

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00257.warc.gz

en

On January 21, 2015 the news broke—an Australian fisherman hooked a "living fossil." Called the frilled (or frill) shark (genus Chlamydoselachus, belonging to Order Hexanchiformes), this creature was thought to be 80 million years old.1 It looks mighty frightening, but is it truly "prehistoric" and somehow linked to shark evolution? In 1884, American taxonomist S.W. Garman described the supposedly extinct unique frilled shark. It has hundreds of needle-sharp teeth unlike those of any other living shark, an enlarged mouth, and an eel-like body. Like other hexanchids, Chlamydoselachus has a single dorsal fin and a long caudal (tail) fin. One fossil of Notidanoides muensteri dates from the late Jurassic, supposedly 150 million years ago. Today, there are five extant (living) species of hexanchiforms, including the deep-water cow shark. But the frilled shark is clearly not an evolutionary transition. Hexanchiforms are 100 percent sharks—not missing links. Evolutionist Barbara Stahl lists them with modern sharks.2 A 2014 edition of a zoology dictionary makes no mention of the frilled shark being a missing link or an evolutionary transition.3 A 2011 dictionary of biology edited by Eleanor Lawrence does not even mention it.4 Michael Benton's latest edition of Vertebrate Paleontology does not list Chlamydoselachus.5 Virtually all the proposed "transitional sharks" are easily recognized as sharks, showing only that a wide variety of sharks and other cartilaginous fishes existed in the past, just as they do today.6,7 There is undoubted variation within the shark kind, as is expected on the basis of creation, but none of the supposed transitions suggest that cartilaginous fish evolved from or into any other major group. Like all sharks, the frilled shark has always been a shark. - 'Like a Horror Movie': Rare frilled shark caught off Australia. Fox News. Posted on foxnews.com on January 21, 2015, accessed January 26, 2015. [ - Stahl, B. 1985. Vertebrate History. New York: Dover Publications, Inc., 186. - Allaby, M. 2014. Oxford Dictionary of Zoology. UK: Oxford University Press, 124. - Lawrence, E. 2011. Henderson's Dictionary of Biology. San Francisco: Pearson Publishers-Benjamin Cummings. - Benton, M. 2015. Vertebrate Paleontology. Malden, MA: Wiley Blackwell. - Thomas, B. Newly Named Fish an Evolutionary Enigma. Creation Science Update. Posted on icr.org October 6, 2014, accessed January 13, 2015. - Sherwin, F. and B. Thomas. 2012. Hybrid Sharks and Evolutionary Storytelling. Acts & Facts. 41 (3): 16-17. Image credit: Copyright © 2010 Citron / CC-BY-SA-3.0. Adapted for use in accordance with federal copyright (fair use doctrine) law. Usage by ICR does not imply endorsement of copyright holders. * Mr. Sherwin is Research Associate, Senior Lecturer, and Science Writer at the Institute for Creation Research. Article posted on February 2, 2015.

<urn:uuid:2894da03-ed1a-48c7-84b7-0aab94c97a80>

CC-MAIN-2021-17

https://www.icr.org/article/frilled-still-shark/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00577.warc.gz

en

Long before they become literate, children already learn and develop their language skills by listening to adults read aloud. Language development in childhood is a long and complex process that occurs from the baby’s first interactions, and builds up with all the different experiences with language. Children learn to speak from what they hear, from the words, expressions, and forms of communication of those around them. In other words, adults are an essential part of language learning in childhood. Long before they become literate, children already learn and develop their language skills by listening to adults read aloud. However, in our daily lives, our language is limited and even more restricted when we address little ones. So, how can we ensure that children have enriching language experiences so that they develop their communication skills in the best possible way? Researchers from Barcelona carried out a study on the importance of adults reading aloud to children. They confirmed that, in childhood, listening to written stories provides a learning opportunity that does not normally happen in everyday life. Find out more below! “Learning from an adult reading aloud” This is the title of an article written by researchers Ana Teberosky and Angelica Sepúlveda from the University of Barcelona. It is a study set to analyze the practice of reading aloud and its effects on children. We talked to one of the authors about the main findings of their research. Angelica Sepúlveda began her academic career in the field of speech therapy at the National University of Colombia, specializing in Educational Psychology with a master’s and doctorate at the University of Barcelona. In researching the development of oral communication, reading, and writing, Angelica has been in Brazil for seven years and collaborates in the development of educational research and innovation projects at the Laboratório de Educação (Education Laboratory), which carries out actions intended to enrich and qualify language in childhood. The role of adults in language development For Angelica, language development in childhood is a fascinating process: the child is immersed in a continuum of interactions and gradually manages to understand what the language is and what it’s for. They use language to ask for food and water, to play, and both in contact with adults and with other children. The quantity of interactions, as well as the quality of them, are important factors in order for a child to learn language properly. Angelica and Ana’s research cites a study that shows that, on a daily basis, most expressions are not great linguistically and do not require anything from the child. “Only 15% of everything spoken to children has canonical constructions, that is, with a subject, verb, and object, which is a complete structure of the language. This is not enough for them to learn a language. In everyday interactions, our language is very limited, so we have to make a conscious decision to enrich what we are offering a linguistic experience for children,” says Angelica. Why is reading aloud so important? According to Angelica, to wait for the child to become literate in order to start having contact with literature is a waste of time and opportunities. “When the child hears stories, they have the opportunity to read many texts before being an autonomous reader and that makes all the difference”, Angelica notes. The child who hears reading aloud is also, in a way, reading, in the sense that they listen to the written language and understand what is being read. Children also exercise learning through repetition and imitation. Just as they like to watch a video or listen to a song several times, they also ask to hear the same story over and over again. Even in the case of older children who already know how to read alone, it is still important to enjoy reading aloud from adults. They will be observing a more experienced reader and learning from them, always gaining knowledge and experience from this interaction. How to make the reading experience richer According to Angelica’s experience with language practices in childhood, two points are important to enrich children’s repertoire and encourage a positive relationship with reading: the diversity and naturalness of these experiences – in other words, to create varied opportunities for children to have contact with books and texts, which is neither mandatory nor unpleasant for children. “Good children’s literature books are made for a dual audience: for adults who buy and read them aloud, and for children. When finding a good book, both adults and children have a good literary experience,” defends the researcher. Here are some tips to make reading aloud an even richer experience: 1. Have time to spare It’s not good to start reading if you need to finish in 10 minutes because of another appointment. Set aside a special time to read to the child, when you can be 100% present in that interaction. 2. Immerse yourself in the story If the adult is willing to read, they will have an authentic interaction with the text: they will be surprised, laugh if it is funny. They will react in an authentic way. It makes all the difference for the child to be interested in the story too. 3. Watch out for interruptions Reading does not have to be a lesson. Avoid stopping the story for explanations unless the child themself asks. This allows the reader to establish relationships on their own. 4. Encourage natural conversations After reading, talk to the child about the story. Tell them about your opinions and ideas, what you liked or disliked, and listen to what they have to say as well. 5. Read it over and over again One reading experience is never the same as another. Reading the same book several times will impact the child differently, especially over time, promoting new reflections and learning. 6. Explore new formats The greater the diversity of linguistic experiences the child has access to, the better. Digital platforms offer new ways to listen to readings, such as videos and storytelling podcasts. They are usually readings made by specialists, with different intonations and gestures that may not happen in family readings, to further enrich the child’s repertoire.

<urn:uuid:2d85649e-0c95-4e4c-af68-0e5cdc01a264>

CC-MAIN-2021-17

https://www.playstories.com/blog/education/research-shows-the-benefits-of-reading-aloud-to-children/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038082988.39/warc/CC-MAIN-20210415005811-20210415035811-00179.warc.gz

en

Mental and Emotional Development This main objective is attained through focus on the following sub-phases: assertiveness, self-discipline, temper control, poise, objective decision-making and the selection of options under stress. Tower Tots For most 3-year-olds, this is their first exposure to physical education. Our goal is to help the children build a solid foundation to develop age appropriate tasks. Our program is centered on spatial awareness, basic motor skills, crossing the plane, personal involvement and fun. We are introducing and emphasizing the importance of sharing, taking turns and respecting one another. PreKindergarten/Kindergarten In PreKindergarten and Kindergarten, our focus is to build a solid movement foundation. We do this by helping our children use their bodies to explore their environment. Our PreKindergarten and Kindergarten children are introduced to different motor skills and movement patterns that help in the development of spatial awareness and body control. They do creative movement in time to a beat and participate in rope and hoop activities to improve coordination and balance. In addition to learning locomotor and non-locomotor skills, our children are exposed to activities that involve object manipulation and tracking. One such activity would be simple balloon activities. Our eager and independent learners are soon introduced to activities that require them to work in pairs and small groups to accomplish a common goal. Parachute activities require them to work cooperatively as a large group to achieve success. Our children have now experienced the importance of teamwork through simple cooperative tasks. 1st and 2nd Grades In 1st and 2nd Grades we continue to provide additional practice opportunities and instruction to improve locomotor and non-locomotor skills. Activities are presented to provide our students with the opportunity to improve coordination, reaction time and ball tracking — thus making the manipulation of objects easier. They can now focus their practice time on mastering proper techniques. By providing appropriate physical education experiences, we can help them expand and refine social skills and acceptable ways to respond to challenges, success and failure. Additionally, we begin to introduce the concepts of physical fitness. Our weekly fitness walk provides us with the opportunity to allow our children to discover that their heart beats faster and their breathing accelerates during physical activity, and why it is important to develop a lifelong exercise routine. We use their genuine excitement for learning to help them begin to control their bodies and emotions. Through activities we can help them begin to develop a sense of right and wrong, and that their actions have consequences. 3rd and 4th Grades With a solid skill base firmly established, we find it more productive to teach the boys and girls separately beginning in 3rd Grade. We have equal expectations for both groups in terms of physical performance. Co-educational activities are presented at least twice a week. As our children have mastered the proper form for basic motor skills, we can focus on how to manipulate objects in a variety of ways, refine eye-hand and eye-foot coordination. This development occurs through participation in low-organized games and small group activities. In addition to skill and character development, we also present specific principles and concepts that include basic offensive and defensive strategies. At this age winning becomes extremely important, so we will continue to emphasize teamwork and sportsmanship and provide our students with the tools and the support necessary to resolve conflict. We continue our focus on personal fitness with our weekly fitness walk. Our students take great pride in earning their "feet" charms as a marker for miles achieved.Tower Hill Fitness Walk Once a week children participate in a fitness walk during PE class. Below are some guidelines about what the fitness walk entails. - Gems represent one lap around our track - 4 gems is equal to one mile - 20 gems/20 laps equals 5 miles We will hand out a special foot for every 5 miles completed - Glow Feet - given out out after completing 15 miles - Small Medallion - given out after completing 20 miles - Large Medallion - given out for completing 25 miles. If your child runs an organized 5K run, they can earn a special foot by bringing the race number (bib) in to school. (For example: breast cancer run, Homecoming, turkey trot, etc).

<urn:uuid:8bfc8340-3f8b-46c3-9839-dba9a32f8d2c>

CC-MAIN-2021-17

https://www.towerhill.org/student-experience/athletics/physical-education

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072175.30/warc/CC-MAIN-20210413062409-20210413092409-00139.warc.gz

en

How do humans express normative concepts using words, images, and gestures? What analogies and signs express that a behavior is beneficial, and what strategies do humans use to express that a behavior is harmful? "[M]oralistic narratives need not, and usually will not explicitly refer to 'morality' or 'ethics' in terms we would readily recognize as such." Phil Hopkins, Mass Moralizing: Marketing and Moral Storytelling (Lanham: Lexington Books, 2015), 15. The Gatekeepers of the Moral Order How are emotions used to communicate value judgments? How do humans use emotions (like shock, pride, shame, anger, and disgust) to produce, enforce, and contest social norms? "The 'moral emotions' are often considered to be shame, guilt, sympathy, and empathy... [and] contempt, anger, and disgust... [but] this view is far too narrow..." Jonathan H. Turner and Jan E. Stet, "Moral Emotions," in Handbook of the Sociology of Emotions (New York: Springer, 2007), 544. Stories about the Social Order How do humans use stories to communicate prescriptive and proscriptive ideas about society? What kinds of morality tales exist? How does one go about reading and interpreting morality tales? "These simple tales embody truths so powerful, the titles of the individual fables—the fox and the grapes, the dog in the manger, the wolf in sheep's clothing, and many others—have entered the languages and idioms of most European tongues..." Back Cover, Aesop's Fables, trans. V.S. Vernon Jones (Hertfordshire: Wordsworth, 1994). How do human societies understand roles and divisions of labor? How is space divided (into public/private, male/female, sacred/profane)? Which spaces are contested as immoral, deviant, or otherwise problematic? Social Divisions of Space and Labor Confucian society is organized "via gender and inter-generational divisions of labor... Students are positioned with respect to teachers... employees with respect to employers... a wife is subordinate to her husband...." C. Cindy Fan, "Migration, Gender, and Space in China," in The Routledge Companion to Modernity, Space and Gender, ed. Alexandra Staub (New York: Routledge, 2018). Bandura, Albert et al. “Mechanisms of Moral Disengagement in the Exercise of Moral Agency.” Journal of Personality and Social Psychology 71, no. 2 (1996): 364-374. Bandura, Albert. Social Foundations of Thought and Action: A Social Cognitive Theory. Englewood Cliffs: Prentice Hall, 1986. Bandura, Albert. “Moral Disengagement in the Perpetration of Inhumanities.” Personality and Social Psychology Review 3, no. 3 (1999): 193-209. Christensen, J.F. and A. Gomila. “Moral Dilemmas in Cognitive Neuroscience of Moral Decision-Making: A Principled Review.” Neuroscience and Biobehavioral Reviews 36 (2012): 1249-1264. Haidt, Jonathan. “The Moral Emotions.” In Handbook of Affective Sciences. Eds. R. J. Davidson et al. Oxford: Oxford University Press, 2003. Hitlin, Steven and Stephen Vaisey, eds. Handbook of the Sociology of Morality. New York: Springer, 2010. Hopkins, Phil. Mass Moralizing: Marketing and Moral Storytelling. Lanham: Lexington Books, 2015. Iannaccone, Laurence R. “Religious Practice: A Human Capital Approach.” Journal for the Scientific Study of Religion 29, no. 3 (September 1990): 297-314. Iannaccone, Laurence R. “Why Strict Churches Are Strong.” American Journal of Sociology 99, no. 5 (March 1994): 1180-1211. Kurtines, William M. and Jacob L. Gewirtz, eds. Handbook of Moral Behavior and Development, Vol. 1: Theory. Hillsdale: Lawrence Erlbaum, 1991. Lammers, Joris et al. “Power Increases Hypocrisy: Moralizing in Reasoning, Immorality in Behavior.” Psychological Science 21, no. 5 (2010): 737 –744. Lord, Robert G. and Mary C. Kernan. “Scripts as Determinants of Purposeful Behavior in Organizations.” The Academy of Management Review 12, no. 2 (1987): 265-277. Moll, J., Oliveira-Souza, R., Zahn, R., Grafman, J. The Cognitive Neuroscience of Moral Emotions. In Moral Psychology, Vol. 3. Ed. Sinnott-Armstrong. Cambridge: MIT Press, 2008. Moral Cognition Lab, Dr. Joshua Greene, Harvard University (http://www.joshua-greene.net/research/moral-cognition) Moral Psychology Research Group (http://www.moralpsychology.net/) Moral Psychology Research Lab at Harvard University (https://cushmanlab.fas.harvard.edu/index.php) Religion, Cognition, and Behavior Lab at the University of Amsterdam (https://www.relcoglab.com/) Sosis, Richard and Candace Alcorta. “Signaling, Solidarity, and the Sacred: The Evolution of Religious Behavior.” Evolutionary Anthropology: Issues, News, and Reviews 12, no. 6 (November 2003): 264-274. Stent, Gunther S. ed. Morality as a Biological Phenomenon: The Presuppositions of Sociobiological Research. Berkeley: University of California Press, 1980. Tangney, June Price et al. “Moral Emotions and Moral Behavior.” Annual Review of Psychology 58 (January 2007).

<urn:uuid:88258190-3e0c-41bf-a849-96f0f4ac8280>

CC-MAIN-2021-17

https://www.behavioralhistory.org/morality

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038061562.11/warc/CC-MAIN-20210411055903-20210411085903-00380.warc.gz

en

As we head back to school, much anxiety and concern remains among parents and educators over COVID-19 and its impact should an outbreak occur at school. COVID-19 is a disease that needs to be carefully managed as a society, not merely on the level of health but also communally, economically and its impact on societal well-being. The consistent and negative news cycles have created a pessimistic mindset that if left unchallenged, will drastically alter the lives of our children over the long term. Early learning and education are important components of development that support a strong childhood. The overall development of children is not the function of the family nucleus only, but the sum total of the interactions at the communal, cultural and societal levels as well. Formative years critical for a child’s education A quality education encompasses a comprehensive view of the formation of children and their contribution and transformative impact in society and culture both now and in the future. The reduction of time spent in areas such as preschools, schools, recreation centres and community programs, where our kids typically participate, could fundamentally change their experiences of culture and culture-making if the pandemic drags on. These communal places don’t merely function to create bright, smart, creative and physically healthy kids. These are places where culture and social relationships occur, are practiced and solidified. Children’s learning is an interactive process of integrating personal experiences, including culture and social structures, as sources for learning and developing knowledge. Children learn not only from textbooks or materials, but also from group and social interactions. They learn from cultural performances and participation, as well as from the general lived experiences they bring to the learning process. Through play and children’s own face-to-face interactions with others at school or in the community, they negotiate their identities, they develop intercultural understanding, their personal values and norms. As they collaborate and learn together, they are forced to also think critically, to question, as well as solve problems and conflicts with one another. The richer these experiences are, the greater children’s growth. Children’s cultural development supports their personal and social identity formation, along with their character development. The practice of culture for children in the (pre)school setting is an important component of children’s learning and development, and includes verbal and various forms of multimodal communication, creativity, play, collaboration, group work and intercultural interactions, as well as explorations in arts and culture. Having the social environment as important as textbooks At the micro level, community and educational organizations, as well as preschools and schools provide our children a social environment and an active means for participating in, shaping and reshaping their own child cultures. This form of cultural empowerment in the formative years then provides children the tools to continue to be active collaborators in society and culture as they grow older. A strong and socially cohesive community with a culturally active and engaged citizenry is fundamental to the growth and well-being of any town, city or nation. The COVID-19 pandemic’s impact can be seen in the way it has begun to alter children’s cultural participation and interactions in community organizations and schools. Collectively, as educators and parents, we need to continue to find creative new ways to foster the socio-cultural development of our children through safe and thoughtful planning, to ensure active communal participation and enriched educational experiences in both the short and long term as the Covid-19 pandemic carries on. Our children’s overall developmental well-being and cultural growth both now and in the future are worth our every effort.

<urn:uuid:9e06c12d-0a4f-42f0-857f-e3d9841d3eae>

CC-MAIN-2021-17

https://livewirecalgary.com/2020/09/04/covid-19-and-childrens-cultural-development-a-reflection/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00541.warc.gz

en

African binderies were determined largely by the European colonists who divided the African continent into many units of administration which would make the colonists have an easy way of sharing the continent. The continent has very many countries small in size. The current African boundaries were inherited from the European colonizers and there has been very little change in the boundaries of these countries after the European powers left the continent. In fact, the organization of African union has made the members sign an agreement which states that the boundaries will remain as they were during the time of their independence. This is to show that the African continent was divided by the external powers but has remained with those boundaries even up to today. In addition to remaining with those bounders, the countries have also put structures in place to ensure that the countries do not change their borders. The African continent has also been divided according to the geographical position of the continent. For example, we have the sub-Saharan Africa which refers to the countries of Africa which are along the sub-Saharan region, the medittarenean Africa which refers to the countries in the northern part of the continent. The continent has some rivers and big lakes which form boundaries of various countries. For example, there is Lake Victoria which forms the boundary between Kenya, Uganda and Tanzania. Thus, the environment has provided very important landmarks which have been used as the distinguishing factor between different countries in Africa. The continent has also large rivers which crisscross it. This rivers are however not very good for use as water transport. It is only river Nile which a boat can ride for the whole of its course. This has made the places which appear interior not to open to the outside world. This is because in the old days at the start of the industrial revolution, water was the main means of transport and countries which lacked good water bodies to communicate with the outside world have been left behind. In addition, the colonial masters concentrated more in opening the territory they are occupying through the sea. Thus, a country would have a seas port to connect it with the main land of their colonial master but fail to connect two African states. This led to the divided nature of the African continent. The colonial masters divided the continent into very small units. As a result, the countries are small which might be a reason as to why the continent is lagging behind. However, some people have argued against this, citing Sudan which is a very large country but quite unstable. However, countries like south Africa which are large are very stable and have got a lot of development. After independenc, the African countries thought the issue of nationalism was the same as nation building. Therefore most of the African leaders concluded that development needed unity of the whole country. They also believed that unity was not possible if there were multiparty elections. This resulted in the banning of the many political parties in most of the African states after independence. The leaders were pursuing two goals which were similar; the development and the nation building. This pursuit however led to the death of the political debates and freedom of the people. The authorities insisted that development needed one country which is united. Therefore, multiparty politics would have negative effects on the country, leading to on e party states. This led to the military coups resulting in dictatorial governments. It also led to civil authoritarian regimes in which the people were politically suppressed. These were characterized by the boundaries which were left by the colonist after subdividing the continent into very many countries. Africans were regarded as a lesser race than the European people. The Europeans who had colonized Africa believed that they were superior to the rest of the races which were found in Africa. They made the Africans believe that it was the Europeans who deserved the first priority in everything. Ever since that time, Africans have become obsessed with the white people. Africans have a belief that the Europeans are the best people. When Africans have a problem, they are always running to the European countries because they have been made by the Europeans to believe that they are the best. This has even made the Africans not to like their own goods. Usually, an African would buy goods from a European company while at the same time, there is an African selling the same goods. Therefore, Africans can be said to have developed some believe that the Europeans are the better people than them. Scientific racism has led to the African countries being unable to value themselves. Africans do not feel like they are worthy or they can do something. They always feel that the white men are able to do everything and that they should allow them to do everything on their behalf. Africa had a way of passing down their stories to the young people. This allowed the people to pass down the stories about their origin and their culture from one generation to another. People used to have sessions of storytelling in the evenings in which the old men would assemble the young children in order to talk about some stories in Africa. The morals of the society were passed to the children during such times. In addition, the society was able to pass down its history to the people using such stories. There were different ways of passing a story, including the use of poems, narrativves and myths. These were very important in the transmission of the important values of the society thus ensuring that the young people got the message. The young people on the other hand transmitted their information in the same way. The African continent has been regarded as a dark continent because its people have not been able to have their own stories heard. Although civilization started in Africa, Africa has been said to be lagging behind. This perception has been there because the colonial powers colonized Africa, making them loose their identity. As a result, there has been division of Africans and they cannot even speak with the same voice. The Europeans arrived in Africa and began dividing the continent for themselves. The different European nations were eager to get some part of Africa and thus they divided the African land among themselves. This resulted in the current boundaries which are evident in the continent. The European scramble for Africa was guided by the presence of minerals and good agricultural land. They wanted to settle in areas which were productive in agriculture so that they would be able to export the agriculture products to their own nations. In addition, they wanted to occupy those territories which were rich in minerals thus getting an advantage of getting the minerals and exporting to their countries. The powerful nations were fighting to occupy the most productive land while not being much interested in the dry areas of the continent. In some areas, the Africans welcomed the Europeans in the beginning. However, with time, there was a growing believe that the Europeans were not for the good of the African communities. Different tribes of African countries united to fight the Europeans. The Europeans had taken over the land and forced the people to do hard labour without pay. Africans decided to fight them and reclaim their land. There were very many uprisings in the continent which resulted to independence. Africans became more aggressive after the world wars in which those who had gone to participate in such wars and were lucky to come back home had received the adequate training in fighting. They therefore decided to fight for independence. The colonization of Africa brought civilization into the continent and stopped some of the atrocities committed by the Arabs such as slave trade. It also brought Christianity to the region so that the continent had two new religions, one from the Arabs, the Muslim and the other from the Europeans, the Christianity. Africa is not properly represented in media. There is a lot of oppression of the media in many African countries. In addition, Africa does not own the big international media houses such as CNN or BBC. There is therefore little information about Africa in the outside world.

<urn:uuid:aed14baa-46c5-4744-99eb-56ecdb0c5c60>

CC-MAIN-2021-17

https://essaysexperts.com/essays/geography/african-geographies.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00619.warc.gz

en

Difference Between Orange & Lime Trees Although very similar in many ways, limes and oranges have very different histories and uses. Both limes and oranges are citrus fruit, the flesh of which is segmented and made up of pulpy sacks that hold high quantities of juice. Citrus fruit also has an outside rind, or skin, that is high in citrus oil. The early history of both limes and oranges is not well known or documented in the West. Both oranges and limes originated in Southeast Asia. However, the original Southeast Asian oranges were likely sour oranges. According to Food Timeline, the sweet orange may have originated in Southeast Asia or in China. The first mention of sweet oranges in Europe is during the 15th century. Most varieties of limes were created by hybridizing key limes, the original limes from Southeast Asia. Limes were dispersed through the Middle East and North Africa by traders. They were first mentioned in European literature in the 13th century and was brought to North America during the 16th century. - Although very similar in many ways, limes and oranges have very different histories and uses. - The early history of both limes and oranges is not well known or documented in the West. Orange trees are slightly larger than lime trees. Although trees grafted to dwarf root stock are smaller, the natural size of most lime trees is about 20 feet in height and spread. Orange tree size varies, depending on the variety, but is generally between 25 feet and 30 feet in height and spread. In most cases, the branches of the two trees will curve downward in a weeping form and nearly touch the ground, especially when heavy with fruit. There are many different types of both lime trees and orange trees. Limes start with the small, round key limes, thought to be the original lime. Larger Mexican, Persian and Tahitian limes are thought to be hybrids between the key lime and a citron. The skins of the limes produced by these trees are thicker. The origins of sweet oranges are even less well documented. However, there are many varieties of sweet oranges, including satsuma, mandarin, naval and Valencia. In some cases, different varieties of oranges are cross-bred to create new commercial cultivars. - Orange trees are slightly larger than lime trees. - Although trees grafted to dwarf root stock are smaller, the natural size of most lime trees is about 20 feet in height and spread. Identifying a tree as a lime tree or an orange tree between fruit crops can be very difficult. The leaves of the two trees are very similar and the bark can be similar. The best way to identify a tree is to look at its fruit. Limes are green skinned, even when ripe. Oranges are orange skinned. The two trees are typically grown for their fruit, however, the fruit is used in very different ways. Sweet oranges are grown for juice and fresh consumption. Limes are acidic and sour and are usually used as a flavoring agent in juices and food. During the early expansion of the British Empire, sailors discovered that something in limes, now known to be vitamin C, prevented scurvy. Ships carried limes and British sailors were nicknamed "limeys." - Identifying a tree as a lime tree or an orange tree between fruit crops can be very difficult. - The two trees are typically grown for their fruit, however, the fruit is used in very different ways. Although he grew up in Latin America, Mr. Ma is a writer based in Denver. He has been writing since 1987 and has written for NPR, AP, Boeing, Ford New Holland, Microsoft, RAHCO International, Umax Data Systems and other manufacturers in Taiwan. He studied creative writing at Mankato State University in Minnesota. He speaks fluent Mandarin Chinese, English and reads Spanish.

<urn:uuid:4771fda8-9206-4fcf-a040-23eb7a28075b>

CC-MAIN-2021-17

https://www.gardenguides.com/129997-difference-between-orange-lime-trees.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038878326.67/warc/CC-MAIN-20210419045820-20210419075820-00621.warc.gz

en

Montage In Dramatic Performance The use of montage in performance is a sophisticated technique that sometimes confuses drama students due to its complexity. This article attempts to demystify montage and assist teachers and students in their understanding of this convention. Etymology: First things first. The term “montage” originates from the old French word “monter”, meaning “a mounting” or “to mount”. Definition: “Any combination of disparate elements that forms or is felt to form a unified whole”. Single word definitions include “assembly” and “editing”. Origins: The origins of montage lie in the visual arts and cinema, but the principles adopted by these artists can be transferred into the use of montage in a dramatic context. Soviet filmmaker Sergei Eisenstein developed a theory of montage where in practice changes between shots were obvious and even jolting for the viewer. He referred to a collision between individual images, resulting in a third image or new idea, linking his art to his Marxist principles. Similarly, another Marxist, Bertolt Brecht, believed that montage could… … connect dissimilars in such a way as to ‘shock’ people into new recognitions and understandings (Bertolt Brecht) Style: In many ways the use of montage in a dramatic performance is a non-realistic or non-naturalistic device because of the way it contradicts the traditional notion of a progressive growth in plot and character development. With montage, real time is either extended or contracted, or both, as the content of the drama jumps around. The term juxtaposition is integral to a student’s understanding of montage, where two or more things (dramatic images) are placed side by side for comparison or contrast. Montage also allows for … a way in which continuity could be broken or fractured and through this the audience (Brecht’s) was to be kept in a constant state of alertness (Cooper and Mackey, Theatre Studies, 1995) Students in Victoria studying VCE Drama have several examination structures where “a montage of dramatic images” is asked to be created in a solo performance. The Victorian Curriculum and Assessment Authority define montage as … a juxtaposition of dramatic images, often presented in rapid succession. The dramatic images are closely linked and presented to create an overall impression, and/or a summary of events/actions and/or an introduction to events/actions (VCAA, 2013) Episodes: Matthew Clausen, in his popular Australian text book for drama students discusses “montage playbuilding” where he states The montage playbuilt performance explores a central theme, issue or subject through the use of short, self-contained scenes. These scenes or episodes give the montage playbuilt performance an episodic quality. Each scene is independent of the others; however, the scenes are unified by their exploration of a theme, issue or subject. Each scene in a montage playbuilt performance has its own timing and thrust. (Clausen, Centre Stage, 2nd ed. 2010) Key Elements: Various elements of drama should be used judiciously by students in order to create effective montage in performance. These should also be manipulated and experimented with in order to create the desired effect. The key words and phrases from this article that should be considered carefully by students are - (dramatic) images - rapid succession - episodic (quality) - closely linked - unified (whole) - short, self-contained scenes - overall impression - side by side - non-naturalistic, non-realistic - disparate elements If a solo performer, students should also consider using transformation of character, time and place when using montage as these elements will enable a non-naturalistic performance style.Note: In the 2013 VCE Drama solo performance examination, three or more images must be used in order to satisfy the use of montage (see examination instructions).

<urn:uuid:67a31632-48fd-498d-958b-3ce0cebcb0a4>

CC-MAIN-2021-17

https://thedramateacher.com/montage-in-dramatic-performance/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00339.warc.gz

en

In summer 2010, devastating floods in Pakistan had by August covered one-fifth of the country. Meanwhile, 2010 brought Russia’s hottest summer on record, along with Russian drought, crop failure and wildfires. Dr. Jeff Masters, director of meteorology for the website Weather Underground, explained to EarthSky that the 2010 floods in Pakistan and drought in Russia were related via fast-flowing currents of air – high in Earth’s atmosphere – known as the jet stream. Jeff Masters: The drought in Russia was caused by a jet stream pattern that took the jet stream far to the north of Russia, and kept low pressure systems that usually go over the country from dropping their rain. At the same time, part of the jet stream veered south, he said. Jeff Masters: So this meant that since the jet stream was looping far to the north, in order to counterbalance that it had to loop someplace else far to the south. And that place … was over Pakistan. The jet stream looped over Pakistan as the yearly monsoon rains were occurring. The monsoon consists of air currents rising over heated land, which lets moisture-laden air flow in from the oceans. Masters said it was hot in Pakistan this summer also. So the monsoon was unusually heavy. Jeff Masters: When you have hot air like that, it tends to have more water vapor. So now we had an exceptionally strong flow of moist air off the oceans that had a much higher water content than usual. And that’s a recipe for heavy rainfall and heavy flooding. EarthSky asked Masters what percentage of Pakistan flooding was due to the jet stream, in contrast to the extreme heat and unusually heavy monsoon. Jeff Masters: A rough guess would be to say that three fourths of the problem was due to heavy monsoon, and maybe one quarter was due to the fact that we had this jet stream pattern in place. Masters said another factor was at work in causing Pakistan’s floods in 2010. He said in recent years Pakistan’s deforestation and development around rivers have left fewer roots to take up and hold water, and more concrete to create storm water runoff. Jeff Masters: Pakistan is prone to these kinds of floods and probably more so in recent years – because flooding is not just the result of heavy rainfall. It’s also the result of land use changes. He said that as people build levees to control rivers, there are usually more homes and buildings built in the flood plain. That adds to the potential for floods to devastate entire communities. Learning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.

<urn:uuid:6320b2f0-cd4c-469b-afda-4430bef3693d>

CC-MAIN-2021-17

https://earthsky.org/earth/jeff-masters-pakistan-got-russias-rain-in-summer-2010

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038083007.51/warc/CC-MAIN-20210415035637-20210415065637-00541.warc.gz

en

The Power of Pictures Conference Please note that this conference has now passed. Transform the teaching of writing in your school and develop an English Curriculum that is exciting and challenging to all learners. At CLPE we have been researching how to use picturebooks and illustration to develop children’s literacy skills. Our evidence shows that a focus on reading illustration develops children’s deeper comprehension skills and helps them to learn about character, setting, plot, pacing and structure in their own writing. This is a unique opportunity to hear from leading children’s authors and from practitioners about using picturebooks across the primary years resulting in high quality outcomes in writing. You’ll leave with a wealth of knowledge about how to put this research into practice in your school and will also have the opportunity to reflect on how your English Curriculum gives children the chance to discover and refine their own voice, in line with the latest guidance from Ofsted. What is the Power of Pictures? The Power of Pictures is a six year CLPE research project which has been supporting teachers to use picturebooks to enhance children’s reading comprehension and the composition of their own creative writing. It has now grown into a widely used website of free resources and a research project involving nearly 2000 children across the country. About the Power of Pictures Conference CLPE Learning Programme Leader Charlotte Hacking shared the summary of findings from our research and investigate the process we have undertaken to ensure that the Power of Pictures is evidence based, transforming practice in classrooms, bringing meaningful experiences to children and improving outcomes. Children’s Laureate, Lauren Child gave a keynote speech about the importance of valuing children’s literature and illustration and appreciating that illustration is its own language, doing so much more than providing focus to words. Teachers from across the UK who have been part of the Power of Pictures trial shared what they have learnt from the project and the impact it has had on the literacy of children in their classrooms. The workshops focused on: - Creating opportunities for dialogic talk around picturebooks - The impact of working with picturebooks with older children - Empowering children as writers through making picturebooks - Incorporating visual literacy and illustration in the wider curriculum. Participants had the opportunity to attend two of these workshops over the course of the day. The afternoon keynote was provided by award winning author Gill Lewis (Gorilla Dawn, Sky Hawk, A Story Like the Wind), who spoke about the importance of drawing as part of the writing process, based on her own experiences as a writer of extended fiction. The Muswell Hill Children’s Bookshop sold a a range of high quality children’s books on the day, including a wide range of picturebooks and texts by the authors speaking, who were signing as part of the event. Power of Pictures Co-creator, Illustrator and CLPE Patron Ed Vere also be spoke

<urn:uuid:5127849c-e813-4634-a00c-c4208cd24847>

CC-MAIN-2021-17

https://clpe.org.uk/professional-development/courses/power-pictures-conference-0

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00141.warc.gz

en

What skills do future leaders need? The answer may surprise you. Research suggests that great leadership is not about a bulleted list of teachable skills, but about the quality of the person. Why is this important to parents, teachers, and others who imagine the future leadership potential of today’s young people? Researchers understand that the path to future leadership begins today—in a child’s growing up years. Leadership often takes active shape by the time young people reach adolescence. Its greatness cannot be ascertained in these years and many future leaders are not identifiable in their teens. But the roots of leadership are being nurtured during this formative time, through a young person’s relationships and life experiences. If democracy depends on future leadership, then it is time to prioritize how we nurture leadership in families, schools, and communities and what those characteristics look like in action. In her book, Leadership in Turbulent Times, Pulitzer Prize-winning historian Doris Kearns Goodwin studied the lives of several U.S. presidents who led the nation through tremendous national crises. Rather than distilling leadership into neat bullet points, Goodwin’s genius is in how she described the rich context of the stories that ultimately revealed each man’s character. From their boyhoods to early-adulthood traumas that grew their resilience, we are reminded that leadership is as unique as each human being. Yet, the ability to lead is a developmental story with many common threads. Franklin D. Roosevelt, for example, had extraordinary empathy that evolved from his experience with polio. He was able to connect to people that were suffering in ways others could not. Today, experts agree that developing empathy is a key to raising healthy, thriving children. Lincoln showed remarkable humility, a characteristic that not only enabled him to see the potential in others but also appreciate his own strengths and weaknesses, important aspects of self-awareness. Despite suffering from debilitating depression, Goodwin suggests that Lincoln’s wit and sense of humor helped explain how he sustained his career. Today, researchers view humor as part of human creativity. More than most presidents, Lincoln strived to be a better person, always asking others to help him learn. Learning is all about curiosity, an internal force that drives critical thinking and reasoning. Each of the presidents Goodwin studied was a great communicator. All understood how to communicate, given the technology of their times. They knew how to use storytelling to show people how their lives were connected rather than separate. This enabled them to stand with others for what they believed, a characteristic of integrity. Another common trait was their ability to manage their thoughts, emotions, and behaviors in ways that produced positive results and learning. Psychologists refer to this ability as self-regulation and it’s one of the most important elements of sociability. For example, Lincoln designed a method for calming his anger by writing what he called “hot letters.” When he was angry at a General for not following his orders, he would sit down and write a long, emotion-filled letter of criticism. Then he would put the letter aside and sleep on it. Most often, the letters would never get sent because he understood that his strong emotions would have a negative impact on morale. Lincoln’s “hot letters,” marked “never sent or signed” were not discovered until the 20th Century. Roosevelt also devised an outlet for his anger. It would take Roosevelt five or six drafts to write his “Fireside Chats.” The first would be filled with anger and bullying, often calling Congressmen “traitors” by name. Subsequent drafts allowed him to purge the anger from his system to when, in the final draft, he achieved the core of his leadership message. How do we teach self-regulation in today’s digital world, when spur-of-the-moment Twitter storms have replaced the practice of sitting with one’s emotions? It is more difficult, for sure. Yet self-regulation is one of the most important qualities for a future leader. What Goodwin showed through the lives of the leaders she studied was that leadership is about core human attributes. Not all leaders have the same capacity for empathy, curiosity, resilience, humility, ways of controlling emotions, and other qualities that leaders exhibit. But each leader has a unique combination and set of qualities that set them apart from others in certain circumstances. The message gleaned from Goodwin’s book is if you care about future leadership, teach children how to be quality people and allow them to live their own lives. Lincoln and FDR were not without flaws. But despite their human failings, they learned from their mistakes and grew more resilient from the life challenges they faced and overcame. On a recent episode of Fareed Zakaria called “How to Lead,” General Stanley McChrystal, author of Leaders: Myth and Reality, said it best: “Leadership is about you and a relationship to people….I think Americans are looking in the wrong place for leadership. I think we have to start looking in the mirror. We need to understand that leaders aren’t this unicorn that shows up suddenly and takes us somewhere. Leaders are people we empower, we follow, we vote for. We have responsibility. Leaders ultimately reflect the values we make them reflect. Leaders will reflect who we want to be. We need to look in the mirror and decide who we are, who we want to be, what’s important to us.” How to Cultivate Future Leadership Developing future leaders begins in childhood and adolescence. It begins, as General Stanley McChrystal suggested, by reflecting on our values as families and institutions of learning. Family values reflect who we are and how we parent. Teachers are uniquely positioned to teach empathy and other human qualities that not only help children discover personal success, but also contribute to the betterment of society. And as Lincoln eloquently said, “The philosophy of the school room in one generation will be the philosophy of government in the next.” Future leadership qualities are human qualities. Goodwin carefully described the importance of self-regulation in leaders, an attribute that is increasingly discussed in today’s world of social media. Despite its challenges, parents and teachers can positively impact the development of self-regulation. The Child Mind Institute explains why some kids struggle with self-regulation and how these skills are taught. Clinical psychologist Dr. Matthew Rouse explains that “the key to learning self-regulation skills is not to avoid situations that are difficult for kids to handle, but to coach kids through them and provide a supportive framework.” He points out that kid’s tantrums and impulsivity can make adults feel discouraged but that consistency and age-appropriate levels of communication with children are key. Great leaders know how to develop a team that accomplishes goals. Future leadership depends upon children having a team of families, schools, and communities that share common values and strive to instill those values through developmental relationships with young people. Additional Youth Leadership Resources: What Is Self-Regulation? (Published by PositivePsychology.com) How Can We Help Kids With Self-Regulation? (Published by the Child Mind Institute) Collective Impact for Youth: Is Your Community Making a Difference? (Published by Roots of Action) Does Your Classroom Cultivate Student Resilience? (Published by Edutopia) Developmental Relationships: New Framework to Support Youth (Published by Psychology Today) Published: September 4, 2019

<urn:uuid:5c39b920-5276-4369-ad2a-0e73d61411f4>

CC-MAIN-2021-17

https://www.rootsofaction.com/future-leadership/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00101.warc.gz

en

In this lesson plan designed for the British Council Teaching English site, we explore the topic of creativity and innovation. This lesson was devised to mark World Creativity and Innovation Day on 21st April. However, it could be used at any time of year as this is not specifically mentioned. The lesson begins by looking at what is involved in being creative, trying to expand this beyond the usual areas of art or creative writing. The students then do a reading activity where they match the headings to each section. They then identify the synonyms which will have enabled them to do this task and focus on the idea of avoiding repetition. They read the text again and discuss which ideas they personally find most useful. The lesson finishes with a creativity task, followed up by a final discussion. Encourage students to think about their own creativity and how they could develop it further Expand students’ vocabulary and ability to avoid repetition using a range of synonyms Provide reading and speaking practice around the topic of creativity and innovation Teenage learners at CEF level B2 The lesson plan and student worksheets can be downloaded here A free downloadable lesson about Sophie Scholl, a young German girl who took the brave decision to stand up to the Nazis, during World War II. The lesson could be used to commemorate International Holocaust Remembrance Day on January 27th, or at any other time of the year. The lesson starts with a couple of lead-in discussion questions and then students watch a short trailer for a film about Sophie Scholl. Note that the film is in German with English subtitles. In this lesson the video is only used as a lead-in, the main input is in a reading text. After watching the video, the students read the text to check their ideas. They then carry out an exam style note completion task, before matching some possibly unknown words in the text with their definitions. In this lesson plan designed for the British Council Teaching English site, we explore the topic of vitiligo, an autoimmune condition which causes some people to lose pigment in their skin, and look at how attitudes are changing towards what does or does not make someone attractive. This lesson was devised to mark World Vitiligo Day on 25 June. However, it could be used at any time of year as this is not specifically mentioned. The lesson begins with students looking at a photo of a young woman with vitiligo and discussing their reactions to the photo. They then go on to read about a model with vitiligo, Chantelle Brown-Young (also known as Winnie Harlow- pictured above), and discover what makes her special. The lesson reviews a range of tenses that might be used in a biography of a living person and looks at how to organise such a text, before the students go on to write their own. To encourage students to question their perception of what is beautiful and become more tolerant of difference To practise reading for specific information (true/false) To revise a range of tenses that students should know at B1 level To help students structure and write a biography-type text CEF Level B1 (intermediate) or strong A2 (pre-intermediate) Teachers notes and student worksheets can be downloaded here. A free downloadable lesson, about a new online service, CrowdWish, which invites people to post their wishes on their website. Every day people vote on the most popular wish, and CrowdWish will grant it! Students start by discussing some wishes taken from the site, then read a short text about what the site aims to do (so don’t tell them at the start of the lesson!) There is then a focus on some useful idioms, before going on to watch a video in which the founder of the site, ‘pitches’ his idea. Students then look at the grammar used with ‘wish’, particularly at the use of ‘would’ when you want someone else to change their behaviour. Finally the students come up with their own wishes and vote on them, like on the site. You could even try and grant the top wish if you’re feeling creative.. The lesson would be suitable from B2 upwards, as the video is quite challenging in places. A transcript is provided. Privacy & Cookies Policy Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.

<urn:uuid:62b12452-e7de-4b7e-9a35-91ced9038cff>

CC-MAIN-2021-17

https://elt-resourceful.com/tag/lesson-plan/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00579.warc.gz

en

"You hold me up. I hold you up. We hold each other up." No matter how young or old, we all need to be held sometimes. Similarly, we all have the ability to care for others in our own way. Monique Gray Smith captures the magic of reciprocal caring in her children's book You Hold Me Up. Vibrantly illustrated by Danielle Daniel, You Hold Me Up uses simple language and everyday situations to portray the diverse ways young people feel cared about by the people they love. The book's emphasis on relationships as vehicles for caring brings Secure & Calm to life in a way that even very young readers can understand. Repetition of the phrase "you hold me up when..." invites young readers to imagine their own definition of being held, encouraging them to explore how Compassionate & Kind takes place in their own lives. In the author's note, Monique Gray Smith connects the theme of reciprocal caring to reconciliation, specifically in relation to Canada's residential school history. In doing so, she invites our "littlest citizens" and the adults who care for them to compassionately acknowledge this painful history and move forward with dignity, respect, and recognition of our common humanity. In all, You Hold Me Up holds many layers of meaning for very young readers to explore with those who care for them. Use the following activities to guide their exploration and nurture Secure & Calm and Compassionate & Kind. 5 Activities for Holding Each Other Up Take a few minutes to reflect together on what holding someone up looks and feels like in preparation for the following activities. 1. Make a “how to hold me” list Help children brainstorm a list of situations in which they want to be held, and what helps and heals. Then decorate the list together and post it somewhere you can help them use it often. 2. Turn a family story into art 3. Create "you hold me up" gratitude cards Invite children to think about who holds them up in their lives. Work together to write, draw, collage, or paint that person a brief message of thanks: "You hold me up when you….. Thank you!" 4. Plant a heart garden for reconciliation 5. Hold others up Invite children to think about someone they would like to hold up, and help them make an action plan for one small, kind thing they can do for that person. Invite children to consider how the person who holds them up might feel. Is it difficult for them? Why do they do it? In their work with American 3-5 year olds, Nelson et al.(2012) found that gratitude development in children is linked to emotional understanding, perspective taking, and empathy in the early years. Nurturing these abilities can help children to build a sense of gratitude towards others. Brainstorm things that help them feel held by others, eg: - receiving a hug - reading a favourite story together - making a favourite family recipe together Include at least one form of self-care to build self-regulation and empowerment, eg: - doing a butterfly hug - drawing a picture of their feelings - cuddling a pet According to Montroy et al. (2016), the early years - particularly from 3-5 - are a critical window for developing self-regulation. As such, they represent an ideal time to introduce and encourage simple, age-appropriate self-regulation practices. Support children to explore the following questions in an age-appropriate way: - What does it mean to hold someone up? - What kinds of words can you use to describe holding someone up (borrow words from the story or choose your own: eg. love, kindness, sharing, helping, caring, togetherness, laughing, etc) - How do you feel when you hold someone up? - How do you feel when you are held up? It’s never too early to begin learning about the history of colonization in your country & others, and taking steps in your own lives to support reconciliation. First, read Monique Gray Smith's author's note together. Then bring reconciliation into your lives by "planting" a heart garden to honor those affected by Canada's residential school system. Oral storytelling & listening are important part of many indigenous traditions (see p. 14 in In Our Own Words: Bringing Authentic First People's Content to the K-3 Classroom). Children may invite elders such as parents or grandparents to share a story about their family that demonstrates caring, respect, helping, or other forms of holding someone up. Encourage children to create a piece of artwork based on the story using bright colours and bold lines, like in You Hold Me Up. For an extra challenge, suggest that they incorporate heart shapes in creative ways like illustrator Danielle Daniel.

<urn:uuid:b479a27e-a413-4068-a08f-ec9930e5dd9d>

CC-MAIN-2021-17

https://heartmindonline.org/resources/5-activities-for-holding-each-other-up-inspired-by-monique-gray-smith

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039617701.99/warc/CC-MAIN-20210423101141-20210423131141-00140.warc.gz

en

Research helps a journalist verify the information he or she has gathered. Research makes it possible to decide whether that information is true and correct. It helps the journalist make balanced judgments as an observer and to get the complete story. Research may make it possible for the journalist – and therefore his or her audience – to access information that might not yet be readily available in a public forum. Research is absolutely necessary: the journalist needs to be certain to have gathered information from every angle in order to fulfil professional duties diligently. This is particularly important, when it comes to water related information, which is often difficult to access, comprises poor quality data or is known only by few experts. Researching every aspect of a topic means that the journalist comes to his or her own conclusions independently – rather than being a mouthpiece for interest groups (e.g. government institutions, WASH NGOs or private sector networks with an interest e.g. in the privatization of water services) or individuals with their own agendas. Research must be supported by the media in which the reports appear, whether that be broadcast, print, or online. Media organizations should support and develop research. Different stages of researching water stories When new information reaches the newsroom: 1. Check the relevance: Is this information important enough to be called “news” and to warrant further research? 2. Check the sources: Is the source of this information trustworthy? What are the source’s sources, so to speak? Did the source observe this incident personally? Or did he or she hear it from someone else? Did the source have this experience personally? How did the information become known to him or her? And if it was not a personal experience, then who is the first source? 3. Ask yourself: Is this source a neutral one? Is the source an expert? How is the source related to the topic of research? What the source’s vested interest in the water sector? Fact-checking the research: questions to ask - Is this information true and correct? Is everything there? Are the five ‘W’s (What, Who, Where, When, Why) and one ‘H’ (How) questions answered? - Is data that is relevant for the story (e.g. on coverage, water availability and usage, etc.) solid and consistent? Does data vary across different sources? - Does the information make sense? Is it logical? Is there a clear chain of events, or causality? Does this information seem like it could be true? Procedures for research 1. Collect all the potential information that’s already been published on the topic – for example, from sector reports (e.g. by relevant ministries or regulators), libraries, data banks (e.g. JMP, WASHwatch, UN GLAAS), the Internet, and professional or industry publications. 2. Ask questions: conduct interviews with witnesses, water users, experts, critics, and other protagonists. It is best to speak to more neutral individuals first – for instance, experts on the topic. Later you can speak to less neutral individuals – say, water users or protagonists like staff from a relevant ministry with an agenda. Once you have the general, neutral information it becomes easier to critically assess what you are being told by other, more biased interviews. It also makes it easier to pose difficult questions to the non-neutral interviewees. When conducting interviews, it’s best to stick to a well-defined topic or angle. 3. Personal observations or research on-site: the journalist’s own experiences can be a valuable part of research and also give the journalist the opportunity to add colour and character to the writing. - Is this new information relevant? Does it come from trusted sources? Are the facts correct and does the information seem logical and make sense? - Is data solid and consistent across different sources? - Does the new information warrant further research? - Is the procedure for research being followed as closely as possible? - Has enough research been done, using information that’s already been published, to get a broad overview of the subject and to conduct knowledgeable interviews? - Have all relevant individuals – witnesses, experts, victims, critics – been interviewed? - Have the neutral interviewees been spoken with first so that hard questions can be asked of others later? - Have all sources been double-checked for accuracy and trustworthiness? - Has the most important information been verified by at least two sources? Has the journalist maintained the professional distance of a trained observer? - Would the information be enhanced by the journalist’s own experiences on-site? Could the journalist’s own experiences be useful for storytelling? When basic questions about journalism come up, this handbook, written and produced by Media in Cooperation and Transition (MICT), provides clear, brief and precise answers. Shortcuts to Journalism isn’t just for journalists – it’s also helpful for non-journalists. Download the English version here or the Arabic version here.Schmidt, E., Tirok, M. and Bösch, M. (2016): Shortcuts to Journalism: The Basics of Print, Online and Broadcast Reporting. Berlin, Germany: Media in Cooperation and Transition gGmbH PDF In this section of the BBC Academy's website, readers learn how to find, research and produce a story.http://www.bbc.co.uk/academy/journalism/skills/researching-and-producing [Accessed: 14.02.2018] In this section of the BBC Academy's website, readers learn how to find, research and produce a story.

<urn:uuid:bfdcfb92-af92-4529-91d2-94e51f9e4620>

CC-MAIN-2021-17

https://sswm.info/water-reporting-and-journalism/basics-water-related-journalism/researching-water-stories

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038879374.66/warc/CC-MAIN-20210419111510-20210419141510-00341.warc.gz

en

Why is reading so important? Enjoying books and reading stories from a very early age is crucial in the development of children. It helps with their ability to understand words, use their imagination and develop their speech, as well as being something they really enjoy. Teachers and parents play a huge part in the development of reading skills in young children. The more children experience books the more they will gain the interest and passion for them. Reading offers so much more than just quiet time in a cosy corner. It helps to develop spelling, listening, writing, literacy and social skills. Young children need to be able to experience books; they need to be able to understand and enjoy stories, books, rhymes and songs and listen and respond to them with curiosity and enjoyment. This will promote the value and pleasure of reading and encourage an interest in reading throughout school and in later life. Even from a very young age child love books. It provides the opportunity to learn through touching and feeling different textures, along with experiences different actions. There are some great early years books with pop up pages, lift-the-flap pages, noisy pages and different textured pictures to really get babies and toddlers engaged with books. Children develop more rapidly during the first five years of their lives than at any other time. That's why they are called the foundation years – the building blocks for life! Throughout these important first years if they attend a nursery, pre-school or primary school, their progress will be monitored. Below is a guide, set by early years’ foundation, to explain the various stages children are monitored and milestones they might reach in terms of literacy. A child should have an interest in holding and looking at books by this age. It is important they can hold books so they can see what is going on whilst listening to you read the stories. They can learn what books are and play with pages. By this age most children can identify their favourite books and stories they want to see and hear. They can recognise and mimic actions from their favourite songs and stories. Encourage this by always letting them join in with storytelling and songs, let them point to things they can recognise or make the sounds of things in the book. By the age of three, children should be able to fill in missing gaps in stories and songs that they have heard repetitively. They have their favourite books and songs and they can help to tell the tale. By pausing during a story they know well you give them the opportunity to fill in the gaps and add more words to their vocabulary. By four, children should be able to recognise the story being read to them, they can help with telling the story and can anticipate the end of the story. They should be able to join in with rhymes and be able to recognise words that start with the same sound such as ‘big boat’. They should also be able to recognise words that mean something to them, such as their own name or mummy, favourite shops and places. They can sit and listen for longer and can hold the book correctly and turn pages by themselves. By the age of five, a child is expected to be able to remember and speak words that rhyme like cat and hat and sat. Their imaginations and vocabulary mean they are able to tell their own made up stories and can make up their own songs. Story time doesn’t mean you just read to them – it’s far more interactive. They can understand and read simple sentences and they use their phonics knowledge to sound out words to read them accurately. They can also demonstrate a real understanding of what has been read or said to them. Reading At School Children usually start school between 4-5 years old. By this time, it is likely they will be able to recognise letters, understand words and have fairly good listening skills and be able to deal with the changes in routine. A typical school day in reception does feature some routine and structure, however, it still involves quite a lot of free play. To encourage reading, teachers usually have story time which involves children sitting together on the classroom carpet. Group reading and reading out loud helps to boost confidence in children and encourages interest and interaction. A fun group task is to read and act out the book together. Children will bounce off each other and shine. Imaginations run wild in young children and role play can also help make reading fun. Play is the best form of learning in early years as it develops a whole host of communication, reading and language skills. Having a well-equipped school library or classroom reading area will also help to encourage reading. Most children, and even adults, like to sit down and get comfy so that they can free their mind and travel into their story book. Creating The Perfect Classroom Reading Corner A library or classroom reading corner should create excitement for reading before the child has even selected a book. It needs to be visually appealing and stimulating and have an interesting and age appropriate selection of books to read. Setting up your reading area can be a challenge as you need to leave enough space for seating and movement with a wide variety of books as well as somewhere to store them. All this needs to look visually appealing to a child too! We offer a wide range of book storage solutions that will help you to create an exciting, stimulating classroom reading corner. It’s important the books are easily accessible and easy to view. Our mobile book trolleys are double sided which allows children to access books easily from each side. The Kinderboxes come in a range of shapes, styles, sizes and colours which make an interesting book display. Our book spinners are ideal for a smaller area. They can hold many books and don’t take up too much room. Kids also love spinning them to find the right book. Having somewhere for children to sit and look at books is important. You can provide floor cushions or bean bags with a low level book storage display such as a kinderbox, or book trolley. This will create the perfect reading area for young children. If you have a large space for your reading area our animal-themed book browsers are great fun and provide plenty of space for book as well as areas for children to sit. Children can get snappy with the Crocodile Book Browser or blow the trumpet of the Elephant Book Browser! Alternatively you can add the indoor outdoor wooden folding den to create a magical space for children. Add the rainbow accessory kit for colour and to spark imagination and fun. Reading at home With so many books to read and enjoy there just isn’t enough time in a school day to discover all there is to enjoy with reading. Support from parents and carers with reading at home is just as important to a child’s development. Every child loves spending time with their parents and enjoys listening to them and interacting with them. Sharing a book together is a special time with the added benefit that it’s not just for entertainment but helps develop their concentration and understanding of language. Children who don’t get the reading support at home from parents and carers often come to reading at a disadvantage. It is never too early to start sharing books with your child, even as young babies they enjoy, and will learn from, hearing stories and looking at books. Research shows that reading at home with their child is the single most important thing a parent can do to help their child’s education. Try to set aside time each day to sit and share a book. Turn off distractions such as the TV and mobile phone and have some quiet time together getting lost in a story. Talk to your child about the pictures, ask them what they can see and what they think is going to happen in the story. Doing this little and often is best so that you don’t lose your child’s focus and attention, but by all means read for longer if that’s what your child wants. Be a reading role model to your child – if your child sees you enjoying a book, they will show an interest too. At ELF we are experts in early years’ educational resources and supply classroom furniture, library furniture and equipment to primary schools, pre-schools, nurseries and playgroups. For more information about our library furniture or any of our products please contact us or call our sales team on 01733 511121.

<urn:uuid:0ed31c7c-7084-4d57-8fb5-b5f1fd6271a9>

CC-MAIN-2021-17

https://www.earlylearningfurniture.co.uk/blog/the-importance-of-early-years-reading.aspx

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00342.warc.gz

en

This page explains what poetry meter is... and why you should care. This is just one of many pages on the CWN website about poetry techniques and how to write poetry. At the bottom of the page, you'll find links to related topics such as poem structure and rhyme schemes. Poetry meter - so what? is a way of measuring a line of poetry based on the rhythm of the words. But why should you care? - As a reader, knowing about meter helps you understand how a poem is put together. You can see what rules the poet was following and how he or she used or went outside those rules. This lets you guess what was going through the poet's mind. - If you want to write poetry, knowing about meter will make you a better poet. First, it helps you understand what poets have done in the past, so that you can learn from them. It allows you to use traditional forms such as sonnets. Even if you prefer to write in free verse, you should learn about traditional forms. Being aware of traditions gives you more flexibility to use aspects of them when you want to, or to "break the rules" in a more interesting way. Poetry meter - stressed syllables and the iambic foot Meter measures lines of poetry based on stressed and unstressed syllables. I'll explain. When we speak, we put the stress on a certain part of each word. For example, take the words "apple" and "fantastic." - When we say the word "apple," we stress the first syllable, the "ap" part. We say "AP-ple," how not "ap-PLE." - When we say the word "fantastic," we stress the second syllable. We say, "fan-TAS-tic," not "FAN-tas-tic" or "fan-tas-TIC." In poetry, a unit of stressed and unstressed syllables is called a foot . For example, look at this line from Shakespeare: "No longer mourn for me when I am dead." The rhythm is, "bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. We read it like this: "no LON-ger MOURN for ME when I am DEAD." The type of foot Shakespeare used here is called an iamb . An iamb or an iambic foot has the rhythm bah-BAH. An unstressed syllable, then a stressed one. The iamb is the most common kind of foot in English poetry. Here are three examples of words that have an iambic rhythm (bah-BAH). - above (we say, "a-BOVE") - support (we say, "sup-PORT") - hurray (we say, "hur-RAY"). Here's a sentence written in iambic meter: "His noisy snoring woke the neighbors' dog." Bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. Poetry meter - other types of foot: - The trochee or trochaic foot. This is the opposite of an iamb -- the rhythm is BAH-bah, like the words "apple," and "father." - The anapest or anapestic foot. This sounds like bah-bah-BAH, like the words "underneath" and "seventeen." - The dactyl or dactylic foot. This is the opposite of an anapest -- the rhythm is BAH-bah-bah," like the the words "elephant" and "stepmother." Poetry meter - counting the feet When we think about the meter of poem, in addition to looking at the kind of foot, we count the number of feet in each line. - If there's one foot per line, it's monometer. Poetry written in monometer is very rare. - If there are are two feet per line, it's called dimeter. Here's a sentence in trochaic dimeter: "Eat your dinner." BAH-bah (1) BAH-bah (2). - Three feet per line = trimeter. Here's a sentence in iambic trimeter: "I eat the bread and cheese." Bah-BAH (1) bah-BAH (2) bah-BAH (3). - Four feet per line = tetrameter. Here's a sentence in trochaic tetrameter: "Father ordered extra pizza." BAH-bah (1) BAh-bah (2) BAH-bah (3) BAh-bah (4). - Five feet per line = pentameter. Here's a sentence in iambic pentameter: "I'll toast the bread and melt a piece of cheese." Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5). - Six feet per line = hexameter or Alexandrine. A sentence in iambic hexameter: "I'll toast the bread and melt a piece of cheese, okay?" Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5) bah-BAH (6). - Seven feet per line = heptameter. You get the idea... Poetry meter - meter and rhythm When you read metered poetry, such as a sonnet in iambic pentameter, you may notice that the meter is sometimes sounds uneven or is hard to hear. Meter is just a form of measurement. The real rhythm of a poem is more complicated than that: - None of us talk like robots. We give certain words and sounds more emphasis than others in a sentence, depending on a number of factors including the meaning of the words and our own personal speaking style. So not all of the stressed syllables have the same amount of stress, etc. - We pause at the ends of ideas or the ends of sentences, even if these occur partway through a poetic line. So this creates a rhythmically variation. When the sentence ends or has a natural pause in the middle of a line of poetry, that's called a caesura. - Poets vary meter or make exceptions in order to create desired rhythmic effects. All of these elements combine to give each poem a unique music. Poetry meter - keep reading Try writing your own sonnet in iambic pentameter Click here to read about poem structure Click here to read about rhyme Click here for a list of other CWN pages about how to write poems. << BACK from Poetry Meter to Creative Writing Now Home

<urn:uuid:b71935a4-90fb-4382-a740-185943763664>

CC-MAIN-2021-17

http://sinowitpx.com/poetry-meter.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00622.warc.gz

en

- How do you insert special characters? - What are the six traits of good character? - What is 200 words in characters? - What is difference between characters and words? - What is the definition of a person’s character? - How do you use character? - How do I type special characters? - What are all the special characters? - What is character make up? - What is 1500 characters in words? - What builds a person’s character? - What is Character simple words? - What are the 10 personality traits? - What is a good sentence for character? - How do you check character count? - What are the 4 types of characters? - How do you describe a character? - What is an example of a character? - What is a character in grammar? - Why is character so important? - How do you show character? How do you insert special characters? To insert a special character:From the Insert tab, click Symbol.Click More Symbols.Select the Special Characters tab.Choose the character you want to insert, and select Insert.. What are the six traits of good character? The Six Pillars of Character are: Trustworthiness, Respect, Responsibility, Fairness, Caring and Citizenship. What is 200 words in characters? So on average, 32 complete modern English words in 200 (8-bit ASCII) characters. In English, the average word length is 5.1 (8-bit ASCII) characters. What is difference between characters and words? ELI5:What’s the difference between words and characters? ‘Character’ is a term that refers to an individual unit of expression. It can refer to letters, numbers, punctuation, or symbols. … a character is a letter (or number) a word is made up of one or more of those and normally has some sort of meaning itself. What is the definition of a person’s character? The character of a person or place consists of all the qualities they have that make them distinct from other people or places. Perhaps there is a negative side to his character that you haven’t seen yet. Synonyms: personality, nature, make-up, cast More Synonyms of character. How do you use character? Method 1Start Character Map.In the Font box, click the font you want to use.Click the special character that you want to insert, click Select, and then click Copy.In your document, position the insertion point where you want the special character to appear.On the Edit menu, click Paste. How do I type special characters? Ensure that the Num Lock key has been pressed, to activate the numeric key section of the keyboard. Press the Alt key, and hold it down. While the Alt key is pressed, type the sequence of numbers (on the numeric keypad) from the Alt code in the above table. What are all the special characters? Keyboard special charactersKey/symbolExplanation$Dollar sign or generic currency.%Percent.^Caret or circumflex.&Ampersand, epershand, or and symbol.28 more rows•Jul 10, 2019 What is character make up? Character Makeup, as the name denotes, is used to create a character to the extent of changing a subject’s physical configuration to suit the requirements of a script. What is 1500 characters in words? The usual metric in English is five characters per word, and thus six characters for a word plus a space. So 1500 characters would usually come to about 240 to 260 words, depending on punctuation and other factors. What builds a person’s character? Five Ways to Build Your CharacterBe Humble. Humility is the beginning of wisdom. … Live out your principles and values. Whether it’s “love others,” or ” do the right thing,” living by your principles will make decision making easier and your character more steadfast.Be intentional. … Practice self discipline. … Be accountable. What is Character simple words? noun. the aggregate of features and traits that form the individual nature of some person or thing. one such feature or trait; characteristic. moral or ethical quality: a man of fine, honorable character. What are the 10 personality traits? These 10 Traits Are Key for a “Healthy Personality”—Which Ones Do You Have?Openness to feelings.Straightforwardness (and being “frank, sincere, and ingenuous”)Competence.Warmth (being affectionate and friendly)Positive emotions (experiencing “joy, happiness, love, and excitement”)Low levels of angry hostility.More items…• What is a good sentence for character? Character sentence examples. It was totally out of character for her. “Every country has its own character,” said he. Somehow it seemed contrary to his character – any of them. How do you check character count? When you need to check the character count in Microsoft Word, you can do so in the same way you check the word count.Open the document in Word that you want to count the characters in.Click the “Review” tab.Click “Word Count” in the Proofing section. … Click “Close” to close the Word Count window. What are the 4 types of characters? One way to classify characters is by examining how they change (or don’t change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character. How do you describe a character? 10 Tips for Writing Physical Descriptions of Your CharactersYou don’t always have to be specific. … Use figurative language. … Describe facial expressions. … Make the descriptions match the tone. … Scatter physical descriptions throughout the prose. … Describe actions that reveal physical characteristics. … A first person narrator can give biased opinions about appearances.More items…• What is an example of a character? Character is defined as a trait, quality or high moral code. An example of character is someone who is known for being funny. An example of character is a person who is trustworthy. What is a character in grammar? character noun (MARK) [ C ] grammar. a letter, number, or other mark or sign used in writing or printing, or the space one of these takes: This computer screen is 66 characters wide. Why is character so important? Great people are usually judged by their character. … Having good character means that you have such admirable traits as honesty, responsibility and courage. It is beneficial for you to have good character. Being honorable and honest in the work you do and in your relations with others are essential in your life. How do you show character? Rohn: 6 Essential Traits of Good CharacterIntegrity. Integrity is a good catchword that is similar to character but provides us with a different way of looking at the ideas of character. … Honesty. … Loyalty. … Self-Sacrifice. … Accountability. … Self-Control.

<urn:uuid:099adaf1-2285-47d6-be6e-3fb3cef9b106>

CC-MAIN-2021-17

https://pictheproduction.com/qa/quick-answer-what-is-character-sentence.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00540.warc.gz

en

Consisted of early Philippine literature passed on orally; mouth pieces possess a communal authorship – it was hard to trace the first author with the piece as oral literature did not focus on ownership or perhaps copyright, alternatively on the take action of storytelling itself; – Many oral pieces started to be lost inside the wave of the new fictional influence as a result of the Spanish colonization; nevertheless , according to the Filipino Literature: As well as & Anthology, English Release (Lumbera, M. & Lumbera C. ), the pre-colonial period of Philippine literature is definitely the longest inside the country’s history; – Literary works in this period is based on custom, reflecting everyday life activities just like housework, farming, fishing, hunting, and caring for the children too; – Mouth pieces told stories which usually explained characters and their activities; they attemptedto explain certain natural trends, and, concurrently, served because entertainment functions; – Pre-colonial literature demonstrated certain elements that linked the Filipino culture to other Southeast Asian countries (e. g. oral pieces which were performed by using a tribal move have particular similarities towards the Malay dance); – This era in Philippine literature history represented the ethos of the people prior to the arrival of the huge ethnic influence – literature being a cultural custom, than a type of art that had a particular set of decorum. · Early Forms of Philippine Literature: um Bugtong (riddles; a bugtong contains a metaphor named, Talinghaga), Salawikain (proverb); u Pre-colonial beautifully constructed wording – Tanaga (expresses a view or a benefit of the world), Ambahan (songs about the child years, human relationships, food; sung by Mangyan), Duplo (verbal jousts/games), Bayok (thoughts about love), Balagtasan (performed on stage); o Epic poetry – romantic characters and heroines that are a mirrored image of the world as perceived by the early Filipinos. · Noteworthy Works in the Pre-colonial Period: o Tuwaang, Lam-ang, Hinilawod, Bantugan II. Spanish Colonial time Period (Mid-16th – later 19th century) – The Spanish lifestyle, as shown in the works of this books period, demonstrated a battle with the pre-colonial Filipino literary works in the beginning. Yet , due to the length of stay with the colonizers, the Spanish traditions was eventually imbued inside the Filipino literary works of the period; – Religious beliefs became a significant theme that had affected the early Philippine writings which had the presence of paganism – “Christian Folk-Tale”; – In addition , the influence of religion, besides on the daily life of the natives, was lead by the friar/missionary/parish priest who were appointed by Spanish authorities; – Despite the goal of the Spanish govt to turn the country into a full-on European nest, the Spanish influence ironically inspired a reformation from the natives, which in turn eventually turned into a revolution; – Yet no matter the conflicts that plagued the partnership between the Spaniards and the Filipinos, a sense of nationalism was formed among the oppressed, together caused them to rise up into a nationalistic cause; – The essay genre was identified amidst the scene of editorial demonstration – Jose Rizal and Plaridel (Marcelo H. Del Pilar) had been among individuals who opt in using the pencil in voicing out the people’s cry rather than the sword; – Introduction in the roman abc that little by little replaced the ‘alibata’; – The Philippine literature of the period became the forerunner of many more literary functions to appear in the ages, wherein the concept of the nationalism and freedom of speech can be evident. · Philippine Materials and Skill during the The spanish language Period: to Pasyon and Sinakulo (religious dramas performed during the Ay Week); to Narrative Poems – Awit; Corrido; um Komedya – a theatrical performance which will captured the ideal European way of living as described by ancient characters · Notable Performs of the The spanish language Period: um Doctrina Christiana (1593) – the first book ever published inside the Philippines; printed by the Dominican Press; to May Bagyo Mat’ May well Rilim – according to literary historian, Bienvenido Lumbera, is the initial printed literary work in Tagalog; o Ang Mahal em Passion national insurance Jesu Christong P. Natin na Tola (1704) – eventually known as “Pasyon, ” was authored by Gaspar Aquino de Follon; an example of Christian folk epic in which the love of Jesus Christ was created in relation with the plight of the Filipino folks who were oppressed by the colonizers, as well as the beliefs of a Philippine; o Ninay (1885) – first Filipino novel drafted; Pedro Paterno; o Florante at Laura – Francisco “Balagtas” Baltazar; though you will discover symbols and themes which in turn dictate the protest with the Filipino up against the Spanish regime, it is unsure as to whether or not Balagtas had intended the issue – which was subtly derived from his work – since he left simply no notes or additional bits that may assert the conclusion; um Noli Myself Tangere (1887) and Este Filibusterismo (1891) – Jose Rizal; performs which created an impact around the national consciousness and like for one’s nation against the harassing government with the Spaniards; um La Solidaridad – Propagandist newspaper. 3. American Colonial Period (Late 19th – Mid-20th century) – The gradual fall of the Philippine literature crafted in The spanish language; – The English dialect eventually became the medium of writing and instruction in schools; – As the Spanish colonizers left the in accordance with the Treaty of Paris, the spirit of nationalism plus the desire to be known of independence did not disappear just yet. Rather, these centralizing forces geared into revolting against the fresh colonizers; – During the American colonization period, Philippine books reflected the ethos of its people under a fresh role. Yet , these everyday experiences within new foreign influence, and also sentiments, were expressed through the English vocabulary; – The Spanish ‘sarsuwela’ was eventually replaced by the ‘drama’; – One main influence with the American job on the Philippine literature is its refining in the context of the content material and the form. Furthermore, due to this broadened know-how on the field of books through the education provided by the American govt, Philippine literature has become higher than a tradition formed by tradition. It has become a form of art which doing well poets, fictionists, and playwrights continue to build upon and enrich in every generation; – Beginning with Rizal’s use of sociable realism among the major designs for his two main novels, the literature during the American colonization also became an involvement, not just reflecting the Filipino experience – a increased sense of nationalism deeply rooted inside the Filipino satisfaction and lifestyle; – Contrary to in the The spanish language colonization period wherein female writers (e. g. Gregoria de Jesus) were overshadowed by their even more dominant, man contemporaries – as a result of the education only being provided to a selected and privileged couple of – throughout the American career, women have had their possibility to enhance their ability by being knowledgeable on the art. In addition , the growing demand for works authored by Filipina authors is the reaction to the growing audience rising literature by simply females. · Philippine Literature and Artwork during the American Period: u Short Story o Poems in The english language o Free of charge Verse in Poetry o Drama · Notable Performs of the American Period: to Mga Agos sa Disyerto (1964) – Efren Ur. Abueg, Edgardo M. Reyes, Eduardo Bautista Reyes, Rogelio L. Ordonez and Rogelio R. Sikat; this brief story anthology brought fictional works into the associated with modernism; u Ako ang Daigdig (1940) – Alejandro G. Abadilla; free passage poem; um Sa Dakong Silangan – Jose Corazon de Jesus; a poem written in the vernacular http://lourdesbraceros. weebly. com/a-brief-history-of-philippine-literature-in-english. html You may also be interested in this: essay regarding pasyon

<urn:uuid:89202b4f-f94a-4911-8a55-7d8d0648b29b>

CC-MAIN-2021-17

https://astischool.com/art-and-entertainment/philippine-literature-article-2/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00461.warc.gz

en

Approaches and Teaching Methods in Early Childhood Education The High/Scope Program – Plan-Do-Review Process High/Scope provides a wide, realistic educational experience geared to a child's current stage of development, to promote the correct way of learning necessary to get best out of the early intellectual and social skills. In a High/Scope classroom, students are engaged in learning ‘centers’, including building, dramatic play, math, reading, music, writing, science, and motor development. A typical day would demonstrate a three-part process: “Plan-Do-Review.” Beginning with planning, the class and teacher discuss and create plans for a certain play period. Children go about their various activities, (Do) while teachers observe and offer support. The “review” process takes place after the play period, where students and teachers gather to discuss what they have found. This helps children understand their own actions, and enables connections between action and language. Children’s work is proudly displayed on the walls of the classroom. Waldorf Schools – Hands-On Exploration Created by Rudolf Steiner in 1919, Waldorf's main objective is to educate the whole child — “head, heart, and hands.” Children in Waldorf schools are allowed to remain ‘childlike’, because of the belief that there is a time for every phase of development, and that children should not receive formal education until after the age of 7. Learning is hands-on, and received through cooking, art projects, storytelling, singing, puppet shows, dress-up, and play. The teacher stays with the same group of children from preschool through eighth grade. The focus in the Waldorf classroom is on sensory exploration and self-discovery rather than formal instruction and merit, helping children develop a sense of compassion and responsibility. The use of electronic media, especially TV, by young children is highly discouraged in Waldorf schools. Reggio Emilia Schools – Classroom as the “Third Teacher” Loris Malaguzzi, founded the Reggio Emilia approach at the Italian city of the same name. The Reggio approach fosters intellectual development through a focus on symbolic representation. The primary curriculum is in-depth project work based on the interests of the children. Children are encouraged to express themselves through ‘natural languages’, including drawing, painting, working in clay, sculpting, constructing, conversing, and dramatic play. In a Reggio Emilia school, educators pay close attention to the look and feel of the classroom, which is often referred to as the “third teacher.” The goal is to create a room that is beautiful, joyful, inviting, and stimulating. Teachers document the children’s discussions, remarks, and activities through notes, videos, and photographs. This makes learning visible and helps parents to understand what their children are learning; teachers get to know the children better; and children see that their work is valued. Bank Street Approach – Learning by DoingJohn Dewey, his theory of ‘learning by doing’ influenced this developmental approach. The focus of Bank Street preschools is on a child’s mental, social, emotional, and physical growth. In these programs, the child is an active learner and gains knowledge about the world through experience. Students set the learning pace, and the teacher serves as a guide. Bank Street approach teaches lessons through hands-on activities, such as building blocks, puzzles, clay, and dramatic play. Which Educational Philosophy Is Best? Here we use a combination of The High/Scope Program and The Bank Street Approach. We like to watch each child individually and decide which learning method works best for that child. Since we are a small group of children, it is much easier to tailor the educational philosophy for each specific child. That's what makes us a little different from the rest! Parents should consider the following to help choose what's best for your child. Hi my name is Margo; I've lived in Valley Stream for over 15 years. I am the loving and very, very proud mother of one amazing 18 year old son, Isaiah. Thankfully, I am able to live my dream of caring for and nurturing young children.

<urn:uuid:db43d639-8bd7-45be-91d9-a0ce2cdd188c>

CC-MAIN-2021-17

https://www.brightfromthestartchildcare.com/blog/the-journey-of-early-childhood-education

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00062.warc.gz

en

If your social studies units have been dragging lately, I have just the tip for you! Try reading aloud picture books during your history lessons! I love using picture books to introduce content in social studies in 3rd, 4th, and 5th grade! The text and illustrations grab students’ attention and help them to visualize history. How Do Picture Books Support Learning in Social Studies? Using interactive read-alouds during a social studies lesson or unit is a great way to integrate literacy in the content areas. Picture books can help provide background knowledge for students that may have some gaps. They can also help you pre-teach important vocabulary words students will see in the upcoming lessons. In addition, they can springboard to class discussions in which you can identify any misconceptions students are bringing to a new lesson or unit. Picture books are great for your auditory and visual learners, and the illustrations can help all students retain new learning! Displaying color photos of the real people, places, or objects seen in the book can also help students can make connections to the content you’re teaching. Literary nonfiction picture books make the dry facts more memorable because the information is presented through storytelling. This genre also provides background information and context to help students understand why certain choices were made in history. Read more about teaching literary nonfiction here! I also love that you can double-dip into language arts by incorporating reading skills and strategies in your history lessons. Plus, you can weave in higher level thinking skills for social studies, like: - recognizing change over time - identifying cause and effect relationships - sequencing events - recognizing different perspectives and points of view - drawing conclusions and making inferences - identifying costs and benefits of various decisions Also, I like to pair my picture book read-alouds with an anchor chart. This is really helpful to have to refer back to during the lesson or unit. Some examples are: - somebody-wanted-but-so or somebody-wanted-but-so-then - cause and effect - key people, places, or vocabulary - fact vs. fiction - compare and contrast History Topics That Picture Books Can Support Where can you incorporate picture books in your social studies lessons? Everywhere! - historical events and time periods - contributions of important individuals - community life, roles, occupations - local/state history - current events Recommended Picture Books for American History There are tons of great picture books you can use to introduce American history to your upper elementary students. Here are just a few of my favorites: We the Kids: The Preamble to the Constitution of the United States by David Catrow: formation of the United States, laws, rights, government The Other Side by Jacqueline Woodson: segregation, discrimination George vs. George: The American Revolution as Seen from Both Sides by Rosalyn Schanzer: causes of the American Revolution, George Washington Encounter by Jane Yolen: colonization, Columbus, native peoples The Name Jar by Yangsook Choi: immigration, cultural diversity, customs What social studies picture books do you love to use with upper elementary students? Feel free to let me know in the comments!

<urn:uuid:22505558-390e-4c07-99e8-3854ce133948>

CC-MAIN-2021-17

https://alyssateaches.com/teaching-social-studies-with-picture-books/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00377.warc.gz

en

Jacqueleen Charline January 1, 2021 worksheets Printable phonics worksheets for kids. Check out our different sets of worksheets that help kids practice and learn phonics skills like beginning sounds, rhyming and more. We are always adding new sets of kids phonics worksheets at KidsLearningStation.com. Kindergarten Reading Worksheets Pdf – Workbook Download 35 printable phonics reading worksheets in a pdf file for preschool and kindergarten kids. Learning to read short sentences and very short stories. Kindergarten Phonics Worksheets Pdf – Workbook 89 printable short vowel words worksheets and flashcards presented in a pdf book for preschoolers, kindergarten kids, and 1st grade students. Phonics worksheets help young children understand the relationship between sounds and written symbols. Our phonics worksheets, include letter-sound recognition with pictures, rhyming words and beginning letter sound to aid your child’s learning process. Our phonics worksheets cover a variety of topics including short and long vowels, digraphs and blends for a different age. To get the learning experience more enjoyable we designed hands-on activities for your child. Kids will love to play fun games, solve puzzles and find that learning is so much fun. Kindergarten English Spelling Worksheets Pdf – Workbook This pdf book contains 18 printable English spelling worksheets for preschool, kindergarten, and 1st grade. Finding and writing the missing letters, circle the missing letters, circle the correct spelling, spelling some simple words. Preschool Math and Activities; Preschool Reading; Preschool Spelling; Preschool Writing; Coloring Pages to Print – Goes to our main Coloring Page. We have free worksheets with lovely early childhood themes. Even just the littlest effort to make school look like fun and to develop an interest in reading, writing and figuring can boost your child. Preschool Spelling Worksheets. Spelling is an important part of any early childhood education. Our free spelling worksheets will assist preschoolers in learning how to spell basic words. Kids can trace the letters in the word and then spell them on their own underneath. Printable alphabet letters. Large Printable Alphabet Letters – Upper case alphabet letters print out in four different colors (blue, green, red and black and white) centered on one sheet of paper. Capital letters printed from web browser appear 6 and a half inches tall while PDF letters are eight inches high. Printable Alphabet Letters for Crafts. Make super cute letter crafts for preschoolers to go along with your letter of the week program for toddlers, preschoolers, kindergarteners, and grade 1 students! These adorable printable alphabet letters for crafts are NO PREP – just print, color, cut, and paste to make your very own creations.. Whether you are a parent, teacher, homeschooler. Explore the ABCs with 800+ printable alphabet worksheets. Trace letters. Sound out vowels. Learn to spell words. Perfect for preschool-1st grade! This collection of printable alphabet letters is versatile for a number of projects. Perfect for banners, bulletin boards, alphabet units, learning activities and ABC crafts. You’ll find bubble letters, many styles of lettering stencils and alphabet worksheets. Here, you will find free phonics worksheets to assist in learning phonics rules for reading. These free worksheets are printable and designed to accommodate any lesson plan for reading that includes phonics. Conveniently organized by the skills covered, these worksheets come with answer keys. Kiz Phonics is an excellent progressive program for teaching kids to read using a systematic phonics approach.The Kiz Phonics program is carefully arranged by levels from Preschool Ages 3-4, Kindergarten Ages 4 -6, 1 st Grade Ages 6-7 & 2 nd Grade Ages 7-8. It is suitable for school teachers, home-school parents and other educators trying to help children learn to read. Free Printable Preschool Worksheets. Our site is filled with freebies to make learning fun for toddler, preschool, pre k, and kindergarten age students. So whether you are a parent, teacher, or homeschooler – have fun exploring our many, many resources. On this page you can see all our free preschool printables arranged by most popular. Preschool art worksheets that will inspire any little artist! With fun pages to color, crafts to make and projects to excite the imagination. These art worksheets will inspire budding artists. Easy step by step drawing tutorials, mirror drawing pages, comic book pages and grid coloring pages. These printable worksheets are a great place to start for beginning artists of all ages. Art history worksheets work well for art or history lessons and encourage young learners to explore their own creativity. Read about Pablo Picasso or try replicating early Egyptian art. Share the gift of imagination with art history worksheets. Different kinds of symmetry…. Reflective symmetry– a line could be drawn down the middle of the shape and the shape on side of the line is “reflected” onto the other side.The reflected shape will be exactly the same as the original. Radial symmetry-a condition in which similar parts are regularly arranged around a central axis.There are other, more specific, kinds of symmetry such as. Preschool spelling worksheets. Spelling Practice Worksheets for Preschool Printables. Download Spelling Practice Tracing worksheets and printables Kids educational preschool, kindergarten and grade school for kids. Preschool Spelling Curriculum Sequence. In preschool, spelling words start with basic two-letter words. For example, a good starting point for preschoolers would be: AT, ME, BE, and IT. Children then start to expand the list by working through “word families”. From AT, in preschool spelling, the curriculum, worksheets, and then spelling. Preschool Spelling Resources. Preschool focuses on pre-writing: ABCs, vowel sounds and simple words. Prep for writing success with these worksheets that focus on letter recognition, word-building and a bit of storytelling. Preschool. Reading & Writing. I am a Christian mother of four, with over 13-years experience homeschooling in Southern Oregon. The resources and products I create are designed to keep the prep to a minimum while also bringing a little educational fun to your classroom Tag Cloudinteractive resources math games free computer games for kids kindergarten learning funmath testpreppractice sunday school printable worksheets decimal practice worksheets aloha math worksheets simplifying fractions game printable loan calculator spreadsheet grade 10 math module slideshare workbook answers grade 5 free comprehension worksheets 3rd grade work algebra games printable math if8771 answers money sense worksheets 10th math formula math games for grade 2 addition

<urn:uuid:31ac3251-7b4e-4273-8b06-0262fefba219>

CC-MAIN-2021-17

https://chocolatecityburlesque.com/gp7x792o1/vR21789qB/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00501.warc.gz

en

Science projects that involve electronics offer exciting and interesting ways to learn about electricity. These types of hands-on projects allow students to learn about one of the greatest forces powering the modern world. Electricity-focused science experiments are either simple or complex, depending on the scale of the model or other objects being built and the types of materials needed. Elementary school students can add electrical components to modeling clay sculptures using simple techniques and electricity-conducting clay available online or at hobby stores. For middle and high school students, more complex projects may be appropriate, such as building their own simple motor or recording how long it takes for diodes to stop working when exposed to high heat. TL;DR (Too Long; Didn't Read) Students of all ages can learn about electricity in a hands-on way by completing an electricity-focused science project. Elementary school students can add motion and lights to modeling clay sculptures, middle school students can build their own simple motors and high school students can measure how long it takes diodes to stop working when they are raised to high temperatures. Elementary School Students -- Electric Modeling Clay Project The idea of adding movement or lights to modeling clay sculptures is likely to excite elementary school students. This project offers students an interesting way to gain a basic understanding of simple, parallel and series electrical circuits, as well creating a project they enjoy presenting to their peers. For this project, students can purchase an electric modeling clay kit, available online or from a hobby store. Such kits usually include batteries, a battery pack, LED lights, buzzers, one small motor and recipes for making both conductive and insulating modeling clay from ingredients in the kitchen. (See Resources) Start the project by following the recipe to make the two different versions of clay. Insert the batteries into the battery pack, which allows for the creation of a circuit using both kinds of clay. Make two lumps of conductive clay and one lump of insulating clay. Stick the three clay lumps together with the insulating clay in the middle. Stick each metal rod attached to the individual wires from the battery pack -- one red and one black -- into each of the conducting clay lumps, then choose an LED light from the kit. The light should have two wires sticking out from its base, called leads. Stick the longer lead, the positive or red lead, into the lump of conducting clay that already has a red lead in it from the battery. Insert the shorter lead from the light into the lump of modeling clay with the black wire from the battery. The LED will not light up if you pair the leads with the wrong wires. Switch on the battery pack to turn on the LED light. You can now experiment with the motor, buzzers and other equipment from the kit. Try molding the clay into different shapes, or adding movement along with lights. Make note of the effects that different clay shapes make on the success of circuits. Present your findings, along with at least one successful electric clay model, as a science project. Middle Grade Students -- Electric Motor Generator Project With just a few simple materials, middle school students, who already have a grasp of the basic rules of electricity, can build their own functional motor generator. Students can observe how small changes affect the motor's rotation, and experiment to see how fast they can make the motor run. For this project, students will need a simple motor kit, such as those available online or from a model or hobby store. These kits usually include magnet wire, paper clips, neodymium magnets, a compass and sandpaper, as well as mounting hardware. In addition to these supplies, students will also need scissors, a small dowel (such as the cap from a marker), a ruler, a 2-by-3-inch piece of cardboard, electrical tape and a C battery. Using the above materials, students coil the wire around the small dowel to create an electromagnet, with axles (lengths of straight, uncoiled wire) on each side. The wire's electricity insulating coating must be removed from the ends of the axles. Make the axle supports from the paper clips, and tape them to the battery. Stack three neodymium magnets on the battery, and balance the electromagnet atop the supports, causing the electromagnet to spin. After building the motor, students can experiment by adding or removing magnets, and by seeing how their compass reacts to different changes made to the motor. Students should present their findings, as well as the finished motor itself, as a science project. Videos of the different motor configurations make a good addition to the finished project. High School Students -- Overheating Diodes Project This project requires the participant to have experience with electronics. It also requires specialized equipment from electronics stores and some basic safety precautions, which means this project works best for students in high school. This project focuses on electronics and heat. When building an electronic circuit with a soldering iron, leads get very hot. The objective of this project is to determine how long it takes for a semiconductor device to overheat. To determine this, students need 10 1N4001 diodes, a 9-volt battery and battery clips, a digital multimeter, 10 1 MΩ resistors, several short lengths of wire, a soldering iron, a lead-free solder, a small vise, wire ties, an oven-safe thermometer, a stopwatch and a kitchen oven. Calibrate the diodes by first connecting them to a low-current battery power source and then setting them in the oven at a low temperature -- up to 170 degrees -- until they all have the same temperature. Plug in the soldering iron to heat it up and after it reaches temperature, touch it to one of the diodes for one second, then note any changes in the voltage reading with the multimeter. Repeat this process for each diode. In the next step, change the length of time the soldering gun touches the diode, and measure the results with the multimeter. Note how long it takes before each diode reaches a temperature where it no longer gives a voltage reading. Make note of your findings, and present them as a science project, along with visual aids. About the Author Maria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.

<urn:uuid:527169fe-4412-4f04-994a-f36a07a0e8a8>

CC-MAIN-2021-17

https://sciencing.com/electronic-project-ideas-for-students-13710540.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039508673.81/warc/CC-MAIN-20210421035139-20210421065139-00022.warc.gz

en

The Use of Zinc to Prevent the Oxidation of Copper The Statue of Liberty has its characteristic green color because its copper coating has been oxidized by the air and water. According to the New York Historical Society, the statue had developed its green hue by about 1920 -- but if the statue had been covered with a copper and zinc alloy, instead of just copper, this process would likely have taken longer. Copper and oxygen enter a reduction-oxidation reaction, often called a redox reaction, causing the oxidation of copper. The result of this reaction is the corrosion of copper, which acquires a dark brown or green color as it oxidizes. In the equation 2Cu + O2 becomes 2CuO, the copper metal acts as the reducing agent, meaning it gives up electrons. The oxygen is the oxidizing agent because it gains electrons. Without the protection of zinc, copper more easily corrodes in the presence of oxygen. According to the United States Geological Survey, “zinc is currently the fourth most widely consumed metal in the world after iron, aluminum, and copper.” Zinc’s anti-corrosive properties make it ideal for mixing with copper to form an alloy, called brass. Brass is a strong alloy that resists corrosion, although it does gradually tarnish over time. Chemistry of Zinc Oxidation When zinc comes into contact with oxygen in the air, it forms zinc oxide, a redox reaction like the oxidation of copper. When zinc oxide reacts with water, it forms a layer of zinc hydroxide. This zinc hydroxide then reacts with oxygen and carbon dioxide in the air to form a layer of zinc carbonate, which is insoluble in water and prevents further reactions between oxygen and the underlying metal. Barrier Against the Elements Zinc, like copper, does eventually tarnish as it is exposed to water and air, but this oxidized layer prevents further corrosion of the metal. Called patination, this process changes zinc from a shiny silver color into a darker, duller gray, according to The International Zinc Association. The layer of zinc carbonate formed from oxidation acts as a protective boundary between the underlying zinc and oxygen. When zinc is mixed with copper, it adds its corrosion resistance to the alloy, which allows products made of brass to last longer. - Purdue University: Oxidation and Reduction - United States Geological Survey: Zinc -- The Key to Preventing Corrosion - International Zinc Association: Zinc for Life FAQ's - International Zinc Association: Zinc Coatings -- How They Work - Copper Development Association Inc.: Why Your Builder Chose Solid Brass Hardware - New York Historical Society: When Did the Statue of Liberty Turn Green? Cara Batema is a musician, teacher and writer who specializes in early childhood, special needs and psychology. Since 2010, Batema has been an active writer in the fields of education, parenting, science and health. She holds a bachelor's degree in music therapy and creative writing.

<urn:uuid:37f6996f-2dfa-4b92-9098-cf3938431f0e>

CC-MAIN-2021-17

https://education.seattlepi.com/use-zinc-prevent-oxidation-copper-5131.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00462.warc.gz

en

Pre-school children are naturally inquisitive, enthusiastic and receptive to new input; and it is exactly these qualities that we aim to exploit in their first exposure to the English language. Our primary goal is to familiarize young learners with the foreign language so that they can ultimately develop a positive attitude to it. It is therefore important that they are introduced to a learning environment that allows for creativity and amusement. Children learn through games, songs and storytelling which aim at familiarizing them not only with basic vocabulary items but also with basic cultural concepts (such as Halloween, Thanksgiving, etc). The overall objective is for language to be presented in a multidimensional way so that children become interested in it rather than intimidated by it. By providing a learning environment where children are able to connect their previous knowledge to the newly-introduced one and encouraged to use the foreign language, we intend to motivate them and build their confidence. - Παιδικός Σταθμός (παιδιά 2 έως 5 ετών) Νηπιαγωγείο αναγνωρισμένο από το Υπουργείο Παιδείας και Θρησκευμάτων (παιδιά 5 έως 6 ετών) - Εξυπηρετούμε τις περιοχές: Άγιο Στέφανο, Διόνυσο, Εκάλη, Νέα Ερυθραία, Δροσιά, Κρυονέρι, Ροδόπολη, Άνοιξη, Αφίδνες, Καπανδρίτι, Εύξεινο Πόντο, Κάτω Κηφισιά και Σταμάτα.

<urn:uuid:db4e4644-f39a-41f9-94f2-fab465142255>

CC-MAIN-2021-17

https://www.dandolina.gr/programma/agglofono-tmima

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038072180.33/warc/CC-MAIN-20210413092418-20210413122418-00499.warc.gz

en

26 use contrast in movement by Karen Loftus This unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they’ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play. The unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials. by Allison Williams In Introduction to Teaching Mask, Allison Williams gives you a toolkit of mask and movement exercises to teach students to make big, confident physical choices, to work in their bodies, and play different characters - masked and unmasked. Access to masks is required, but previous experience with masks is not. by Todd Espeland Friendly Shakespeare teaches a simple and effective method of script analysis for Shakespeare. It uses punctuation and keywords in the text to help students understand the characters' needs, make specific acting choices, and get them on their feet immediately. This is not dry, sitting in a classroom discussion. It’s physicalizing the text, focusing on the character’s needs and tactics (something every drama student should know full well) and bringing Shakespeare to life. At the end of the class you will be able to demystify Shakespeare's text and understand how to help your actors make clear, active and emotionally connected choices in Shakespeare's plays. by Craig Mason This mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble. The ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities. In Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage. We'll look at case studies that take the exercises learned in the course and apply them to specific shows. by Todd Espeland Working in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play. This class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story. In the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst.

<urn:uuid:3f4979f0-98de-4fc2-8b2f-98270d0806bf>

CC-MAIN-2021-17

https://www.theatrefolk.com/dta_standards/504

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz

en

Below are some useful tips to help with lessons this week. Monday: Write the definition for each of your spellings. You can use your dictionary from school or a computer to help you. Tuesday: Pick two activities from the spelling menu. A picture of the spelling menu can be found in the teaching notes section. Wednesday: Write an interesting sentence for each of your spellings. Remember to use lots of interesting adjectives and phrases. Thursday: Use the look, cover, write and check part of your spelling sheet to revise spellings. Friday: Test on your spellings. Grammar Activity - Monday Today’s grammar activity is based on abbreviations. Abbreviations are short forms of lengthy expressions or words. It consists of a group of letters taken from the word or phrase. Abbreviations are used in almost every discipline and area of life. One of the most commonly used abbreviations is the United States, which abbreviates as “U.S.”, and its states. Below is a video which revises useful abbreviations: Talking and Listening - Tuesday Today’s task is talking and listening. Look at the cards and discuss what is on them. Make sure that other members of the family are asked to promote good listening skills. Punctuation Activity - Wednesday Today’s punctuation activity is based on possessive apostrophes. An apostrophe can be used to show that one thing belongs to or is connected to something. This is called a possessive apostrophe . Let's take a look at some examples. Cat is a singular noun so you need to add an apostrophe and "s" to show that the tail belongs to the cat. Charles is a singular noun that ends in an "s", so you need to add an apostrophe to show that the cat belongs to Charles. Below is a link to help children understand the use of possessive apostrophes: There is a PowerPoint which will help with the child’s understanding of possessive apostrophes. Creative Writing - Thursday Over the next while we will have one focus on our writing. This piece of writing will be based on an island. Each week you will be given a different task to link to your creative writing. You should have completed a drawing of your island! Here is the next piece of work. Follow the help sheet for some ideas. Strange noises are heard in the night. You go to investigate some strange sounds and end up trying to talk yourself out of a lot of trouble. Write out your conversation, either in script form or using speech marks. Watch Episode 3 of Treasure Island: Comprehension - Friday This week pupils will be completing a comprehensions. They should ensure that they: 1. Read the passage 2. Read the questions 3. Re-read the passage highlighting important information 4. Answer the questions Unfortunately not the ones with chocolate chips. Our cookies ensure you get the best experience on our website. Please make your choice! Some cookies are necessary in order to make this website function correctly. These are set by default and whilst you can block or delete them by changing your browser settings, some functionality such as being able to log in to the website will not work if you do this. The necessary cookies set on this website are as follows: A 'sessionid' token is required for logging in to the website and a 'crfstoken' token is used to prevent cross site request forgery. An 'alertDismissed' token is used to prevent certain alerts from re-appearing if they have been dismissed. We use Matomo cookies to improve the website performance by capturing information such as browser and device types. The data from this cookie is anonymised. Cookies are used to help distinguish between humans and bots on contact forms on this website. A cookie is used to store your cookie preferences for this website.Cookies that are not necessary to make the website work, but which enable additional functionality, can also be set. By default these cookies are disabled, but you can choose to enable them below:

<urn:uuid:657954e6-67e7-46e9-9f80-7ad01d3f754f>

CC-MAIN-2021-17

https://www.elmgroveprimary.co.uk/teaching-notes-59/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00502.warc.gz

en

Families are facing new and unexpected stress and anxiety. Caregivers need to maintain their family’s safety during a pandemic, manage financial stress, and homeschool their children. Our kids are struggling to navigate upended routines and isolation from friends. Many families are wondering how the uncertainty of current events is affecting their children. How can parents help their kids develop the coping skills necessary to build resilience? The good news is that resilience is a skill that can be taught and now is the perfect time to start. Resilience is the ability to endure stress and still thrive. It develops as kids overcome challenges and acquire the self-confidence to tackle the next problem ahead. Some children are born with a higher level of resilience, but resilience can also be strengthened like a muscle. A process called “scaffolding” is important to the development of resilience skills. Just like scaffolding is used in construction to support a building until it can stand on its own, caregivers use emotional scaffolding to support kids until they have a strong foundation. Some ways parents can help build their child’s “scaffolding” include: Unpredictable changes cannot be avoided at this time, but we can strive to offer routine. Routine provides a sense of safety and predictability. Children can best monitor their emotional state when they can guess what is coming next. Post your child’s schedule in a visible place to reinforce consistency. Help your child maintain a wake-up time by getting out of bed at the same time during the week. Keep a consistent schedule for your child to eat breakfast, brush their teeth, and change out of pajamas. Schedule focused time for subjects, such as History from 10-10:30, with appropriate breaks and flexibility for recess, gym, and music. When children have the confidence to master new skills, it is easier for them to adjust to challenges in life. We can help kids grow independent by giving them just enough help while letting them experience and grow from mistakes. Develop challenging but attainable activities for your child. Support mistakes and celebrate successes. Young children may water plants or set the table. School-aged children may help care for a pet or fold laundry. Adolescents can prepare a simple family meal or plan a family night. Kids can learn to calm themselves by focusing on what’s happening at the moment. Practicing with caregivers deepens the connection between the child and the caregiver while helping kids control how they react to stress long-term. Try “The Big Squeeze” Remember that for kids, play is not just played. It is a time to work out problems in a non-judgmental, safe zone. It allows children to explore their environment and test problem-solving skills. Schoolwork is important, but learning also happens when playing. In a time of uncertainty and challenging emotions, don’t ignore your feelings. Take the time to talk through your emotions with your children. Children need to know that it is okay to have emotions, and that talking about emotions with the people we care about is good and necessary. Encourage conversation, writing, and storytelling. Children are very perceptive and watch how you treat yourself. Work to model coping skills that your children can mimic. Your child can learn to be kinder and more forgiving of themselves when they see their caregiver model self-compassion. You do not need to be perfect, especially with new and stressful demands on your time.

<urn:uuid:44c89d04-0dcf-41c7-93bb-b09ff05b1734>

CC-MAIN-2021-17

https://www.hazel.co/resources/how-to-teach-children-resilience-during-a-pandemic

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039476006.77/warc/CC-MAIN-20210420152755-20210420182755-00582.warc.gz

en

- What are the language skills? - What is use language? - How do you describe language? - What is the author’s word choice? - What are the different types of language in writing? - How does language affect writing? - What is language in academic writing? - Why is language structure important? - What is role of language in communication? - Why is word choice important in writing? - What is language choice in writing? - What are the 7 functions of language? - What is language and its types? - What does language mean? - What is language and examples? - How is language important? - What is language summary? - What is the language function? What are the language skills? Another way to describe language is in terms of the four basic language skills: listening, speaking, reading, and writing. In your teaching, you will need to address each of these skills.. What is use language? Language in Use examines language processing and first language learning and illuminates the insights that discourse and usage-based models provide in issues of second language learning. … Finally, it addresses issues of language use and creation of social identity. How do you describe language? Words used to describe writing or speech style – thesaurusarticulate. adjective. able to express your thoughts, arguments, and ideas clearly and effectively.articulate. adjective. … be couched in something. phrase. … chatty. adjective. … circuitous. adjective. … clean. adjective. … compendious. adjective. … conversational. adjective.More items… What is the author’s word choice? DictionWhat Is Diction? Diction refers to a writer’s purposeful word choice. Along with syntax, diction can be used to create tone and imagery in creative writing. Think about your writing’s purpose and the message you want to convey. What are the different types of language in writing? Six Types of Diction/Language Used by AuthorsLiteral Language is..Concrete Diction is…Figurative Language is…Abstract Diction is…Informal Diction is…Styles can be described as:Formal Diction is…Keep these notes handy!More items… How does language affect writing? Language which is foreign and unfamiliar to the reader tends to emphasize the differences between writer and reader, and makes the message difficult to understand. By using language that is familiar to the reader, the message is likely to have more impact. What is language in academic writing? Academic language refers to the oral, written, auditory, and visual language proficiency required to learn effectively in schools and academic programs—i.e., it’s the language used in classroom lessons, books, tests, and assignments, and it’s the language that students are expected to learn and achieve fluency in. Why is language structure important? Words and sentences have parts that combine in patterns, exhibiting the grammar of the language. The shared aim is a general theory of human grammars, one that allows us to understand speakers’ ability to use language and the rapid development of language in every normal child. … What is role of language in communication? Language is a way of making more easy communication. The language helps to express the culture of a person to another one. When a person communicates with another one, the language can helps him to express his ideas more accurately and helps to make a good relationship with him. Why is word choice important in writing? Word choice is an important part of any type of writing-especially content writing. Selecting precise words will help you increase the impact you create on your audience. The best writing creates a vivid picture in the reader’s mind. Well-selected words appeal to the senses. What is language choice in writing? It may include a variety of vocabulary choices: • words that are clearly biased or designed to create a positive or negative. emotional reaction (emotive language) • similes, metaphors or other imagery or comparisons that convey the writer’s. ideas or feelings. What are the 7 functions of language? Specifically, this study purported to: (1) determine the students’ level of oral and written performances in the seven functions of language, to wit: instrumental, regulatory, interactional, personal, imaginative, heuristic, and informative; (2) determine whether significant difference in the oral and written … What is language and its types? A language is the main medium of communicating between the Computer systems and the most common are the programming languages. As we know a Computer only understands binary numbers that is 0 and 1 to perform various operations but the languages are developed for different types of work on a Computer. What does language mean? Language, a system of conventional spoken, manual (signed), or written symbols by means of which human beings, as members of a social group and participants in its culture, express themselves. What is language and examples? The definition of language is speech or other forms of communication. An example of language is words spoken. An example of language is words read in a book. An example of language is people using their hands to express themselves. … A system of signs, symbols, gestures, or rules used in communicating. How is language important? Language helps express our feelings, desires, and queries to the world around us. … In order to travel the world, whether for business or pleasure, a desire and willingness to adapt to new cultures and methods is necessary. Adaptability, of course, includes the ability to communicate with new people in various dialects. What is language summary? Language is a system of symbols and rules that is used for meaningful communication. A system of communication has to meet certain criteria in order to be considered a language: A language uses symbols, which are sounds, gestures, or written characters that represent objects, actions, events, and ideas. What is the language function? A language function refers to what students do with language as they engage with content and interact with others. Functions represent the active use of language for a specific purpose. … Language forms deal with the internal grammatical structure of words and phrases as well as the word themselves.

<urn:uuid:5b73126a-3af6-4178-8766-403408a8c6a7>

CC-MAIN-2021-17

https://yourstayathomemom.com/qa/what-does-language-mean-in-writing.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038119532.50/warc/CC-MAIN-20210417102129-20210417132129-00583.warc.gz

en

Friedrich Nietzsche Essays English Creative Writing Ideas Friedrich Nietzsche (1844–1900) was a German philosopher of the late 19th century who challenged the foundations of Christianity and traditional morality. He was interested in the enhancement of individual and cultural health, and believed in life, creativity, power, and down-to-earth realities, rather than those situated in a world beyond. In the small German village of Röcken bei Lützen, located in a rural farmland area southwest of Leipzig, Friedrich Wilhelm Nietzsche was born at approximately a.m. The date coincided with the 49th birthday of the Prussian King, Friedrich Wilhelm IV, after whom Nietzsche was named, and who had been responsible for Nietzsche’s father’s appointment as Röcken’s town minister. As a student of philology, Nietzsche attended lectures by Otto Jahn (1813–1869) and Friedrich Wilhelm Ritschl (1806–1876).He returned shortly thereafter to the University of Leipzig, and in November of 1868, met the composer Richard Wagner (1813–1883) at the home of Hermann Brockhaus (1806–1877), an Orientalist who was married to Wagner’s sister, Ottilie.Brockhaus was himself a specialist in Sanskrit and Persian whose publications included (1850) an edition of the —a text of the Zoroastrian religion, whose prophet was Zarathustra (Zoroaster).The Nietzsche-Wagner relationship was quasi-familial and sometimes-stormy, and it affected Nietzsche deeply.Early on, he could write (in 1869) that his friendship with Wagner was the “greatest achievement” of his life, and he was still energetically engaged in appraising and pondering Wagner’s cultural significance twenty years later at the end of his writing life.They moved to nearby Naumburg an der Saale, where Nietzsche (called “Fritz” by his family) lived with his mother, Franziska (1826–1897), his grandmother, Erdmuthe, his father’s two sisters, Auguste and Rosalie (d.18, respectively), and his younger sister, Therese Elisabeth Alexandra (1846–1935).But Nietzsche broke with Wagner personally and intellectually in the late 1870s, and his assessments became increasingly negative (and more and more explicit) as time went on.Nevertheless, even after their break, Nietzsche was still reminiscing wistfully in 1882 about how his days with Wagner had been the best of his life.Wagner and Nietzsche shared an enthusiasm for Schopenhauer, and Nietzsche—who had been composing piano, choral and orchestral music since he was a teenager—admired Wagner for his musical genius, magnetic personality and cultural influence.Wagner was the same age Nietzsche’s father would have been, and he had also attended the University of Leipzig many years before.

<urn:uuid:3b4df7b9-4f2b-4d1f-8ec3-d65a5bc0962d>

CC-MAIN-2021-17

https://www.vega-distribution.ru/friedrich-nietzsche-essays-623.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00021.warc.gz

en

I decided to choose the book Bud Not Buddy because it was a recommended read by the CCSS, it has interpersonal relationships that offer good evaluation of the problem solution format of character development and it has a connection with the history topics we are covering this year with slavery and industrialization. In this book Bud's father has left him when he was very young and he goes in search of him. I start the lesson by pretending to read the jazz band flyer titled "Limited Engagement of 'Herman E. Calloway and the Dusky Devastors of the Depression".- his father's band and the last thing he holds from him. I then ask students "If you were an orphan what one thing would you have would be the most important to you?" I take some answers and then ask "What if you thought you were an orphan and then found out that your father was alive but was living far away. Would you go and try to find him?" How would you do this if you didn't have any money?" Students share responses and we have a discussion about the questions. Now I introduce the objective and book - Today we are going to begin a unit on a story titled, "Bud Not Buddy" about a young orphan who has to face this same problem. Today we are going to begin reading a class story titled Bud Not Buddy. It’s a story about a boy about your age that is an orphan because his mother is died and his father left when he was very young. The setting is during the time in your history called the Great Depression. This was a time after the war when people could not find work and many were poor and hungry. It was also a time when African American’s faced segregation and many were treated unfairly. Now I introduce them to Bud and the adventures he faces by reading a part of the text aloud – Bud has only a suitcase, a few pieces of clothing and a flyer his mother left him with the name of a jazz band. Bud thinks the band leader is his father and decides to go and find him because he is treated so badly while living at the orphanage. On his trip he finds a city called Hooverville made up of homeless and jobless people, gets picked up on the side of the road by a stranger named, Lefty Lewis, meets a kind limousine driver who warns him about the dangers of being an African American child walking alone, meets someone he thinks is a vampire and many other adventures on his way to find his father. I share that when I chose this book for our class read aloud, I first read the title page, then the back cover, then the introduction and finally the first few pages to see if it was interesting and written in a way that I could read aloud. When I realized it was a great story to read, I thought about what I already knew about the setting of the Depression, like people use to stand in food lines, and many lived on the streets or worked really long hours for little pay. This made me think of some questions that I wanted to get answers to in the story. I wondered if Bud’s mother worked long hours and that was why she died? I also wondered how Bud felt and if he had any friends? Another thing I wanted to know was why his father left him and never tried to contact him? Good Readers question text and read for meaning to better understand the story events. I put up the chart of with my questions and knowledge in the columns. I pass out copies of the book Bud Not Buddy (or you can pass out copies of the introduction paragraphs) and a worksheet What I Wonder What I Know chart Students are instructed that they will read the first chapter of the text silently and write down connections to the information that they already know in the "What I Know" section. They will then add questions they have about the story events or characters in the "What I Wonder" section. I set a timer for 15 minutes because I want students to feel the urgency of getting the task completed and to give me enough time to circulate and address the difficulties of a few struggling students. The primary areas of struggle were in understanding what the Depression was and how needy these people were. Most students had never gone hungry for more than an hour so the concept of not eating for days was not comprehensible. It did leave a big impression and increased their buy-in for the story once they got it:) When the timer sounds I have them do a five minute share with their partners of their worksheets to begin building group sharing skills. I circulate and question students to determine their reading abilities. Struggling readers can be partnered in a read aloud group with a helpful peer. I gather students together again and want to keep them interested and questioning as they read so I ask them: Why do you think parents would abandon their children during the Great Depression time? Bud kept saying his name was "Bud" not "Buddy" - what was his purpose for saying this? - how did he want others to feel about him? I ask students if any would like to share their questions on the text they read for our chart and write them below my entries. I collect the books and have students put their worksheets in their lit circle folders (I collect them so that they do not read ahead of the sections we are focusing on)

<urn:uuid:3c42a806-26f4-4f21-9cb6-dd37bc3402d0>

CC-MAIN-2021-17

https://betterlesson.com/lesson/547523/creating-interest-effective-book-talks

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00342.warc.gz

en

Having a strong understanding of the English Language will allow students to become fluent in written and spoken English. This will allow them to communicate effectively with the world around them, thus allowing children to become engaged in cultural, social and economic issues, and intellectual debates. The curriculum is designed and sequenced so that pupils gain mastery of the skills needed to read, write and articulate orally to a standard that will enable them to access both the literature and language GCSE courses at Key Stage Four and beyond. The overarching intention is that students are able to confidently discuss, analyse and make their own judgements about a piece of writing. Within different units, students will develop a wide variety of skills. These will include analysing language and its impact on the audience/ reader; discussing how structure within a text is used for effect and how context helps to impact writers and their work. At Castle Donington College, English teachers are keen to develop a genuine love of literature and have developed a curriculum that allows pupils to explore and access a range of texts with passionate and highly competent teachers. Success at key stage 3 build confidence before pupils embarking on the more in-depth exploration of literature at key stage four. Knowledge taught in years 7, 8 and 9 helps pupils to develop both analytical and writing skills. Pupils are exposed to a broad and exciting range of texts, through which they develop their understanding of how texts are crafted for audience and purpose; their inferential and analytical skills and their own ability to write precisely using punctuation, literary techniques and vocabulary for effect on their reader. The Key Stage Three English Curriculum has been designed to spark students’ interests and creativity, whilst providing them with a solid basis of preparation to meet the rigours of Key Stage 4 and 5. It is designed to challenge pupils, promote valid and respectful discussion and debate, as well as introduce them to a wide range of different texts and genres. Pupils will also study a wide range of non-fiction texts including newspaper articles and speeches, and learn how to use language and structure to argue their own point of view successfully. There are also literacy lessons, focussing on spelling, punctuation and grammar, and library lessons focussing on independent reading embedded throughout the year. All pupils will also have opportunities to write creatively, both within the texts and genres they are studying and beyond. Through this work students will also learn subject-specific vocabulary to be employed within their own writing, as well as how to structure their work successfully and with flair English Literature and Language is taught together through the English Curriculum, which is divided into discreet units. Pupils focus on one element (transactional writing, Writers Voice, Shakespeare, Conflict and recent writing) in each year and develop skills in a range of contexts. All pupils in Years 7 to 11 receive 8 lessons on English each fortnight. This includes language and literature, taught by the same teacher. One lesson is dedicated to Creative writing and exploits the College library as a resource. Wherever appropriate, we also aim to enrich the learning experience of our pupils through storytellers, performance poets and live performances.

<urn:uuid:79f71ca1-f870-4406-a290-bbd78d1b663c>

CC-MAIN-2021-17

https://www.cdcollege.uk/page/?title=English&pid=78

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057142.4/warc/CC-MAIN-20210410134715-20210410164715-00583.warc.gz

en

Both polystyrene and polyurethane are polymers, synthetic substances made from long chains of molecules. These molecules consist mostly of carbon and hydrogen atoms. Industry produces these ubiquitous plastic building materials to make all sorts of common items. The computers we use are typically encased in polystyrene, which is an older polymer. However, polyurethane is increasingly coming to replace polystyrene in certain situations, particularly those which require more flexibility. Though they are sometime confused, there are differences between the two in terms of their composition, the ability of finished products to resist chemicals and conduct heat and their tolerance for thickness. Polystyrene is a polymer containing molecules composed of carbon and hydrogen atoms, typically eight of each. The molecular formula of polyurethane, on the other hand, describes a much more complex polymer made from molecules composed of nitrogen and oxygen as well as carbon and hydrogen. Unlike polystyrene, which forms a hard plastic, polyurethane's polymers can be arranged differently to create substances with varying degrees of flexibility. The R-value of a building material measures its thermal resistance. Polyurethane demonstrates about twice the resistance to heat that polystyrene manages and is an excellent material for electrical insulation. In addition, polyurethane continues to maintain flexibility in very cold conditions, though a gradual stiffening begins at 0 degrees Fahrenheit. However, this resistance varies according to the density and thickness of each material. Polyurethane does not melt, unlike polystyrene. In fact, polyurethane will remain mostly undamaged by heat until temperatures reach 700 degrees, at which point the material begins to char. Polystyrene will melt at temperatures in the 200- to 300-degree range. Polyurethane makes a superior fire-retardant material. Chemical Resistance, Weathering and Abrasion While polystyrene will suffer when subjected to solvents such as gasoline and certain insect sprays, polyurethane is resistant to all chemicals. This polymer also outperforms polystyrene in resisting atmospheric damage due to oxidation and sunlight. In fact, polyurethane withstands all physical attacks and stresses better than polystyrene. Since polyurethane resembles rubber as well as plastic, it can be effectively used to make load-bearing wheels, mechanical joints, couplings and machine mounts. Polystyrene does not have the flexibility for these tasks. Since it has some of the qualities of rubber, polyurethane is useful in achieving mechanical sound reduction. Gears made from this polymer make much less noise. About the Author Robert Paxton has been writing professionally since 2002 when he published his first novel. He has also published short stories and poems and writes ad copy for various websites. He graduated from the University of Arizona in 1995 with a bachelor's degree in creative writing. Paxton is a trained Montessori instructor who has taught at both the elementary and the secondary levels. Hemera Technologies/PhotoObjects.net/Getty Images

<urn:uuid:2d2cd170-565e-42ad-86ee-fc37f35ba539>

CC-MAIN-2021-17

https://sciencing.com/difference-between-polystyrene-polyurethane-8730934.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00383.warc.gz

en

Updated: Sep 7, 2020 Identifying a school's core ethical values can involve either a cursory mention of vague principles (e.g. caring, respect, and responsibility) or can quickly become a rabbit-hole of moral and ethical conundrums resulting in more confusion than solutions. Finding an effective middle ground for identifying core ethical values is by far the most important consensus to have for a school and its staff, especially when engaging in conversations regarding social, emotional, and character development of students and their families. For example, a school which elevates the value of respect as a school-wide core value might find the word respect to be interpreted a number of different ways depending on who is part of the conversation. Is respect an authoritarian structure of power and control? or is respect a more egalitarian, collectivist perspective that places a smaller distance of power and control between levels of structural relationships? Using a word like respect in schools directly impacts instructional practices, especially when differences in perspective between classrooms can be subtle or wide. It is in this capacity to interpret concepts such as respect that instructional leadership from an administrator can add to this complexity. This is particularly true when administrators seek to shape these concepts into a collective campus-wide agreement on how these concepts are infused into classroom teacher's management and instruction. Defining (Western Philosophical) Ethical Values This becomes a particular challenge when schools use language without adequate definition. Referring to an idea such as respect as a core ethical value of a school may actually be a misplacement of it as a virtue in the first place. "Disrespect" is often presented on the grounds that a person has been deemed of little or no worth, or at least less than their own perceived self-worth. In this way, respect may be seen as a defining of an assumed personal value, but how is this value being defined? The idea of respect is often associated with behaviors related to obedience of authority - a unidirectional expectation for behavior. What might be better is to consider actual ethical values of Western philosophy such as magnanimity (having great spirit; noble and giving) and temperance (having self-control and restraint with regards to pleasure). There are excesses and deficiencies to such virtues that a school seeking to formalize core ethical values may want to discuss openly and honestly. Seeking temperance in our behaviors lends itself to ideas of self-regulation which are quickly becoming more popular in social-emotional learning programs. However, an excess of temperance might result in an insensible restriction of basic human rights, while an extreme deficiency results in a constant state of damaging self-indulgence. It is not as simple as exercising one form of temperance in any and all situations. Life for students in the K-12 grade levels becomes increasingly complex, personally and socially, with each passing year. Their behaviors become more complex as both their social and their societal expectations become increasingly more complex. To discuss behaviors based on virtue principles begins by defining core principles with purpose and intent. Principles and Discipline Policies and behavior management strategies directly impact differences in understanding of core principles. Perhaps a school refers to responsibility as a core principle. There is often an expressed desire to promote intrinsically-motivated student responsibility, for students to "take responsibility" for their belongings, their actions, their consequences. However, this is often done through the rewarding and punishing of specific behaviors, resulting in an extrinsic approach to motivating students to develop a specific set of "responsible" behaviors. This creates a philosophical conflict - are principles learned through behavior? or are behaviors learned through principles? and how does a school's discipline policy impact these principles and behaviors? If we were to take a philosophical perspective, we would find a separation between what Aristotle and Kant would argue is a focus on specific behaviors guided by moral and virtue, versus a more consequential focus on circumstance where the end justifies the means. The difference is in whether specific behaviors can be expected to always be "right" regardless of the outcome (deontological ethics), or whether our focus on an outcome can be expected to validate what we might consider is a "wrong" behavior (teleological ethics). This can create conflict in a school's discipline policy when a school-wide policy on discipline might focus on avoiding certain outcomes from student behavior while teachers in that school might focus on specific behaviors which, though intended to align with the school-wide policy, creates a gray area of individual circumstances between specific behaviors and the undesired outcomes. For example, a school may seek to keep students from using offensive language or engaging in physical fights. A teacher in that school may also seek the same goal but, instead of listing undesired outcomes as the focus for their class rules, a list of general behavior expectations is discussed, such as: raise your hand to speak. While being kind and showing respect does address a school's desire to avoid offensive language or physical fights on campus, there does exist a gray area between the two which can get lost in translation, especially from the perspective of the students. Now imagine how students might react to the kind of philosophical discussion introduced in this article about what is right, what is wrong, and separating the differences between the 'means' and the 'end'. What benefit could ongoing conversations regarding these philosophical differences have on student understanding of ethical principles and discipline? How could a school's philosophical perspective, combined with the collective perspective of that school's teachers, impact student social, emotional, and character development? Pluralism and Diversity in Schools One other consideration is the plurality of a public school setting. Core ethical values can be a difficult topic for discussion in school communities which do not have a large majority of stakeholders sharing similar interpretations of specific school-defined values, ethics, and other moral codes of conduct. I believe pluralism and diversity serves a great value in a public setting and that schools seeking to define their core ethical values would benefit from crowdsourcing their own definitions from their community stakeholders. Additionally, differences and disparities of philosophical interpretation can be better understood through the direct instruction and modeling of appropriate conflict resolutions strategies both in and out of classrooms, school grounds, as well as throughout a school's community. This is only one consideration which leads me to connecting explicit social and emotional learning and assessment in schools as well as connecting a school's organizational structure, its culture, and its climate. Organizational Culture and Character Development I see a need for government officials and policy-writers to see schools for what they are - opportunities to develop in students what to develop a strong understanding of organizational culture while they are working to develop a meaningful approach to social, emotional, and character development (SECD). A challenge I see in schools as I continue working through this connection is that schools don't have objective domains for specific elements of organizational culture like they do with CASEL's organized competencies for SECD. I believe the more we help schools shift toward a perspective that embraces SECD, the more we'll see schools needing to specifically address deeper-rooted elements of culture and climate. My work in connecting SECD and Elements of Culture in schools is directed toward creating a self-directed learning environment within a school system. As I continue my work, I hope to connect with other educators and leaders in education seeking to adopt and adapt such an environment through the use of a standards-based approach to social-emotional learning with a developmental mindset. Interested educators or school leaders can contact me directly at Contact@ExploringTheCore.com for opportunities to collaborate on school campuses across the country. April 26, 2020 (Edited September 7, 2020) Exploring the Core LLC

<urn:uuid:f574ae81-50ce-490b-8fad-f9329bd9c9b7>

CC-MAIN-2021-17

https://www.exploringthecore.com/post/core-ethical-values

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038863420.65/warc/CC-MAIN-20210419015157-20210419045157-00261.warc.gz

en

Miss Steyn says.. Owl Class Home Learning Week Beginning 18.5.20-22.5.20 Welcome to another week of home learning. It’s nearly half term and nearly time for a well-deserved break! (for everyone!) Please spend some time over the week practising your weekly spellings. There is an attached PowerPoint Presentation that goes through the spelling rule and gives you a chance to practise. The weekly spellings for this week are: Spelling Rule: Challenge words ending in ‘ar’ and ‘er’ Task 1: Complete Ordering numbers to 10,000 in the workbook (pages 44-46) Task 2: Complete Rounding to the nearest 1000 in the workbook (pages 47-49) Task 3: Complete Solving problems using rounding in the workbook (pages 50-51) Task 4: Complete the Ordering Numbers challenge. There are two challenges to have a go at (please try and do at least one). The answers are provided! You can record your workings/answers in the squared maths book. Task 1: Spellings Practise your weekly spellings and use the PowerPoint to help you. Can you write definitions for all your spelling words? Use a dictionary if you’re not sure what a word means. There is a word search to help. Task 2: SPaG- Inverted commas/Speech punctuation Link to video: https://youtu.be/o4aKVwm2un4 Go through the PowerPoint and watch the video. Inverted commas can be a bit tricky to understand as there are lots of rules. Complete the speech punctuation activity where you need to punctuate the conversation between the two monsters, Grig and Harl. Then have a go at continuing the conversation making sure you are using inverted commas correctly! Don’t forget to always look out for inverted commas when you’re reading! Task 3: Reading Comprehension Complete the reading comprehension activity on Treasure House. Task 4: Creative Writing This week I am going to give you a story starter (see below). Copy this into your book and then carry on the story… Bleary-eyed, I went downstairs for breakfast. The house was empty, even the furniture had gone... Go through the PowerPoint presentation all about going on an invertebrate hunt in your local habitat. This could be your garden, local park or any nearby outdoor area. Try and find some different invertebrates and record any you do find on the invertebrate hunt sheet. I have given you a classification key to help you identify what you find. After you’ve been on your hunt, choose one invertebrate to explore further. Can you draw a detailed picture of the invertebrate and include some facts about it? I wonder if you could label your drawing too! Topic/ICT- The Blitz Link to video where I talk about the Blitz: https://youtu.be/tUwlR5-bkfE Find out and learn about the Blitz that happened during the Second World War. This website is a good place to start: http://www.primaryhomeworkhelp.co.uk/war/blitz.htm. Find out as much as you can about what life was like for people during the Blitz. Present your findings in one of the following ways: · A PowerPoint · A video · A poster/leaflet This week I’d like you to listen to some popular war time songs. · We’ll meet again by Vera Lynn https://www.youtube.com/watch?v=OJKMji2688M · Run rabbit run by Flanagan and Allen https://www.youtube.com/watch?v=SXmk8dbFv_o · Daisy, Daisy https://www.youtube.com/watch?v=5AEIvmZ1mRc · They’ll always be an England by Vera Lynn https://www.youtube.com/watch?v=_qhLPWcm-0w · White Cliffs of Dover by Vera Lynn https://www.youtube.com/watch?v=89487uG13Ro · Pack up your troubles/Long way to Tipperary (this is a modern version) https://www.youtube.com/watch?v=_xHncYtj4_A · Rule Britannia/Land of Hope and Glory (this is a modern version) https://www.youtube.com/watch?v=vIrfS2j1xJc Which of these songs was your favourite? Why did you like it? What do you think the message/purpose of the song is? Can you have a go at learning one of these songs! I know Mrs Bennett would LOVE to hear that you’ve been learning these songs as she would normally teach them to you. If you want to you can record yourself singing them and I will pass it on to her. The D-Day Darlings YouTube videos are great if you want to listen to some more modern versions of wartime songs! I can’t stop listening to them at the moment! Optional Half Term Art Mini Project- Blitz picture! I really enjoyed seeing your Kandinsky inspired artwork a few weeks ago and it was great to be able to put together a class video to show off all your amazing work. Since we are learning about the Blitz at the moment, I thought I’d set you a challenge! Can you create a piece of artwork inspired by the Blitz? You might want to have a go at painting a background using shades of red, yellow and orange to show the fire and then layering it with black silhouettes! Or you could do a drawing, sketch or collage? You can be as creative as you like! Type ‘Blitz art ideas’ into Google for some inspiration! If you do have a go, please send me your finished artwork via email so I can put together another video J I can’t wait to see them! There will be some activities for you to complete on Purple Mash. Log in and go to ‘2Dos’ and complete the tasks that have been set. I will be able to see how you got on once you’ve finished. Learn the Lindy hop dance! The Lindy hop was a popular style of dancing during WW2. I have included some videos that you can have a look at, including the Lindy-Hop-A-Thon from Strictly Come Dancing 2018! Can you learn some of the moves? Maybe have a go with another member of your family! It’s great fun but very tiring! Make sure you try and get outside for a little bit each day. Go on a morning walk or do some exercises in your garden. Fresh air is really important! Reading with Miss Steyn This week there are 5 more videos to watch for our book The Girl Who Stole An Elephant. We will finish the book this week so I will have a think about what our next class book will be! I hope you enjoy J 1. Chapter 34, 35 and 36: https://youtu.be/1vWAxSeJqvE 2. Chapter 37, 38, 39 and 40: https://youtu.be/-svIUHLgvkg 3. Chapter 41, 42 and 43: https://youtu.be/ztNWSMwRQ_8 4. Chapter 44, 45 and 46: https://youtu.be/6HZcwFvU0TM 5. Chapter 47 and 48: https://youtu.be/vvZpiK3SsaE Ultimate Kahoot Quiz Because it’s the last week of this half term, I have put together an ultimate Kahoot quiz for you to have a go at! Don’t forget to spend some time every day reading and practising your times tables. You can complete the Daily 10 everyday too https://www.topmarks.co.uk/maths-games/daily10 If you’d like to continue keeping up to date with the news, watch the daily and weekly news on Espresso (weekly news updated every Thursday). Newsround is also another good one to look at https://www.bbc.co.uk/newsround Miss Steyn’s Brainteaser of the week: What do the initials GA stand for in netball? If you think you know the answer, email me and I will let you know! Have a happy half term everyone! Speak to you soon, Miss Steyn J

<urn:uuid:172918bc-d029-4589-beec-e6d43f259a39>

CC-MAIN-2021-17

https://www.knockholt.kent.sch.uk/page/?title=19th+May&pid=311

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00060.warc.gz

en

How Do We Teach Civics in Such a Polarized Political Climate? America’s political polarization makes teaching civics feel like navigating a minefield these days. Wary of upsetting parents or students, instructors may be looking more toward the elections of the 19th century than those of the 21st. While historical events are essential to students’ understanding of modern governance, it is equally important that civics or history teachers embrace modern politics in their classrooms. But how do we do that in such polarized times? Start by keeping these points in mind: Reinforce the importance of civics education In a 2011 article for the American Bar Association Review, author Mark Hansen explained that people in the 18-25 age range have significantly lower rates of political participation than their parents or grandparents. And they have large gaps in content knowledge surrounding civics. While the Nation’s Report Card shows an increase in civics understanding since its assessments began in 1998, it shows no positive change since its 2010 assessment. Currently, only about 23 percent of students show basic proficiency in civics and government education. This means significant numbers of students leave high schools unprepared to navigate the complex political space of adulthood. Use modern examples to bring history to life While historical examples can help teach students civics, it’s much more important to use immediate current, and even local, political issues to help students apply their learning about government to their own lives. Giving students real-world examples and problems in a civics arena can help attach meaning to the concepts they are learning. Still, this might lead to potential landmines: Students disagree on politics because the modern political environment is so divisive, while instructors fear student conflict, parental involvement or even district censorship. Arguments can shut down classes and inhibit learning, while popular political positions can marginalize students who hold unpopular views. No matter how “like-minded” a school’s student body may seem, civics instructors must work hard to address polarization and account for opposing views. Encourage ‘political friendship’ The Southern Poverty Law Center started an education group called Teaching Tolerance to deal with the challenge that “like-mindedness” can lead to isolation that breeds close-mindedness. Like-minded thinking also erodes what SPLC calls “political friendship” — a sincere belief that those who hold different beliefs are still basically good. What to do, then? Consider using modern civics stories and encouraging students to practice radical empathy, which gets to the heart of differences of opinion while working against judging people as good or bad. As students learn the values and principles that drive different populations, they can increasingly differentiate people from ideas. Build argumentation skills This does not come without effort. As Spiderman and Voltaire taught us, with great power comes great responsibility. In their piece “Teaching Civics in a Time of Partisan Polarization,” Peter Levine and Kei Kawashima-Ginsberg understand that instructors must be “even-handed, sensitive to the diverse backgrounds of their students, well informed and prepared.” They encourage educators to help guide students through these polarized discussions by preparing them with good argumentation skills, using evidence and rhetorical awareness. Teaching students about confirmation bias and the basic requirements of argument can help them intellectualize what might be solely an emotional issue for them. Before difficult discussions, I often tell my students, “You are safe, but your arguments are not.” This helps show students that one of the jobs of academic discourse is questioning and challenging our assumptions as much as we challenge those we disagree with. Teaching Tolerance recommends that historical trends and the development of modern ideologies be folded into discussions about modern topics. Directly addressing the roots of polarization can help students contextualize the polarization of current events and examine how historical trends relate to what’s happening now. Support civic participation These sorts of discussions aren’t limited to a civics or social studies classroom either. As students see civic-minded problems and queries in their other courses, from science to math to music or arts, they can begin to recognize the importance of civic participation and how it may directly affect their schools, teachers or classmates. While wading into discussions of modern politics can be scary territory, instructors should recognize that doing so carefully and with deep respect for the beliefs and capabilities of their students can pay off in their future participation in democracy. Along the way, this work can help enhance political friendship and create collaborators instead of name-callers. Monica Fuglei is a graduate of the University of Nebraska in Omaha and a current faculty member of Arapahoe Community College in Colorado, where she teaches composition and creative writing.Learn More: Click to view related resources. - Mark Hansen, "Flunking Civics: Why America’s Kids Know So Little," American Bar Association Journal - "The Nation’s Report Card: Civics," National Center for Education Statistics - Paula McAvoy, "Teaching Tolerance: Polarized Classrooms," Southern Poverty Law Center - Peter Levine and Kei Kawashima-Ginsberg, "Teaching Civics in a Time of Partisan Polarization," Social Education

<urn:uuid:94177fca-cd72-4bfc-b2f9-2796d5a036e8>

CC-MAIN-2021-17

https://resilienteducator.com/classroom-resources/teach-civics-polarization/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038071212.27/warc/CC-MAIN-20210413000853-20210413030853-00421.warc.gz

en

Last Updated on August 7, 2019, by eNotes Editorial. Word Count: 1424 Understanding Oneself in a Complex World as Theme: Like other tragic heroes, King Lear is on a journey to discover himself amid layers of complicated relationships. He strives to understanding who he is as king and what it means to lose political power. He strives to understand who he is as a father and who his daughters are as adults. He strives to understand his aging self, the limits of his mental and physical strength and what it means to approach the end of his life. - For discussion: Describe the way in which Lear relinquishes political power, as well as his reasons for doing so. Is he a successful leader? Why or why not? - For discussion: How does Lear define his relationships with his daughters? How does he measure their affections in act 1? How do their affections change over the course of the play? - For discussion: What control does Lear have over his own future? How does Lear’s agency develop over the course of the play? Compassion in a Cruel World as Theme: King Lear is a play marked by undeniable cruelty and tragedy, yet the familial and political ties that move some characters to treachery move others to compassion. - For discussion: Consider the instances of cruelty and compassion in the play. Which characters display cruelty and which characters display compassion? Why? Which characters, if any, display both? - For discussion: Many argue that the play expresses a pessimistic, or nihilistic, worldview. Do you agree or disagree? Why or why not? Conflict Between Fathers and Children as Theme: Though King Lear has a considerable political layer, it is also a family drama. The parallel narrative of Gloucester and his sons accentuates the intimate familial conflicts in Lear’s story arc. - For discussion: What motivates Lear to ask his daughters to compete for his affection? Why does Cordelia refuse to respond? - For discussion: What obligation do Goneril and Regan have to their father? Is Lear justified in his demands? Are Goneril and Regan justified in casting him out? - For discussion: Why does Edmund pursue power? Is his pursuit justified? - For discussion: Compare and contrast Gloucester and Lear as fathers. Do they deserve the treatment they receive from their children? The Pain of Losing Power as Theme: When Lear abdicates the throne, he sets off a sequence of events that ends in his rambling, crazed and naked, through the wilderness. King Lear enacts both the timeless story of a king’s fall from power as well as the decay inherent in the aging process. - For discussion: What authority does Lear have at the start of the play? How does he exert his authority? How does Lear lose his power and how it is redistributed over the course of the play? - For discussion: Over the course of the play, Goneril, Regan, Edmund, and Edgar all attain varying degrees of political power. How do they achieve it? How does it affect each of them? - For discussion: Compare and contrast Lear as a paternal and political character. How does his relationship with his courtiers compare to his relationships with his daughters? Is he able to maintain power over one group more or less effectively than the other? Motifs Underscoring Themes in the Play: A variety of motifs appear over the course of the play that emphasize major themes in the text. Motifs are generally images that repeat throughout a work, carrying symbolic or thematic meanings. - Castles and wilderness: These contrasting locales offer the two primary settings throughout the play. The castle comes to symbolize social order and both political power and family ties. Alternately, the wilderness comes to represent a chaos and madness; it is a place far from the human world where characters can pursue their authentic selves. - Costumes: Lear wears various regalia over the course of the play before ultimately disrobing, and Kent and Edgar both don disguises. Costumes come to symbolize the difficulty characters having in recognizing themselves and one another. - Sight and blindness: Sight, figuratively and literally symbolizes characters’ capacity to see the truth about themselves and others. - The Fool: The Fool stands opposite the elite cast in social standing, yet he is the only character Lear allows to criticize him. A purveyor of irony, the Fool warns Lear as early as act 1, scene 4 that it was a mistake to give up his land to his daughters. Mysteriously, the Fool disappears after act 3, scene 6. Tricky Issues to Address While Teaching Shakespeare’s Diction and Syntax Are Unfamiliar: Shakespeare is known as a great wordsmith, and his inventive language has puzzled and intimidated students and audiences for centuries. For many, reading Shakespeare is akin to reading a foreign language, both for its archaic diction and its riddlesome qualities. - What to do: Introduce students to common Shakespearean dramatic devices before starting the play and critical vocabulary before studying specific scenes. - What to do: Describe the character, setting, and plot before tackling the text itself. When possible, show scenes from productions of King Lear or allow students the opportunity to perform passages themselves. Context will support student understanding of figurative language. - What to do: Give students ample time for collaborative and guided reading in class. Similarly, consider giving students the permission to skim sections that are less relevant to the class discussion. The Plot Is Complex and Confusing: King Lear can be a confusing play to keep track of. There are two separate plots, which follow the narratives of Lear and Gloucester; there are two characters with similar names (Edmund and Edgar); and there are two characters who use multiple disguises (Kent and Edgar). - What to do: Draw on a variety of study guides and organizational techniques to support students as they read the play. Employ creative reading strategies to aid student comprehension. For example, consider having students act out scenes that develop the plot of a specific character, as opposed to scenes that follow sequentially in the text. - What to do: Share the following mnemonic: Edgar the Good; Edmund the Mean. - What to do: Watch a sampling of film adaptations concurrent with the class’s reading of the text. Have students dramatize key scenes, using a variety of simple costumes to enact disguises. Misogyny Is Rampant: The society within King Lear reflects a patriarchal and often misogynistic worldview that held primogeniture as the foundation of political power and property ownership. The opening conflict of the play—the division of Lear’s kingdom— would have been instantly resolved had he had a son. As Lear’s conflict with Goneril and Regan escalates, his view of women in general as threatening, problematic, disloyal, promiscuous, and even monstrous becomes increasingly apparent. - What to do: Invite students into a close reading of the text, analyzing passages in which Lear addresses the topic of gender. Lead them in a discussion about his attitude toward women. Does it change over the course of the play? Is it inherent in his nature, a result of his changing circumstances, or a product of his madness? - What to do: Ask students to translate Lear’s language about women into modern parlance. Ask them to reflect on the extent to which such attitudes about women pervade American culture today. Alternative Approaches to Teaching King Lear While the main ideas, character development, and discussion questions above are typically the focal points of units involving this text, the following suggestions represent alternative readings that may enrich your students’ experience and understanding of the play. Focus on Goneril and Regan as antiheroes. Invite students to read the text from the perspective of Goneril and Regan. Discuss with them the ways in which women had less access to familial, social, and political power than men did. Evaluate the extent to which Goneril and Regan were justified in the actions they took. Focus on social and class conflict. Edgar and Kent both experience changes in social class over the course of the play. Discuss how these changes give them access to different freedoms and privileges as they move between the worlds of nobility and wilderness. Focus on the Fool as a rhetorical device. The Fool is often considered the primary vehicle for social critique in the play, voicing social truths that reverberated in pre- Christian Britain and Shakespearean England alike. Discuss the wisdom of the Fool and the unique position he occupies in the world of the court. Unlock This Study Guide Now Start your 48-hour free trial and unlock all the summaries, Q&A, and analyses you need to get better grades now. - 30,000+ book summaries - 20% study tools discount - Ad-free content - PDF downloads - 300,000+ answers - 5-star customer support

<urn:uuid:e771c197-e9b0-46da-a01c-ae14544fcba2>

CC-MAIN-2021-17

https://www.enotes.com/topics/king-lear/teaching-guide/teaching-approaches

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039544239.84/warc/CC-MAIN-20210421130234-20210421160234-00100.warc.gz

en

AITSL STANDARD: 1.5 – Differentiate teaching to meet the specific learning needs of students across the full range of abilities Develop teaching activities that incorporate differentiated strategies to meet the specific learning needs of students across the full range of abilities. Often, I find that students are quite vague about where their story takes place. For example, “My story takes place in a small town.” My first question is, “which country?” because the geography, climate, culture and people are different for every ‘small town’. It is important that students know that writers research intensely about all facets of their writing. They look at maps and consider where events take place for the sake of realism and detail. They ask questions that will create a sense of realism in their narratives. This section is focused on getting students to visualize by using images as a reference point for their writing. They are encouraged to ask questions and generate new perspectives on their existing ideas. Visualisation is a large part of good creative writing. Visualisation allows a writer to chase realism. Our goals as writers is to capture the human experience. For example, if their character was on a rollercoaster, what does that feel like? How is the human body impacted? What sounds are created by the movement of metal? Unlike Stephen King who has a vicious writing schedule, many novels take years and years to write. The Lord of the Rings – J.R.R.Tolkein (12-17 Years) Gone with the Wind by Margaret Mitchell (10 Years) Infinite Jest by David Foster Wallace (7 Years) There are a number of reasons why, but it is difficult to deny that these narratives are complex – especially when maps are involved such as in LOTR. Writers recreate the world around them. Below I have outlined how to model to students how to begin their story, starting with locating an image through Google Search, up until their first paragraph using a word bank. While this section has been focused on setting, it could also assist their exploration of character. Encourage students to find images that relate to their character and follow the same process. Remember, some students are not confident with drawing their character out of fear of judgement. Images are a fantastic way to capture what a student is already thinking about. Depending on your school’s approach to ICT in the classroom and availability, you might like to prepare stock images for your students.

<urn:uuid:6a93cf2a-954c-409d-922d-9684152a1341>

CC-MAIN-2021-17

https://theenglishclassroom.blog/2020/04/22/visualization-and-creative-writing/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00062.warc.gz

en

Literature refers to written creative work, particularly those which have a high and enduring value. It is known for its form in which the message is presented or communicated and its content. Prose and poetry are the two common forms of literature; wherein prose is written work, which contains sentences and paragraphs, and does not have any metrical structure. As against, poetry is a genre of literature which is based on a particular form, that creates a rhyme. The basic difference between prose and poetry is that we have sentences and paragraphs, whereas lines and stanzas can be found in a poetry. Further, there is regular writing in prose, but there is a unique style of writing a poetry. We can find prose in newspaper articles, blogs, short stories, etc., however, poetry is used to share something special, aesthetically. To know more on this topic, you can read the other differences below: Content: Prose Vs Poetry |Basis for Comparison||Prose||Poetry| |Meaning||Prose is a straight forward form of literature, wherein the author expresses his thoughts and feelings in a lucid way||Poetry is that form of literature in which the poet uses a unique style and rhythm, to express intense experience.| |Language||Straight Forward||Expressive or Decorated| |Essence||Message or information||Experience| |Purpose||To provide information or to convey a message.||To delight or amuse.| |Ideas||Ideas can be found in sentences, which are arranged in paragraph.||Ideas can be found in lines, which are arranged in stanzas.| |Paraphrasing||Possible||Exact paraphrasing is not possible.| Definition of Prose The prose is an ordinary writing style in literature, which encompasses characters, plot, mood, theme, the point of view, setting, etc. making it a distinctive form of language. It is written using grammatical sentences, which forms a paragraph. It may also include dialogues, and is sometimes, supported by images but does not have a metrical structure. Prose can be fictional or non-fictional, heroic, alliterative, village, polyphonic, prose poetry etc. Biography, autobiography, memoir, essay, short stories, fairy tales, article, novel, blog and so forth use prose for creative writing. Definition of Poetry Poetry is something that arouses a complete imaginative feeling, by choosing appropriate language and selective words and arranging them in a manner that creates a proper pattern, rhyme (two or more words having identical ending sounds) and rhythm (cadence of the poem). Poetry uses an artistic way to communicate something special, i.e. a musical intonation of stressed (long sounding) and unstressed (short sounding) syllables to express or describe emotions, moments, ideas, experiences, feelings and thoughts of the poet to the audience. The structural components of poetry include lines, couplet, strophe, stanza, etc. Key Differences Between Prose and Poetry The difference between prose and poetry can be drawn clearly on the following grounds: - Prose refers to a form of literature, having ordinary language and sentence structure. Poetry is that form of literature, which is aesthetic by nature, i.e. it has a sound, cadence, rhyme, metre, etc., that adds to its meaning. - The language of prose is quite direct or straightforward. On the other hand, in poetry, we use an expressive or creative language, which includes comparisons, rhyme and rhythm that give it a unique cadence and feel. - While the prose is pragmatic, i.e. realistic, poetry is figurative. - Prose contains paragraphs, which includes a number of sentences, that has an implied message or idea. As against, poetry is written in verses, which are covered in stanzas. These verses leave a lot of unsaid things, and its interpretation depends upon the imagination of the reader. - The prose is utilitarian, which conveys a hidden moral, lesson or idea. Conversely, poetry aims to delight or amuse the reader. - The most important thing in prose is the message or information. In contrast, the poet shares his/her experience or feelings with the reader, which plays a crucial role in poetry. - In prose, there are no line breaks, whereas when it comes to poetry, there are a number of line breaks, which is just to follow the beat or to stress on an idea. - When it comes to paraphrasing or summarizing, both prose and poetry can be paraphrased, but the paraphrase of the poem is not the poem, because the essence of the poem lies in the style of writing, i.e. the way in which the poet has expressed his/her experience in verses and stanzas. So, this writing pattern and cadence is the beauty of poetry, which cannot be summarized. How to remember the difference The best trick to remember the difference between these two is to understand their writing style, i.e. while prose is written ordinarily, poetry has aesthetic features, and so it has a distinctive writing pattern. Further, the prose is that form of language which expansively conveys a message or meaning by way of a narrative structure. On the contrary, poetry is such a form of literature, with a unique writing format, i.e. it has a pattern, rhyme and rhythm. In addition to this, prose appears like big blocks of words, whereas the size of poetry may vary as per the line length and the poet’s intention.

<urn:uuid:dd59c0a9-04c0-4e72-926d-5133195f2602>

CC-MAIN-2021-17

https://keydifferences.com/difference-between-prose-and-poetry.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038860318.63/warc/CC-MAIN-20210418194009-20210418224009-00544.warc.gz

en

Back in the days, families mostly lived in large households with at least three generations under the roof. Today, grandparents usually live apart from their children and grandchildren and so visiting grandma and grandpa is a holiday: it’s a magical land that smells of freshly baked cookies and apple pie and where everything is allowed. However, children need to learn how to be empathetic and understand that there are times they have to put someone’s needs before theirs. Along with good intentions and pure hearts of grandparents, there are bad influences from peers and the outer world. There exist a risk that a child will become inconsiderate and spoiled. Here’s how you can set a solid foundation for your kids growing up into responsible adults that genuinely care and understand positions of elderly while nurturing respect for them. Be a good role model Kids are observational learners so you have to be extremely cautious about how you act when they are around. In their perspective, the way you treat others (especially your parents) is the pattern of desirable behavior. Unfortunately, kids are more prone to mirroring aggressive and negative behavior but if you create a positive environment – they won’t get the chance to pick up the bad habits. They are still forming and so you have to teach them the difference between right and wrong, not just by talking to them – but by practicing what you preach. The way you communicate with your parents or how willing you are to compromise when needed – all of it is processed by your children and so they act accordingly in their own personal relationship with grandma and grandpa. Encourage them to help The phase of egocentrism is completely natural for preschoolers as they need time for cognitive development and learning about other people’s feelings or thinking. They are yet incapable to fully comprehend their position in the world, the position of others, and the relationships in between as they cannot simply abandon their perspective. To support them in doing so, gradually introduce them to chores and help them realize they can make a difference. Encourage them to help in home care as they will also bond with their grandparents, make them clean their room or do simple chores like watering plants or fluffing the pillows. Most importantly – show appreciation for their work. If you react positively to their efforts, they will understand their actions are good. When they start doing more demanding work around the house, they will value what you do for them more. This is how you teach responsibility and empathy. Celebrate the art of conversation Kids are curious by nature so they are prone to asking questions. The fact is, grandparents might seem as they are from another world to them and that their worlds don’t overlap in any way. Start by talking about your parents’ lives and your children will realize they have a lot more in common with them than they thought. When you spark an interest this way, your kids will surely want to know more about it from grandma and grandpa themselves. That is where the magic of storytelling kicks in. It is the greatest way for the two generations to bond: kids will build respect (and amazement) for their grandparents’ accomplishments from the past. They will gain a better understanding of their grandparents’ life paths which may trigger a new perspective and help them become more engaged and respectful. Let them be As adults, we tend to urge our kids to realize great truths about life, even though they have to do it in their own pace. All you can really do is arm them with love and good moral foundation, but they have to figure it out on their own. It helps if grandma and grandpa set some boundaries and try to teach them about great values and the importance of family. Building this relationship takes time, even though we sometimes want to rush it. Our adult perspective makes us aware of just how short life is but to kids – it feels as they will be forever young and never become grandparents on their own. Encourage frequent visits and let the communication follow its natural course. The moment you start forcing anything, your kids will start perceiving going to grandma and grandpa as an obligation. It can be challenging to bring up caring and respectful kids in today’s world. Follow these tips and have faith your child will find their way. Today’s post was written by a guest writer by the name of Zara Lewis (@ZaraELewis). Zara is a mom, fitness & yoga enthusiast, caregiver to her mother-in-law and a regular writer for High Style Life. She is devoted to implementing healthy life habits in every aspect of her life and that of her family and friends. She loves to share her parenting tips and is always open to learning some new skills because she sees her parenthood as going to school forever. She enjoys traveling, hiking, cycling, and baking.

<urn:uuid:3424f656-c29b-4632-aa05-694b57f296e5>

CC-MAIN-2021-17

https://thediaryofanalzheimerscaregiver.com/teaching-kids-respect-responsibility-care-elderly/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066613.21/warc/CC-MAIN-20210412053559-20210412083559-00260.warc.gz

en

This section provides information on keeping your preschooler healthy (children aged three to five). - Nutritious meals and snacks based on the Canada Health Guide will help preschool children develop healthy eating habits and provide nutrients needed for healthy growth. - Preschoolers need to exercise their large muscles often. Give them time and space for activities like running, climbing, jumping, dancing, and swimming. - Preschoolers are ready to develop fine motor skills like holding a crayon, using scissors, zipping zippers, doing up buttons, and tying laces. Age-appropriate toys and activities will help them practice these skills. - Parenting preschool children involves caring for their social and emotional development. - Regular check-ups with your family doctor and public health nurse are important for ensuring your preschooler’s good health and development. Immunizations, as well as vision, speech, and hearing tests should be done before your child enters school. View PDF of slides Healthy Babies and Children, Island Health May 2018 Healthy food is essential for growing children but, like you, your child’s relationship to food is not just nutritional. Choosing, preparing, and enjoying food is often a family affair. Many children show their first signs of independence at mealtime. You can help your preschooler develop healthy eating habits and attitudes toward food - provide your preschooler with a healthy range of foods following recommendations in the Canada Health Guide - preschool children need routines - regular and frequent meal and snack times give them the nutrition they need and help them develop healthy eating habits - allow your preschooler to make decisions about food - offer healthy choices and allow them to decide how much they need to eat - model healthy eating habits, a healthy body weight and positive self-image for your child - respect the food preferences of your child, but also encourage her to try new things to develop their sense of taste and acceptance and enjoyment of new foods - avoid using food to bribe, comfort, or control your child As your child grows, her need for your guidance expands and becomes more complex. Like babies, preschoolers need plenty of physical affection, comfort, and security. They also need your help to start developing social and emotional maturity. Learning about child development will give you reasonable expectations for your child and help you find ways to nurture healthy development. Every child-parent relationship is different. Consider how your child’s temperament and your own parenting style interact. Preschoolers respond best when parents praise positive behaviour and give consistent, reasonable consequences for negative behaviour. Research continues to show that even light physical discipline harms a child’s mental and emotional health. Nurturing your child includes supporting learning, as well as the development of social skills and emotional changes. Between the ages of three to five, preschool children are ready to take small steps toward emotional maturity. Parents can help nurture their preschooler’s budding self-control, stress-handling skills, and confidence. Keep in mind these skills are brand new so your expectations should be reasonable. - at the end of your child's second year, typically the year of the tantrum, your child will start to be able to control her impulses - over the next few years, you can help by encouraging your preschooler to take turns, giving routines they can understand and follow, involving them in family decision-making and problem-solving and teaching to control aggressive behaviour - nurturing and soothing attention during the baby years set the foundation for a preschooler’s ability to handle normal stress and anxiety - continue to respond quickly and positively to your child’s needs for affection, comfort and security - preschoolers’ new physical and social competence make them eager to participate in the grown-up world - support your child’s increasing confidence by letting them handle new situations and try new things You are your child’s first teacher. By the time he is a preschooler, you’ve already taught him to walk and speak, two of the most difficult things a child will ever learn. You do not need a certificate in education to continue teaching your preschooler new things. - encourage, support and praise curiosity, imagination, and exploration - these will fuel your child’s excitement for learning for the rest of her life - take time to enrich activities like baking, repairing the home and walks in your neighbourhood by teaching your child what you know - every new day provides hundreds of opportunities for your child to develop vocabulary, problem-solving skills and number skills - read with your child - the single most important thing a parent can do to ensure a child’s healthy intellectual development is to read to them every day - read picture books, instructions, signs, cereal boxes, comics, newspapers and menus - visit the library in your community often so your child has new, interesting things to read - use play time to help preschoolers develop the skills they will need to enter school - age-appropriate activities and toys build fine motor skills like holding a crayon, using scissors, zipping, buttoning and tying laces The preschool years mark the beginning of your child’s move from a “me-centred” universe into awareness of the world of others. They need you to nurture healthy social skills and encourage positive interactions with other people. - language and communication skills will form the basis of your child’s relationships with other people - help your preschooler develop social skills simply by talking with him and actively listening to them - encourage conversations through storytelling and asking open-ended questions - preschool children are now learning to control their impulses - this is crucial for the development of age-appropriate social skills - praise your child when she shares and waits their turn - encourage your child to develop empathy for others by using teaching and explanation to discipline - help them take another person’s perspective and feel concern for a victim - find organized and unorganized activities where your preschooler can interact with other children

<urn:uuid:d9993e17-02c6-41fa-adcf-cc3d854136ad>

CC-MAIN-2021-17

https://www.islandhealth.ca/learn-about-health/children-youth/preschool-age-children-0-5-years-old

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00140.warc.gz

en

What is Virtual Reality? Virtual reality (VR) is the experience where users feel immersed in a simulated world, via hardware—e.g., headsets—and software. Designers create VR experiences—e.g., virtual museums—transporting users to 3D environments where they freely move and interact to perform predetermined tasks and attain goals—e.g., learning. To create great VR experiences, it’s vital to design with a first-person perspective in mind. VR—Entering New Worlds Through Equipment In VR design, your goal is for users to experience an alternative existence through whichever senses your design can access. The more your design reaches your users through—particularly—sight, hearing and touch, the more immersed they will be in virtual reality. You therefore want to isolate users as far as possible from the real world. VR’s history began with the View-Master (a stereoscopic visual simulator) in 1939 and Morton Heilig’s 1950s’ Sensorama multi-experience theatre. The development of the first head-mounted display (HMD) followed in 1968. Then, designers focused on professionally geared applications in the 1970s and 1980s. With more sophisticated technology, they could tailor computerized VR experiences to the fields of military training, medicine and flight simulation. After 1990, just after “Virtual Reality” became popularly known, VR entered the wider consumer world through video-games. VR has since become progressively more affordable and sophisticated. Virtual Reality vs Augmented Reality vs Mixed Reality In virtual reality, you isolate the user from the real world and create presence in a virtual environment. VR differs from augmented reality, where users remain anchored in the real world but experience computerized overlays. AR and VR—along with mixed reality (MR), where users interact with digital elements which are anchored to the real world—come under the umbrella term extended reality (XR). In AR, users employ devices (e.g., smartphones) to find parts of the real world (e.g., a room) overlaid with computer-generated input. Designers insert a range of digital elements such as graphics and GPS overlays which adjust to changes in the user’s environment (e.g., movement) in real time. In MR, users have a more sophisticated experience where digital interplays with real-world content—e.g., surgeons operating on patients via projected ultrasound images. In VR, users’ real-world movements translate fully to preprogrammed environments, letting them play along with convincing VR illusions. So, in VR design you offer users near-total escapism. “Virtual Reality is really a new communication platform. By feeling truly present, you can share unbounded spaces and experiences with the people in your life. Imagine sharing not just moments with your friends online, but entire experiences and adventures.” — Mark Zuckerberg, Facebook’s CEO VR—Designing to Dupe the Senses In VR, you have three “genres” to reach users: - Hyper-immersive or emotion-based designs (which can involve scents). - Live-action-style POV (first-person point-of-view) documentaries (e.g., exploring virtual rainforests). - Games and gamified experiences. To design VR experiences, you must understand human physiology and psychology—users’ needs, limitations, etc.—and what makes VR experiences enjoyable versus unpleasant. You should focus on: - Believability—Incorporate features (principally images and sound) to envelop users entirely in 3D environments. - Interactivity—Make designs intuitive; remove outside-world interference. While you’re presenting brand-new environments, how users interact with these must match what they’re used to doing in the real world (e.g., punches are still punches). - Explorability—Ensure users can freely move about and discover the “reality” offered. - Immersiveness—By combining the above factors, you achieve the goal: inserting users’ presences in your design. Throughout the design process, you should consider: - Safety and Comfort—Prevent virtual-reality sickness (like motion sickness, but stemming from sensory conflict/triggers from artificial environments). You want to immerse users in a—virtually—hermetically sealed environment. However, they can become disoriented. Users’ bodies are different. Where they experience VR can be just as varied. When they can move freely using your design, they can collide with/trip over things or fall. While some devices—e.g., the HTC Vive—warn users about objects, don’t overlook safety. Neck strains can arise from headset use. Additionally: - Let users see and use controls/menus. - Avoid changes in brightness and speed (don’t accelerate users; avoid flashing lights). - Keep frame rates high. - Keep peripheral motion minimal—users typically have 180-degree vision. - Interaction and Reaction—Design ergonomically for users’ natural movement. Systems’ head-tracking, motion-tracking and (possibly) eye-tracking sensors and hand controllers must respond dynamically. That means they must offer instant control which reflects real-world behavior. Users’ arms have 50–70-cm reach; so, place key interactions in this zone. - Image and Text Scale—Prevent eye strain and help user orientation with depth perception: your visuals keep changing, so make images more detailed as users approach them. Use eye-catching text. Comfortable focusing distances are typically 0.5–20 meters. - Sound—Use sound for atmosphere, and to give users a sense of place in the environment and cues. As VR keeps advancing into the mainstream, a demographic shift is inevitable as more users expect to be teleported into exciting new experiences.The less they sense your interface, the more immersed they become. Learn More about Virtual Reality Learn how to design your own VR experiences with our course: How to Design for Augmented and Virtual Reality An award-winning designer’s insights into VR UX, with tips and tools including frameworks: https://medium.com/inborn-experience/how-to-design-for-virtual-reality-66d62e88791 Smashing Magazine’s in-depth approach to VR UX design: https://www.smashingmagazine.com/2017/02/getting-started-with-vr-interface-design/ A well-stocked resource on VR design, including finer points (e.g., terrain features): https://blog.marvelapp.com/design-practices-virtual-reality/ Literature on Virtual Reality Here’s the entire UX literature on Virtual Reality by the Interaction Design Foundation, collated in one place: Learn more about Virtual Reality Take a deep dive into Virtual Reality with our course How to Design for Augmented and Virtual Reality . Augmented reality (AR) and virtual reality (VR) are quickly becoming huge areas of technology, with giants like Apple, Microsoft and Google competing to provide the next big AR or VR experience. Statista predicts that the worldwide user base for AR and VR will reach 443 million by 2025, meaning that it is becoming increasingly important for UX designers to know how to create amazing VR and AR experiences. Designing for 3D experiences will require completely new ways of thinking about UX design—and the question is, are you well equipped to tackle this new field of design? The good news is that while AR and VR hardware and software is changing dramatically, UX principles and techniques for 3D interaction design will remain consistent. It’s just that new opportunities and sensitivities will present themselves to designers and developers. This course will give you the 3D UX skills to remain relevant in the next decade and beyond. You’ll be able to create immersive experiences that tap into the novel opportunities that AR and VR generate. For example, you will need to bring together key UX concepts such as emotional design, social UX, and gamification in order to create an immersive AR or VR creation. AR and VR need to be easy to use in order to provide users with experiences that wow. Avoiding common usability mistakes and applying the principles of storytelling will help you carefully craft 3D experiences that delight, intrigue, amuse, and most of all evoke the response you intended. You’ll need to engage users in first-person narratives by making use of spatially dynamic UI’s, including gaze, gesture, movement, speech, and sound—often used in combination. During the course, you will come across many examples and case studies from spatial and holographic interface designers. You will master how to create immersive 3D content for AR and VR that provides rich user experiences. The course offers exercises and challenges throughout, all aimed at helping you and/or your team practice your emerging or existing AR/VR skills. You will be taught by Frank Spillers, who is a distinguished speaker, author, and internationally respected senior usability practitioner with over 15 years of experience in the field. Augmented Reality – The Past, The Present and The Future - 926 shares - 6 mths ago How to Design Gesture Interactions for Virtual and Augmented Reality - 475 shares - 10 mths ago How to Create Design Plans for Virtual and Augmented Reality Experiences - 427 shares - 1 year ago

<urn:uuid:088d0814-d938-48ae-9c60-a2d78fe08f86>

CC-MAIN-2021-17

https://www.interaction-design.org/literature/topics/virtual-reality

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088731.42/warc/CC-MAIN-20210416065116-20210416095116-00424.warc.gz

en

20 critique the work of self and others through observation and expression of specific detail by Karen Loftus Students are introduced to, analyze, and explore the history, characters, and style of Commedia dell’arte. Commedia Dell’Arte is a theatre history unit mixed with improvisation, physicalization, and exploring specific characters. In this unit, we’re going to focus on three main aspects: (1) Causes and Effects of Commedia (History), (2) Stock Characters, (3) Commedia Performance Practices. The unit culminates in a commedia performance. A rubric is included for the project as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials. by Annie Dragoo Understanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It’s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character. This unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It’s a great introduction and will get your students in the right frame of mind to approach musical theatre. The lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay. by Lindsay Johnson Students will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict – objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene. by Laramie Dean Instructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre. Students start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques. There are 24 lessons in this unit which culminates in a final assessed performance. by Gai Jones In "Working With Monologues For Rehearsal And Development" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues. At the end of this course, you will have a curriculum which can be used as introduction to monologue work. You'll outline a curriculum for your classroom and tie the learning benchmarks to the new National Theatre V&PA standards, as well as to Ontario and BC curriculum expectations. by Jennine Profeta “Yes, and…” is the guiding principle behind all improv. This course will teach you how to teach improv, and more importantly how to give feedback to your students. The course looks at making strong offers and also using gibberish to ironically improv communication skills. You will also see how feelings can safely be used to add flavour and get laughs in our scenes. Jennine Profeta, Second City performer and theatre educator, leads this course with a clear methodology for teaching and giving positive nurturing feedback. This course will give you all the tools and the insight you need to teach improv with confidence. by Jennine Profeta Second City performer and theatre educator Jennine Profeta is back and ready to help you take your Improv classes to the next level. It’s all getting students to perform - and how to be a great improv coach who can keep them supported and grounded (and having fun!) In this course, you’ll learn the golden rules of improv. You’ll learn a bunch of improv games (great for warm-ups, teaching tools, and even for competitions). You’ll learn Jennine’s tips and tricks for what to look for when coaching and how to troubleshoot common issues. The course is designed to help you improv as an ensemble and give you the know-how to coach with confidence whether it’s in the classroom or on the stage! by Colin Oliver Colin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom. In this course, you will learn how to build musical theatre into your dramatic courses of study. “Why might you want to do that? Singing is scary! You want me to teach my students how to do it? I don’t even know how to do it.” This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre. By the end of this course, you’ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment. So, join us for teaching Musical Theatre in the Drama Classroom. It’s as easy as Do-Re-Mi!

<urn:uuid:2b9e0f37-cb11-4be3-9ea6-ba612b863bc4>

CC-MAIN-2021-17

https://www.theatrefolk.com/dta_standards/702

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz

en

Author: Katie Smith Milway Illustrator: Sylvie Daigneault Publisher: Kids Can Press (September 1, 2010) Audience: Ages 8-12 (grades 3-7) Summary: Maria Luz and her family are poor farmers who live in the hills of Honduras. Each day Maria works beside her father in tending the garden that provides food for their family. When growing conditions worsen and the garden stops producing, Maria’s father must leave home to find work in another city, leaving her to tend the garden and deal with the local coyote who serves as an unscrupulous middle man to the local farmers. When a new teacher arrives at Maria’s school, he teaches the children and their families about sustainable farming practices that will change their gardens and ultimately their lives. With patience and hard work, gardens start to thrive and produce bountiful harvests and a community is transformed. Literary elements at work in the story: This book is based on the lives and stories of real families living in the hills of Honduras. Written in the present tense, this story is one that could be repeated throughout the world as families with food insecurities struggle to survive. In juxtaposition to the harshness of the storyline, the lush artwork brings life and hope to the story in some very clever and intricate ways. One example is the depiction of the coyote who is drawn as a man’s body with an animal head. How does the perspective on gender/race/culture/economics/ability make a difference to the story: The Good Garden is a simple story about a big issue: food insecurity. Though set in the hills of Honduras, this story is replicated around the world as farmers struggle to grow enough food to feed their families. This is a story that has little to do with race and much to do with the social injustice of our food distribution systems throughout the world. To that end, the author provides two pages at the end of the book with background on “Tending our Global Garden” and adds several inspiring ways to make a difference in your local community. Links to global ministries such as World Vision and Heifer International provide readers with connecting points to the food insecurity issues that are worldwide and the mission agencies working on the front lines to combat these issues. Theological Conversation Partners: Jesus had much to say about feeding the hungry and treating the poor with respect and fairness. He was moved with compassion on the hillside when he told his disciples to find food to feed the 5,000 gathered there (Matthew 14:13-21) and drove home his point about caring for others in Matthew 25:35-30 when he said, “Just as you did it to one of the least of these who are members of my family, you did it to me.” Perhaps the pinnacle of Jesus’ views on the poor comes in Luke 4:16-30 when Jesus reads the words from Isaiah 61:1-2, “The Spirit of the Lord is upon me, because he has anointed me to bring good news to the poor. He has sent me to proclaim release to the captives and recovery of sight to the blind, to let the oppressed go free, to proclaim the year of the Lord’s favor.” Jesus then proceeds to say, “Today this scripture has been fulfilled in your hearing.” If we take the words and actions of Jesus seriously, we cannot turn a blind eye to the needs of those living around us who are living with food insecurity and injustice. As followers of Christ, caring for others should come as second nature – filled with joy and hope for all that can be accomplished with a little perseverance and dedication. Faith Talk Questions: - Maria worked alongside her father in caring for the family garden. Have you ever cared for a garden? If so, what did your garden grow? Was it enough to feed your family? Who helped you tend the garden? - Maria’s family depended on their garden to produce enough food to feed their family. Imagine you lived in a family like Maria’s. How much food would you have to grow in a garden to feed your family? How much land would it take? Who would do the work required to tend the soil and help the garden grow? How long could your family “live off the land” before having to look elsewhere for food? - There are many people living in the world who don’t have enough food to feed their families and they depend on the kindness of others to help them survive. How are the food insecure families cared for in your community? - What can you do to follow the teaching of Jesus to “feed the hungry and help the poor?” Talk with your family about ways you can help others in your community and learn more about the organizations who are reaching out to feed hungry people around the world. This review is written by regular contributor Krista Lovell.

<urn:uuid:e3aff23b-c3a7-4601-aed4-73ad4f2e869c>

CC-MAIN-2021-17

http://storypath.upsem.edu/the-good-garden-how-one-family-went-from-hunger-to-having-enough/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038476606.60/warc/CC-MAIN-20210418103545-20210418133545-00462.warc.gz

en

Access thousands of brilliant resources to help your child be the best they can be. 1. The rules of writing. I always tell students that there are no set rules for writing and they can write whatever they like. I don't subscribe to the notion that all good stories must have, for example, an attention-grabbing opening, a turning point, a twist at the end and an extended metaphor. Helping Your Child with Creative Writing Assignments. Creative writing assignments require a tot of time, not only from the student but from the teacher as well, who must grade for content, grammar, spelling, and punctuation. Fun Summer Idea for Kids: Writing/Journaling; 5 Tips to Help Students Write Better Papers;. Creative writing plays an important role in a child's literacy development. This article makes suggestions for the instruction and evaluation of children's stories. Writing Creative writing expresses ideas and thoughts in an imaginative way. This type of writing is meant to entertain the reader. Being creative and pretending is part of being a human but for some, it takes a little more encouragement. At times though, children can have difficulties putting their words down on paper for assignments in a timely fashion. Creating an environment at home that fosters these skills can help them become a successful writer. Here are a few ways to help your child become a better creative writer: Give your child enough time to be creative Creative writing requires higher-level thinking from your child. Take a look at his or her schedule and be sure that your child has enough time to brainstorm writing ideas. Encourage your child to spend time writing down thoughts on the different elements of his or her piece. Create a writing environment Becoming a creative writer takes practice and needs interest. Setting up an environment at home can help support this success. Having writing materials that are readily available and interesting are important. Keeping a writing journal handy is a great way to capture those thoughts, even in the car. One big tip is to play games at home that build vocabulary skills. Kids can get pretty creative. Use visual images for writing prompts Images spark our imagination, so why not use them for creative writing? Keep a collection of images from magazines and even store flyers to prompt writing when your child needs encouragement. One tip is to create a Pinterest Board filled with images for writing prompts. These could easily become a good prompt for a poem. Write first and then edit later Creative writing requires a little bit more freedom with our thoughts. As your child is creating, encourage him or her to just write it down and worry about editing later. If your child is having trouble keeping up with a personal creative process, use a microphone from your computer or phone to record the story and then listen and write it down in the next step. When we support children in a creative environment, their creative writing skills will become a part of their everyday. Creative writing requires practice and supports at all ages.Creative Writing Write to Win Hearts. Want to delight readers? Welcome! You'll find what you need here: free creative writing ideas and writing prompts to get your creative juices going, and creative writing tips and writers' resources to help you write your best book ever. Enjoy yourself. We also offer Editing and Proofreading services if you need help with your book. Strong writing skills are essential for success in school, college, and on the job. In 99 Ways to Get Kids to Love Writing, educator Mary Leonhardt provides parents with practical, easy-to-follow tips on how to teach their children the fundamentals of writing and make it fun for them at the same time. In the first creative writing prompt article, we shared with you 65 creative writing ideas, in the second article, we explored 62 more creative writing prompts, in the third article you will discover a list of 61 writing prompts for kids, and in the fourth article we share 63 more creative writing ideas for kids. 1. The rules of writing. I always tell students that there are no set rules for writing and they can write whatever they like. I don't subscribe to the notion that all good stories must have, for example, an attention-grabbing opening, a turning point, a twist at the end and an extended metaphor. Aug 31, · How to Improve Your Child's Creative Writing Skills. Four Methods: Encouraging Your Child to Love Writing Playing Creative Writing Games Helping Your Child Find Things to Write About Building Essential Writing Skills Community Q&A. The ability to write well is vitally important to your child's success in life%(86). Learning to write is one of the most important skills kids can learn. And most kids enter school with an enthusiasm for writing—as a way to express themselves. Creative writing not only allows.

<urn:uuid:1491daca-0604-4e5c-abb1-33ac2b9752db>

CC-MAIN-2021-17

https://cyzakacarojyter.timberdesignmag.com/creative-writing-tips-for-kids-4201ht.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039546945.85/warc/CC-MAIN-20210421161025-20210421191025-00464.warc.gz

en

Students that lack reading proficiency are taught with programs based on the Orton-Gillingham method including Scottish Rite Literacy Program and Wilson Reading Program. Reading comprehension is taught explicitly, modeled and practiced daily. As our students advance, they continue a guided practice in a wide variety of reading material including the rich content of literature such as Percy Jackson and The Olympians series. Our curriculum includes specific strategies designed to strengthen reading comprehension.Visualizing, predicting, questioning, summarizing and drawing conclusions are routinely taught and practiced. Basic literary elements such as theme, plot, character development and setting are explored and discussed. Since skill in vocabulary is intrinsically linked to reading, the teaching of vocabulary is included in each grade’s curriculum. This includes the study of vocabulary specific to the subject matter of math, social studies and science. Written Expression is a vital part of Spring Valley’s program. Our students learn and practice building strong sentences and basic paragraphs with increasing complexity. The steps of the writing process are taught and rubrics for good writing are established for each grade. Spring Valley uses the Educational Records Bureau (ERB) Writing Practice Program which provides a direct measure of each student’s writing ability. This program allows each pupil the opportunity to work on areas of weakness by providing online tutorials. Spring Valley’s computer lab is utilized to teach the importance of research as well as to develop the skill of keyboarding. Our students’ book reports and PowerPoint presentations are all researched and developed utilizing our computer lab. The major goal of Middle School mathematics is to further develop the students’ understanding of basic mathematical concepts and procedures in preparation for upper level mathematics courses. Students are taught at a grade-appropriate level following the guidelines of the Alabama Course of Study as well as the Curriculum Focal Points of the National Teachers of Mathematics. The Big Ideas Curriculum is used in addition to the word problem strategies of the Singapore Math Program. According to the National Assessment of Educational Progress only about 30% of eight graders scored at or above proficiency level in math. In order to increase the achievement level of our students, each is tested at the beginning of the school year. An individualized math lab program is developed in order to close any achievement gap. Students take Math Lab in addition to their regular Math class. Our Middle School students are actively involved in an exploration of Earth and Space Science, Life Science or Physical Science. The courses are lab based providing an opportunity for hands-on experience. Students are taught to apply the scientific method and deductive reasoning. Spring Valley emphasizes the importance of the Social Studies. Classes for Middle School students include: United States History, 1877 to Present, Citizenship, Geography, and World History to 1500. Physical Education is vital to the overall health of each child. In addition to daily outdoor play, students take part in organized activities designed to develop athletic skills. At Spring Valley, we believe that the art curriculum fosters self confidence and expression for each child. Our art classes allow students the freedom to express themselves while offering enough direct instruction to be successful. Throughout the school year, our students’ works are showcased.

<urn:uuid:10794688-a2f8-42f5-890b-c784cc5bc7a7>

CC-MAIN-2021-17

https://www.springvalleyschool.org/academics-middle

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00104.warc.gz

en

- What is 1st 2nd and 3rd person? - What does writing in the first person mean? - How did the first person come on earth? - How do you use first person in a sentence? - What does Second Person mean in English? - Who is the first person to die in the world? - What does 1st person mean? - How do you speak in first person? - What words are used in second person? - What does third person mean in writing? - Is writing in first person bad? - What is 3 person point of view? - Who was the first person on earth? - What words can you not use in 3rd person? - Who was the first girl on earth? What is 1st 2nd and 3rd person? First, second, and third person are ways of describing points of view. First person is the I/we perspective. Second person is the you perspective. Third person is the he/she/it/they perspective.. What does writing in the first person mean? ➢ Writing in ‘first person’ means using personal pronouns in your writing (e.g. I, me, mine, we, us, our). For example: ‘In this essay I argue that’. ➢ Writing in ‘third person’ means removing personal pronouns from your writing and using. alternatives (e.g. he/she, them, their). How did the first person come on earth? The skeletons of these very early people have been found by archaeologists in places like Morocco in North Africa, Ethiopia and Kenya in East Africa, and in South Africa. So, one answer to your question is to say that the first person came from Africa around 200,000 years ago. How do you use first person in a sentence? Examples of first person in a Sentence She always wrote in the first person. The sentence “I was born in Maine” is written in the first person. What does Second Person mean in English? Second Person (in Grammar) The term “second person” refers to the speaker’s audience (i.e.,”you”). The personal pronouns (“I,” “you,” “he,” “she,” “it,” “we,” “you,” “they”) are grouped into one of three categories: … Second person: “you” Third person: “He/She/It” and “They” Who is the first person to die in the world? William Francis Kemmler (May 9, 1860 – August 6, 1890) was an American peddler, alcoholic, and murderer, who in 1890 became the first person in the world to be executed by electric chair. What does 1st person mean? The term “first person” refers to the speaker himself or a group that includes the speaker (i.e.,” I,” “me,” “we,” and “us”). “First person” most commonly appears in the phrases “first-person narrative,” “first-person point of view,” and “first-person shooter.” How do you speak in first person? In ShortIf the text uses “I,” “we,” “me,” “us,” “my,” “mine,” or “ours” as pronouns, then you have a first-person point of view.If it uses “you,” “your,” or “yours” as pronouns, then you have a second-person point of view.More items… What words are used in second person? The second person perspective is identifiable by the author’s use of second-person pronouns: you, yourself, your, yours, or yourselves. Many second-person pronouns are both singular and plural, depending on the context. The second person point of view attempts to turn the reader into the character. What does third person mean in writing? When you are writing in the third person, the story is about other people. Not yourself or the reader. Use the character’s name or pronouns such as ‘he’ or ‘she’. Is writing in first person bad? First person is not bad in itself, it’s just harder. Third person, you can stay omniscient and emotionally uninvolved and it can read OK. You can bounce toward third person limited a bit and it can work out. It won’t be great necessarily, but it doesn’t highlight those weaknesses in your writing as much. What is 3 person point of view? In third-person point of view, the author is narrating a story about the characters, referring to them by name, or using the third-person pronouns “he,” “she,” and “they.” The other points of view in writing are first person and second person. Our Most Popular. Who was the first person on earth? AdamBiblical Adam (man, mankind) is created from adamah (earth), and Genesis 1–8 makes considerable play of the bond between them, for Adam is estranged from the earth through his disobedience. What words can you not use in 3rd person? For academic purposes, third person writing means that the writer must avoid using subjective pronouns like “I” or “you.” For creative writing purposes, there are differences between third person omniscient, limited, objective, and episodically limited points of view. Choose which one fits your writing project. Who was the first girl on earth? EveAccording to the origin story of the Abrahamic religions, she was the first woman. Eve is known also as Adam’s wife. According to the second chapter of Genesis, Eve was created by God (Yahweh) by taking her from the rib of Adam, to be Adam’s companion.

<urn:uuid:8c541ee0-9f2e-4eb2-9c83-333ff7ecb449>

CC-MAIN-2021-17

https://geagreennews.com/qa/quick-answer-what-does-first-person-mean-in-english.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038066981.0/warc/CC-MAIN-20210416130611-20210416160611-00624.warc.gz

en

6 edition of How to Teach Students to Be Fluent Writers found in the catalog. November 4, 2004 by Teacher Created Resources Written in English |Contributions||JAN ALEXANDER (Contributor)| |The Physical Object| |Number of Pages||80| Teachers teach four word-identification strategies- phonic analysis, decoding by analogy, syllabic analysis, and morphemic analysis. 3. Teachers use instructional procedures, including repeated reading, choral reading, and independent reading, to develop students’ reading fluency. 4. Teachers ensure that students become fluent readers by. How Effective Teacher Develop Fluent Readers 1. Teachers teach students to read and spell the high-frequency words. 2. Teachers teach four word-identification strategies- phonic analysis, decoding by analogy, syllabic analysis, and morphemic analysis. 3. their students and their individual learning needs, and they use this knowledge—and their understanding of how children develop from emergent to beginning to fluent readers and writers—to guide their teaching. This fourth edition of Literacy in the Early Grades: A Successful Start for PreK–4 Readers and Writers, provides. Again, summary writing doesn’t come naturally, and when told to summarize, students will often either copy verbatim, write long, detailed “summaries,” or write excessively short ones missing key information. This occurs because students don’t really know what a summary is or how to write one. Learning how to speak fluent, confident and natural English is an achievable goal. Every English learner is different, but there are a number of easy ways to improve in a reasonably short period of time. Learning English, but in a hurry? Try a lesson on Busuu today – it's fun, free and effective. 7 tips on speaking English fluently and. Creative writing students will probably arrive with a keen appreciation for great literature and favorite works, but a savvy teacher will review and introduce new literary works of art. Students will learn from the teacher and the masters who preceded them. Teach your students about a variety of writers and genres. Everyday life in ancient Egypt. Tables of latitude and departure Taking appeals from selective service classifications. Iron chef Chens knockout Chinese Guidelines for digital imaging perils of peace essay on the eminent services and illustrious character of Henry Clay ... Mozart (Famous Children) Instructions in the methods of taking finger and palm prints Horse-drawn cabs and omnibuses in Paris poets tributes to Garfield St. Patrick for Ireland. report of an inquiry into certain matters connected with the creation of a separate division for the Ivbiosakon Area Genocide and vendetta Selection of materials and manufacturing processes for engineering design How to Teach Students to Be Fluent Writers Paperback – November 1, by Bette Ross (Author), Jan Alexander (Contributor) out of 5 stars 1 rating. See all 2 formats and editions Hide other formats and editions. Price New from 5/5(1). Teacher question I have a question regarding my school's reading program. My question today is about the reading portion of our literacy block and most specifically the partner reading and independent reading. I'm finding that my homogenous group of fourth-grade students aren’t fluent readers. The routine expectation is that partners take turns reading a paragraph at a time. Description. Help students overcome "writing phobia" and become fearless, fluent, and skillful writers. The book begins with sentence-building activities, provides lots of writing activities, and closes with suggestions for publishing as well as assessment guides.5/5(1). ESL students often write sentences like these because they don’t know what else to write, and because it’s grammatically correct, they assume it’s acceptable writing. As ESL teachers, we need to be able to show students how to turn passages like this into clear, coherent sentences for their essays. Writing fluency is an important skill that students can develop with frequent practice. ESL students, especially new writers, sometimes hesitate to write for a variety of reasons including lack of practice and fear of errors, among others. Like any skill, the teaching of writing needs to be approached from a variety of angles. Teach Students to Become Fluent With Handwriting, Spelling, Sentence Construction, Typing, and Word Processing. Just as we have to provide time for students to write, we have to help students develop fluency in writing. Students who struggle with handwriting, spelling, grammar, and typing have a difficult time getting their ideas down on paper. Writing fluency is the natural flow and organization of a written work. Fluent pieces of writing are easier and more enjoyable to read, as the words are organized in a logical fashion and the overall message of the piece is easier to understand. Teachers can help students in. Students then can choose the audience that best fits their writing topic. Teach students to emulate the features of good writing Students should be exposed to exemplary texts from a variety of sources, including published or professional texts, books and textbooks, the teacher’s own writing. The Writing Book is a teacher friendly guide to teaching writing at emergent, early and fluent levels. It includes practical information that will support primary and middle school teachers to plan and deliver an effective writing programme. Chapter 1: Introduction — guiding principles and practices. ISBN: OCLC Number: Description: 80 pages: illustrations ; 28 cm: Responsibility: author, Bette M. Ross ; illustrator, Jose L. Tapia. Discuss techniques teachers use to help students become more fluent writers. How Effective Teachers Develop Fluent Readers and Writers 1. Teachers teach students to read and spell the high-frequency words. Teachers teach four word-identification strategies- phonic. Chapter 6Developing Fluent Readers and Writers # Cust: PHOH/CHET Au: Tompkins Pg. Title: Literacy for the 21st Century: Teaching Reading and Writing in PreK-4 Server: Jobs4 C/ M/ Y/ K Short / Normal CARLISLEDESIGN SERVICES OF Publishing Services three: I’m, can’t, and d o n ’t. The children use intera c t ive writing to. Step Provide class time for students to write out their steps and add illustrations on writing paper. Step Have students put covers on their books using the construction paper. Students should also write a title and color the pages of their books. Step Keep all of the how-to books in one area of the classroom and encourage students. For strategies in writing introductions and conclusions, see MIT's Writing Center. For a checklist to help students edit their own writing for grammatical errors, see University of Wisconsin at Madison. Provide Examples. Use examples of good student writing to discuss with your students what makes these pieces of writing effective. Teach students techniques for writing effectively for different purposes. Recommendation 3. Teach students to become fluent with handwriting, spelling, sentence construction, typing, and word processing. Teach very young writers how to hold a pencil correctly and form letters fluently and efficiently. Teach students to spell words. This lesson discusses teaching strategies to improve students' reading and writing fluency, including retelling, content clues, step-by-step learning, comparing good and bad writing, and peer editing. Although listening to a book on tape may be an effective strategy for native speakers of English, it doesn’t engage ELs. I find it is better to find websites with books that are read aloud as the students turn the pages and see the text and pictures. Read my blog 10 Online Resources to Improve EL Literacy. Choral reading. Teach these students new strategies such as identifying the central message, analyzing characters and their traits, making inferences or summarizing. Remember: Fluent readers are capable of metacognition, or “thinking about thinking.” Becoming aware of their own thought processes will help your students learn to monitor for meaning and use. This practice guide provides four recommendations for improving elementary students’ writing. Each recommendation includes implementation steps and solutions for common roadblocks. The recommendations also summarize and rate supporting evidence. This guide is geared toward teachers, literacy coaches, and other educators who want to improve the writing of their elementary students. The first lesson is a poem that your students are guaranteed to love. This poem is read to them, with them and independently by them. During this time you are teaching them to increase their reading fluency strategies. Learn how to scoop the phrases for fluent reading, discuss the meaning of the poem, and they put it in their poetry journals. Eventually, students become empowered and will become more independent and fluent writers. When combined with reading activities Writing Workshop can create a powerful and motivating tool for teaching literacy. Writing workshop is not just journals, it’s a lesson sequence that if followed can help achieve the goals listed above.Looking for lively, interactive ways to teach reading? This powerful new book can help. It opens with a clear, research-based rationale for teaching oral reading, stressing the connections among word recognition, fluency, and comprehension. From there, Rasinski provides the strategies themselves -- read aloud, repeated reading, performance reading, and many more.5/5(2).Very few native speakers will ever start writing at the top of the first page and continue straight through until they finish at bottom of the last one. The entire process has five steps, but the first step in the writing process is coming up with your thoughts and ideas, also known as ting helps students gather ideas and give them a bank of possibilities for their writing.

<urn:uuid:7dec3d67-98e7-4e00-957d-61603a4e3bd2>

CC-MAIN-2021-17

https://jipehycolowysef.virtuosobs.com/how-to-teach-students-to-be-fluent-writers-book-47534rp.php

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039554437.90/warc/CC-MAIN-20210421222632-20210422012632-00181.warc.gz

en

Lesson-based guide to the concepts of peace research for you and for others specifically designed for children. 5 Spheres of Peace: Peace is Right Relationships: Seeing the Big Picture This activity was designed to help children connect their knowledge of peace to a concrete, action-oriented definition that is based upon the development of healthy, caring, interdependent and “right relationships.” Students are given the opportunity to explore the different types of relationships they experience in the world. As students begin to identify their personal, social, political, institutional, and ecological relationships they begin to think about the very nature of these relationships. Although some of these concepts may be new, such as “institutional” or “political” relationships, this activity serves as an introduction to the idea that many different relationships beyond the walls of home and school play a role in our lives. During this activity, students play a game where they build a web of relationships. This web is a representation of our interdependence. As students recognize the many different types of relationships that influence their lives, they are challenged to think about how their individual choices and actions influence those relationships. Through this game, students not only begin to realize how these relationships are dependent upon one another but also how their actions can build peace. Personal Peace 1: Act Out! Identifying the Emotions of Others Students of all ages need practice in identifying and expressing their emotions. Young children often lack the vocabulary to express their emotions beyond words such as “happy” or “sad.” When challenging emotions arise, the physical nature of young children can lead some to react physically through hitting, biting, or kicking. With intentional practice in identifying and expressing emotions, students will be better equipped to understand and articulate their wants and needs peacefully. In order for an individual to sustain personal peace they must recognize strong emotions serve as a signal to stop and think about how they want to respond to the situation at hand. This consciousness takes a lot of modeling to be put into daily practice. Storytelling and acting are engaging ways for students to practice stopping and thinking about emotions through taking on the challenges of characters within a story. In this lesson, students are given the chance to review vocabulary that can be used to describe their feelings, identify the feelings of others, and brainstorm multiple ways a character could peacefully respond to a challenging situation. With much practice students will begin to see the connection between their emotions and their actions. This recognition can help students build personal peace by acting upon these emotions in ways that nurture healthy relationships with themselves and others. Personal Peace 2: Self-Reflective Practices through Art and Journaling Personal peace is sustained through peace processes that help us reflect on our thoughts, feelings, and actions. These reflections increase our clarity, helping us to act upon those reflections in ways that are aligned with our personal values. This clarity also enables us to communicate our wants and needs more effectively with others bringing peace from our inner lives outward. In order for students to effectively communicate with others, they need to develop these peace practices. This activity will give students the opportunity to engage in two different ways of identifying and processing their emotions: art and journaling. Social Peace 1: Perspective Taking: Understanding the Needs and Wants of Others Many conflicts have been waged over the inability to share scarce resources. This is true whether it be between children or nations. The most common conflicts between children are over sharing an object of desire. For children to begin problem-solving ways they can share resources, they need to first recognize the needs and wants of others. This lesson introduces students to the survival needs of all living creatures and compares differences in our personal wants. As described to students, needs may be for survival, such as food, clean water and air, or they could be emotional and physical needs. Wants fall more into the category of objects or experiences that make us feel momentarily happy but usually are not necessary for our long-term self-fulfillment. Thinking about the wants and needs of others is foundational for perspective taking, a capacity essential for conflict transformation. As students practice peacefully communicating needs and wants to others, they are taking important steps in building right relationships in the social sphere of peace. Social Peace 2: I Feel: Communicating Needs and Wants In lesson 4 (social peace 1) students learned that all people have needs and wants. The ability to communicate needs, wants, and emotions in ways others can respond to peacefully is important in building social peace. When a conflict arises, expressing emotions using “I feel” statements can open up the conversation rather than put others in a defensive or reactive position. Using the words “I feel” communicates feelings clearly without blaming others for your emotions. Children can recognize the usefulness of “I feel” statements when they are given examples of responses to conflict: one using an “I feel” statement, the other without. This exercise will engage students in thinking about how they communicate their feelings during a conflict. It will also give students the opportunity to practice using “I feel” statements. “I feel” statements are tools for children to use as they begin to communicate their emotions. Communicating emotions and listening to others is a skill developed with much practice over time. This lesson is merely an introduction to the important communication skills needed to sustain peace within relationships. Political Peace: Our Town: Creating Rights and Responsibilities for Communities Political engagement is an experience unknown to many children. Students may be familiar with the voting process or community dialogue if their parents are active in schools, religious institutions, or politics. With the busyness of modern life, community involvement is becoming less common in family life. Even with parental modeling, many students have never been given the opportunity to engage in the decision-making processes that impact their lives. Teachers and schools often dictate the rules students abide by while on campus. At home, parents decide the rules and consequences for breaking those rules. Through their high school years, students are given behavioral guidelines by the institutions they belong to, leaving them ill-equipped to engage in the dialogue which awaits them in the larger community. Students not only lack the skills to advocate for themselves, they also have little experience with processes that can help build peace in political decision-making. The purpose of this lesson is to introduce students to the political sphere of peacebuilding by examining processes used in group decision-making and the concept that individual and communal responsibilities work to ensure the rights of all community members. Facilitating group decision-making processes of many kinds such as voting, consensus building, and collaborative projects along with student reflections on experiencing these processes can nurture the skills needed to build peace while engaging in the political sphere. Through personal experience, students can reflect upon which of these processes are effective and contribute to peacebuilding. Introducing the concepts of rights and their corresponding responsibilities can help students begin to see political involvement as a social responsibility that can help ensure the rights they hope to enjoy. Political Peace 2: Understanding Opinions Intentional reflection on how opinions are formed and ways of managing differences in opinion can be useful for students of all ages. As students begin to develop opinions and see differences, it is important they are provided with many peacebuilding strategies they can utilize when faced with these conflicts. Through building perspective-taking skills, children can develop capacities to manage differences in opinions constructively. Knowing and acknowledging alternative per- spectives can lead to new solutions and conflict prevention. Students can rely on the skills used for building right relationships in the social sphere as they navigate new relationship challenges in larger group settings and the political sphere. - Coming Soon

<urn:uuid:466bcfbf-5485-45ed-b0d8-d91e365f22c0>

CC-MAIN-2021-17

https://nationalpeaceacademy.us/resources/peace-study-guide/children-s-curriculum

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039603582.93/warc/CC-MAIN-20210422100106-20210422130106-00064.warc.gz

en

Free play refers to activity that is child-centered, child-initiated, child-controlled, and above all, fun. Children have been engaging in this sort of play naturally, and with enthusiasm, for millennia. But as play has become more structured and planned in the modern era, child development experts have been raising concerns about the potential ramifications of a decrease in free play. It turns out that many crucial skills are developed when children are allowed plenty of unstructured play time. Free play benefits children cognitively, socially, emotionally, and physically. In fact, the United Nations High Commission for Human Rights has declared that engaging in play is a universal right for every child on earth. Children’s brains are designed by nature to learn and grow through play. Unstructured play is necessary to allow every child’s brain to flourish and reach its full cognitive potential. The open-ended nature of free play lets children exercise their imaginations, thus enhancing their creativity. A group of children playing pretend will naturally engage in world-building, characterization, and storytelling. Activities such as building or designing structures can facilitate problem-solving skills and encourage innovative thinking. Most importantly, free play helps children develop something called self-directed executive functioning. This refers to the cognitive control processes that regulate thought and action in support of goal-directed behavior. Developing executive functions as a child is critical for achieving independence as an adult. Free play is about children making their own choices, often in service of a clearly defined goal. Practicing this mode of thinking, in the low-stakes world of play, leads to habitual and natural decision making in adulthood. In fact, studies show that self-directed executive functioning is a strong predictor of academic performance and positive life outcomes. Collaborative free play teaches children social skills they will not pick up in any classroom. In order for everyone to have fun, each child in the group must practice resolving conflicts and must be flexible to accommodate the others. This kind of play fosters a sense of empathy and cooperation by reinforcing the idea of other children as individuals, each with their own set of needs and desires. Any kind of rigorous physical play is good for children’s muscles, bones, and cardiovascular system, but free play can take this development even further. Children who are choosing their own physical activity are likely to be more engaged and focused, leading to longer play sessions and more devotion to mastering desired skills. By deciding on, and following through, with their own self-imposed challenges, children become stronger, faster, and more coordinated. They can also develop better spatial awareness by actively exploring and interacting with their environment. Any parent who has ever nervously watched their child climb too high, run too fast, or attempt to ride a bike without training wheels for the first time can attest that taking risks is a big part of play. The unbridled nature of free play leads to heightened risk-taking, as children are motivated by the desire to maximize their fun and to impress their friends. Trying and failing leads to resilience and perseverance, and successfully navigating risks enhances a child’s confidence and self-worth. Free play can also help children practice self-regulation, or the ability to control one’s emotional responses. Children engaged in free play must learn to manage their own interactions rather than relying on an adult to facilitate. A child who frequently yells at his friends when angry will soon learn that it’s in his best interest to control his temper, especially if he wants those children to remain his friends. Learning to regulate one’s own emotions is an important part of becoming an adult. Free play is a critical component in any child’s development. By fostering and encouraging more unstructured play, we are helping our children develop the tools they will need to succeed as adults. For more information on how to nurture your child’s development, contact us at Tessa International School, where we value free play and so much more, and encourage children to explore and express themselves in a safe and enriching environment.

<urn:uuid:c03dcc41-3252-46d8-9d95-4652f9c57982>

CC-MAIN-2021-17

https://tessais.org/whyfreeplayiscriticalforchilddevelopment/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038077843.17/warc/CC-MAIN-20210414155517-20210414185517-00105.warc.gz

en

This book covers the main aspects of craftsmanship for children’s short story writing for the middle age group (8-12 years). Focus is on testing the initial idea for its suitability in the short story framework, character development, mastering basic language, plot and scene structure, dialogue, pacing, the beginning, the twist, the plan and the concept of ‘SHOW, not tell’. The fundamental importance of conflict and rising tension in the story is highlighted throughout. The text reveals some original perspectives and methods which will benefit anyone working with this genre. The author uses samples from his own work to clarify the theory, and many chapters offer imaginative exercises designed to develop specific skills. From the start, the writer is encouraged to think dynamically about their writing for this market. To discuss any aspect of How to Write Children’s Short Stories (for the Middle Reader) you may contact the author via his “Contact Me” tab on this blog, or on the form at the end of this page. Here is the introduction to the book Short story writing is a difficult genre to master, and I would suggest that the children’s short story in some respects poses greater difficulties for the writer. In adult fiction, we can explore a great deal of the psychological and emotional without drawing on a strong physical side to the story, and many of the best tales are developed with powerful understatement. There is very limited physical plot movement, which means that the story’s word length can be easily controlled. In the children’s short story for the middle reader (8-12 years), though the emotional is hardly ignored, the emphasis is on the physical journey of the plot. The child reader is not intellectually and emotionally mature enough to deal with a narrative that leans more toward the psychological or emotional side of storytelling, especially when understatement is part of the mix. There is also far less leeway to delve into experimentation in the children’s genre. To create a strong physical plot (with a beginning, middle and end) within the short story’s word limit requires a fair bit of skill. The reader must always be aware of strong plot movement, and with the greater emphasis on the physical, the writer often has to commit far more words to paper. Of course, fairy tales are often very short with traditional plot structures, and might be viewed as a good guide for the children’s short story; except the fairy tale is a forerunner to the modern children’s short story, and not on a parallel with it. The fairy tale is a different genre of literature. The fairy tale’s characters are drawn sketchily and mostly two-dimensional, often working just as plot-devices, and the fairy tale often lacks convincing description. The modern children’s short story is more sophisticated. We must have well-rounded character and far more detailed description in the most important points of the story (particularly in the action scenes), and fully worked out plots (yes, emotional as well as physical), all of which take a far higher word length to accomplish than that of the fairy tale. Yet, we must remain within the general 6,000 word limit of our short story genre. This work is really for the beginner or semi-experienced writer, but the more qualified author with no experience in writing children’s short stories may find some of the chapters useful. We will explore the basic craftsmanship necessary for fiction writing, but with special emphasis on its place within the children’s short story for the middle reader (8-12 years). I use examples from my own work throughout to help clarify the theory. How to use the book I recommend that you approach the book in the following way: read the book once through to give yourself an idea of the whole task to be undertaken; then prepare to go through the book much more slowly. Chapter 1, ‘Does the idea have legs?’ explains why and how a story works. Character is the heart or engine of the story and conflict is its fuel, so without conflict character does nothing of any consequence. Chapter 2, ‘Sparking up the characters’, and Chapter 3, ‘Build character through ‘SHOW, not tell’’, starts you on the road to character development. Chapter 3, introduces the concept of ‘SHOW, not tell,’ a fundamental skill that must be developed in all fiction writing. Chapter 4, ‘Mastering basic language’ is necessary reading for the beginner. You are hoping to become a competent storyteller and words are your tools for accomplishing this end, so you have to practise mastering the basics of language from early on. When you feel confident you have grasped the essentials of the early chapters, spend time with Chapter 5, ‘Plot and scene structure’. The short story must be structured properly or you will not have rising tension which is an absolute necessity in all fiction writing. This chapter is of paramount importance. The concept of ‘SHOW, not tell’ is discussed in earlier chapters. Chapter 6, ‘More ‘SHOW, not tell’’ tackles the subject in further detail. The budding writer should come to appreciate the difficulty of mastering this skill before reading further into the book. Dialogue is of fundamental importance to the story, but you need to understand plot and scene structure before you attempt Chapter 7, ‘Good, well-structured dialogue’, as the emphasis here is not just on dialogue structure itself, but its place within the overall plot and scene structure. In Chapter 8, ‘Pace the story’, we see that pacing is an elusive skill to acquire because it does not ever stand alone, but is very much blended in with other narrative skills. You need to have absorbed the material of the earlier chapters before making a study of this one. Chapters 9 and 10, ‘Beginnings’ and ‘Satisfying twists’, are left near last, not due to their lack of importance, but simply because other skills should be developed before these ones are studied in depth. Chapter 11, ‘The plan: a bird’s eye view’, considers how to plan a story. Once you have a firm grasp of basic craftsmanship, particularly plot and scene structure, this chapter will be easier to grasp. Exercises aren’t just for athletes Every athlete, no matter how talented and no matter how far advanced in their discipline, still exercises to improve or maintain their performance. This is a given in the world of sport. In the creative writing world it is a given that the only way for a writer to improve is through practice. Fiction writers write stories – this is their main way of exercising. But it is not the only way of exercising. Just as a runner may also work out with weights in the gym to improve his strength and condition his muscles in ways which will actually help his running, so too, a writer can perform exercises in isolation to concentrate on and help improve specific parts of their craftsmanship. Wherever I think it is useful I have included exercises. By attempting the exercises, you are able to work on a particular aspect of craftsmanship in isolation, and this will help you focus sharply on both developing the specific skill and absorbing and retaining the theory behind the exercise. Practise these exercises frequently. Work for no more than an hour at a time. Here is what the exercises will be doing for you: helping you develop your actual skills; helping you understand and retain the theory behind the exercises; helping you exercise your imagination; helping you build character and ideas for your future stories; building your confidence; allowing you a means to gauge easily what, how much and how quickly you are learning. You can buy Jerry’s books on any Amazon site. They are also for sale in many of the other online stores such as Apple, Barnes & Noble, Kobo and Smashwords. Click on the image below to buy any of Jerry’s books on the US Amazon site

<urn:uuid:3549a111-dc93-408a-909a-aabae8cdcba6>

CC-MAIN-2021-17

https://jerrydunne.com/samples-of-jerrys-work-2/non-fiction/how-to-write-childrens-short-stories/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00465.warc.gz

en

Use objects from around the home to help you create your own story. Then design the costumes and sets, and bring it to life! Take a look at the objects in our collections for more inspiration. Designed for ages 7 and up. Make a treasure hunt story Choose five everyday things from around your house, such as a small toy, a drawing or photo, something from your school bag, or you could ask a parent or carer to lend you something. Put all your found treasures into a big bag. This is your treasure bag. Now, let's invent our story. You can write it down, draw some pictures or make it up in your imagination. First, let's decide who should be the main character of your story – maybe a pirate, spy, a dog, a zombie or whomever you like. Who are they? What do they look like? Use your imagination to think about this character and how they act. When and where does your story take place? This is called the setting. Does it take place in the past? Today? In the future? Is it in a city? A castle? On a ship? On another planet? The setting could be somewhere specific, like Ancient Egypt or in your house 100 years in the future. Or it could even be in a completely new, imaginary place. What happens in your story? Think of a beginning, middle and end. We are going to send your character on a journey to find treasure. Take your treasure bag from earlier, and use it to help you come up with different parts of the story. As you think about your story, reach into your treasure bag, and pull out an object without looking. How can you incorporate this into your story? You can turn the objects into different things, like a clock changing into a time machine or a book that now has magical powers. Keep pulling out things from your treasure bag until it is empty. How have these objects helped (or delayed) your main character on their journey? Is there a baddie in your story that is also looking for the treasure? How does your story end? Did your main character find their treasure? Who did they meet along the way? Where did they go on their journey? There are over one million objects in the V&A collections that you could also use as inspiration. Here are some examples to get you started. The double-headed dragon from China was made of jade in the 1600s. Who do you think would carry something like this? Does your character carry something that is special to them? The tiara is made up of over 1,000 diamonds. Could someone in your story wear a crown like this or another special hat? What would wearing something like this tell other people? Design your character's costume! Think about your favourite character in the story. What kind of clothes do you imagine them wearing? What colours? What kind of materials? Did they have a special tool or object to help them? Draw a picture of your character and think about what costumes and tools they need on their adventure. This costume was designed to be worn by a fairy with magical powers in a play called The Wooden Prince. It shows a very powerful character. The headpiece and capes are bright colours, and the chest piece was made to look like armour. Design a set! Where does your story take place? At sea? On the moon? In a castle? Let's make the place that your story happens. Find a box in your recycling, a shoe box, a cereal box, small or big. Turn the box sideways and cut out the front to make a mini theatre stage. Use paper, pens, parts of magazines and newspapers to make your set. This model of a set was made in 1785 for a play in London. It is supposed to look like Kensington Gardens, a park in central London. Can you see how the actors can come on the stage through the trees on the sides? Perform your story! Now, let's bring your story to life. You can read your story or act it out. Think about the voices that your characters have. Dress up as your character using your own clothes to make a costume. Be inventive! You could wear something inside out or upside down to make it look different. Use materials, like sheets or blankets to set the scene. Grab the objects in your story bag and get your family to join in, by making sound effects or being different characters in the adventure. These costumes are from the Broadway production of The Lion King. Can you see how they are made to look like lions, while still showing the faces of the actors? Costumes don't need to be exact copies of real life, you can use your imagination. You can see more examples of costumes for plays and films at the V&A. Bravo! Bravo! What an epic tale! From books and plays, to programmes on TV, storytelling is a chance to have an adventure in your own house! Visit the V&A and follow our 'Explore as a family' trail to find more inspiration for your adventures. Share your stories with us using #VAMFamilies.

<urn:uuid:bd032790-42d6-4cd8-98ba-7bb88ec959b5>

CC-MAIN-2021-17

https://www.vam.ac.uk/articles/design-and-make-your-own-story

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088471.40/warc/CC-MAIN-20210416012946-20210416042946-00064.warc.gz

en

It’s National Panda Day! I love to use these holidays and special days throughout the year to create fun, writing activities for my kids like this Panda Report. The Panda Report: Even at the early elementary grade levels it is important for children to learn how to research a topic, gather important facts, and use that information to write a report. Learning these skills will help them know how to find the answers to comprehension questions from non-fiction books or informational text too. Why use animal reports to practice researching and writing facts? Kids love animals! So, animals reports are a fun way for them to learn more about animals that they may not know a lot about like panda bears. Getting Ready To Use The Panda Report: - 2 Panda Page Toppers (in color and black and white) - 1 Report Template What Else Is Needed: To get this writing activity ready for your kids, click on the pencil below and download the printables. There are two different panda page toppers. One that is in color and one that is black and white for your kids to color. You can decide which one you want your kids to use and then print just that page. How To Use The Panda Report: After reading books, watching videos, and researching information about pandas, your kids will fill out the report. They will find out the animal’s average size, habitat, and diet. They will also write three interesting facts about pandas that they learned. If you are using the black and white panda, your kids can color it. They can then cut it out and glue the head on top of the report. To extend the learning, you can have your kids compare pandas to other types of bears such as polar bears or grizzly bears. This Panda Report is a creative way for your kids to learn how to research information and discover facts from informational text. Your kids will also practice using the information they learn about panda bears to write a report. Pin It For Later: Do you want to save this animal writing report for later? Pin this to your writing board on Pinterest and it’ll be here for when you’re ready! You May Also Like: This Flower Craft and Writing Activity is a creative way to get your students to write about what makes their friends or themselves special. This descriptive writing activity also includes “_____ is…” version if your students want to write about someone else that is special. Click on the picture to learn more about everything included in this activity! More Creative Writing Activities for Kids: Download The Freebie: Click on the pencil below to download and print the free Panda Report templates!

<urn:uuid:a88d1f72-c54c-49a9-9660-524628f83c30>

CC-MAIN-2021-17

https://abcsofliteracy.com/panda-report-animal-research-for-kids/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00424.warc.gz

en

In this unit students explore the world of toys through improvisation, movement and storytelling, and make links with learning in Science and Technology. - take on roles - notice and respond to drama elements - use movement and language skills effectively - express feelings about drama and through drama - enhance their understanding of how toys work. NSW Science and Technology K-6 Syllabus (2017) - Complete a range of Science and Technology tasks as outlined in the Science and Technology K-6 Syllabus (Stage 1: Toy World). Survey the class and make a list of favourite toys. Display in room. - Students find a space of their own and move as if they were a toy. They move into a situation devised by the teacher, for example; a wind-up animal moving fast then winding down, a teddy bear on a picnic, a favourite stuffed animal moving on its own for the first time, a dinosaur model waking up, a top winding then spinning, a Lego model moving, and so on. Use additional ideas from the class list of favourite toys. - In pairs students mime the action of a favourite toy and have the other person copy. Repeat in slow motion. Taking on roles in situations, developing drama & performing - Decide on a situation in which a collection of toys come to life. Where? For example; at a toy exhibition, inside a magic toy box, in a sandpit. Who do the toys belong to? - When does this happen? Why? Which toys are in the story? How do they come to life? What will happen? Who else is involved? - Select toy roles for the story, for example; teddy bears, dolls, toy robots, stuffed animals, puppets, model cars, trains, models made of Lego, collections of characters from well-known stories or television programs, and so on. Discuss how these usually work. Select other roles if required, for example; shopkeepers, children, and so on. - Students work with a partner. Introduce yourself in role as the toy chosen and tell the story of how you came to this location. Who do you belong to? What are your special features? How do you work? Why are you an important toy? Respond to questions from your partner. - Students build the story as a class. Students write a rough outline of the story on the board around a beginning, middle and ending. Teacher uses this as a guide and records changes to plan as class proceeds. - Students identify the drama space and its key features. Students decide on the location of the toys. Students walk into the space one or two at a time and take a pose in role as the toy. - At a signal given by teacher, a student or group improvises movement to show how their toys will come to life. Teacher assists with suggestions as required. Stop the action at random moments and ask the groups to freeze. Select students to speak the thoughts of the moment in role to assist them to build belief in their roles and the situation. - Discuss ways to improve the action. Incorporate small-group work into whole piece. Refine movements and explore contrast and focus, for example; have some toys moving while others are not, experiment with contrast between fast moving and slower moving toys, and so on. Discuss and explore ways to end the piece. Improvise as a whole group with assistance from the teacher. - Students rehearse with music. Decide on costumes, make-up and props. Rehearse several times in full costume. Perform at a community event. - Take photographs of the performance. - Select a piece of music to help tell the story. Students listen and offer ideas. What’s happening? - Select different pieces of music for each group of toys and incorporate into a sequence. - Develop a whole-group movement piece based upon toys of the future. - Develop the story outline into a piece of reader’s theatre and have students narrate the action as it happens. - Discuss the performance. Which movements were particularly effective? Why? How convincing were the roles? Were the situations clear? What was happening? Which moments grabbed attention? - How did you feel when you were performing? Write about the performance. Display photographs and create other images of roles portrayed. - Write about your life as a toy. How do you move? How do you work? Assessment of students - Teacher observation of students’ drama work and their process of working. - Analysis by the teacher of students’ oral and written comments, drawings and other responses to their drama work. - Consideration of the following questions about students’ learning in drama: - How well are they able to become involved in a make-believe situation and take on roles? - What evidence is there that students are beginning to notice and respond to drama elements as they work with others to develop drama? How effectively are they working together? - How effectively are they using movement and language skills as they perform? - What learning is evident as they observe and respond to their drama and the drama of others? - Consideration of the following question about other learning: - What evidence is there that the drama work has contributed to their understanding of how toys work? - In small groups, students take the hot seat in role as their favourite toys. Others ask questions to find out more about their lives and their owners. What’s the best thing about being a toy? What’s the worst thing? Groups report back to the class and discuss. - Teacher-in-role as a research assistant for a toy company calls a meeting of designers to discuss and develop new toys for the 21st century. In groups, students discuss and sketch ideas. Teacher-in-role moves around groups observing and asking questions of the designers. Students select someone from the group to report back. Teacher-in-role brings the whole group together again and asks each reporter to present the group’s findings. The whole class is encouraged to ask questions of each group and seek clarification of how the toys will work and the materials involved. The teacher thanks the designers for their assistance. The students write in role as designers, explaining their toys of the future.

<urn:uuid:c042e3bd-4239-4790-8038-8bf5006276e2>

CC-MAIN-2021-17

https://education.nsw.gov.au/teaching-and-learning/curriculum/key-learning-areas/creative-arts/early-stage-1-to-stage-3/drama/toy-world

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00142.warc.gz

en

**This is a guest post, written by Jenny Holt. When data is shared through a story, you are 22 times more likely to recall the information. Storytelling has the power to capture our attention and most importantly, build confidence — even at a young age. If a child is naturally shy or soft-spoken, storytelling might be the key to helping them discover their voice. In the same way you encourage them to watch educational programming and help them pick out books at the library, it’s never too early to teach children how to share and listen to stories. Learning More About The World Shyness often happens when a child feels unsure of themselves in the world. When your view is limited and your voice is small, you don’t know how or where you fit, and it’s easier to retreat into yourself. For most children, listening to books read aloud is the first foray into the outside world. Hearing stories about other people and places allows young minds to start developing new ideas. There is no limit to the kinds of stories you can share with children to help them grow. Taking time to flex the imagination is critical for youth development, particularly for shy or introverted personality types. These children need an outlet in which to share their experiences. The structure of storytelling can provide them that safe space to ask questions and learn more about how the world operates. Strengthening Early Vocabulary From infancy, children are listening to the world around them and mimicking the sounds they hear. All children develop at their own pace, but there are steps parents can take to ensure that children have a strong working vocabulary before they even step foot in a school. From flash cards to memory games, there are many tools available to improve word use, though storytelling might be the most critical. When children learn to tell and listen to stories, they make fresh connections between words and phrases in their minds. This kind of critical thinking gives them the confidence to problem solve on their own. Any child who can clearly articulate their needs, wants and frustrations is better equipped to communicate and process through their emotions, which helps them feel in control and more confident. Stories Encourage Empathy Development The key to great storytelling is in the details. Character description and arc structure also help flesh out ideas and picture the story’s development.When children hear stories about people, places and cultures unlike their own, they begin to imagine what life is like for others. This leads to an ability to imagine possibilities outside their own experiences, which is critical to understanding empathy. Children are naturally self-centered, but learning to feel and think for another can help them grow in confidence of their place in the world. This intrinsic skill will help them succeed in their careers and relationships. Taking the time to teach children how to share their thoughts through stories will set them up well to learn throughout their lives. Learning how to listen well expands a child’s worldview and encourages them to have the confidence to step into their place in the world.

<urn:uuid:4aff4abb-34c8-4ee8-9dd5-6cf161a02ebb>

CC-MAIN-2021-17

https://blog.tales2go.com/blog/instill-confidence-in-children-through-storytelling

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00105.warc.gz

en

Teaching students to use functional text is one of my favorite units! Why? Because kids are engaging with texts that they actually read in their daily lives! They get to see that the reading skills we teach are immediately useful outside school, and that’s always a win! What is Functional Text? Functional text, or authentic text, is any text that we read on a daily basis. It’s real world reading. It’s called functional because it is useful; it includes information that helps us make decisions and complete tasks. Some examples that students easily recognize are recipes, directions, menus, fliers, and signs. The purpose of functional text can vary. Typically, it provides information, explains directions for how to do something, or allows us to share information with the author (like filling out a library card application). Learning how to read and engage with real-world text is an important skill for developing readers! Read on for some tips to tackle this genre in your reading workshop! Introducing Functional Text Before kicking off this unit, I like to collect as many types of functional text as I can. The good news? It’s super easy! Bring home an extra copy of a paper menu the next time you eat out. Go through your junk mail. Ask your students’ families to bring in some examples! I like to have a variety of formats and topics, with some that come right from our community. Kids get such a kick out of that! I also try to find examples that will work at different reading levels (fewer words on the page, more pictures, specialized vocabulary, etc.). A super easy and engaging way to introduce this type of text is to just immerse your students in it! Give them 15-20 minutes to look through different samples. Then have them share their observations. If you like, you can have them record their thoughts on sticky notes or chart their thinking. Or you can provide graphic organizers! Some things I want my students to notice about functional formats include: - they are often organized into small chunks of information - they usually include nonfiction text features, like headings, bold print, and captions, that help draw our eye to certain information - their main purpose is generally to present information to the reader so that we can complete a task, make a decision, or solve a problem (some formats, like brochures and other advertisements, may be meant to persuade the reader to buy or do something) - we read them differently than other nonfiction or fiction texts – we might skim them or only read certain parts at a time, rather than always reading them top to bottom in one go - they might include specific vocabulary about their topic One thing to watch out for is students who read the main content of the text but not the “extras”, like fact boxes and graphics. Important information can often hide right in plain sight, especially if the page is busy with lots of graphics or sections of text. Sometimes I ask students to look at all those extras first before the main text. Analyzing Functional Text It’s good for students to practice finding “right there” answers when they read authentic text, since that’s what they would need to do in real life. In the upper grades, though, we know that we go way beyond basic comprehension questions. As students look through examples of procedural text, here are some guiding questions for them to consider: - What is the purpose of the text? - Who wrote the text? Is this person biased? - Who would likely read it? Why? - How would this text be useful? - What is the main idea that I should take away as the reader? - What information can we get from it? Depending on the format, they can also use reading strategies like questioning, drawing conclusions, sequencing, and identifying cause and effect relationships. The key is making sure they’re using examples that have enough “meat” to analyze. If you want to save some time, click here to find functional texts with questions. Chances are that you’ve had students complete some functional writing in your language arts block, such as an expert or how-to book, or letter writing. Including a functional text unit in your writing plans can be a nice break for students who struggle with creative writing or report writing. In addition to the words, they can work on incorporating lots of nonfiction text features as well. Functional text is also a nice tie-in to media messages, if you teach those. Comparing and contrasting different formats and purposes can help students take a deeper look at the media we consume each day! Knowing how to read and understand functional text is an important life skill! I find this unit to be really engaging and authentic, and I hope you and your students enjoy it! Let me know in the comments what resources and activities you like to use when you teach functional formats! Pin for later:

<urn:uuid:8ca0f7d2-db1d-4c56-a572-f308bdcd5e18>

CC-MAIN-2021-17

https://alyssateaches.com/teaching-functional-text-in-the-upper-grades/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00382.warc.gz

en

Introduction to the Story of the Bible [Course] What is the Bible? Is it a collection of moral teachings? An old religious text that’s a little confusing? A list of do’s and do nots? A self-help book? In this course, you will learn that the Bible is actually a story with one, over-arching narrative. You will also learn about good story structure and some key elements of good storytelling. The course analyzes the Biblical narrative, giving you the tools and context you need to better appreciate the Bible. Scroll down to learn more, or simply register by clicking “add to cart.” Already registered? Access the course here >> Wondering why you should take this course on the story of the Bible? You’re in the right place. Below you can read about the key outcomes for the course, how it’s structured, and even watch a couple sample videos from the course! About the Course: If someone asked you to describe the Bible, what words would you use? Is it a collection of moral teachings? An old religious text that’s a little confusing? A list of do’s and do nots? A self-help book? What about a story? Most people know that the Bible has a few different stories in it, some parables and character lessons, but did you know that the Bible has one large, overarching narrative? It’s a good thing. I love stories. In fact, I could probably get through about 10 different story books in the time it takes me to get through a single self help book. Not only that, but I have always found I learn more from stories than I do from self-help books. It’s one thing to tell me some good principles to live my life by, but when I see someone living the right way in a story, that sticks. In this course, we’ll be diving into the structure and methodology of good storytelling. We’ll learn story principles from Pixar, Anton Chekhov, and others. We will then apply those story principles to the Bible, giving us the tools we need to identify and remember the overarching narrative told in this book. How does everything tie together? Is the Bible still relevant today? How do you handle some of the weird stuff in the Bible or the things that seem like contradictions? We’ll dive into all of those topics and more. So join us as we explore the story of the Bible! Key Outcomes for the Course: Here are a few of the key lessons and outcomes: - Learn about Pixar’s story structure principles and then discover them in the Bible. - Build a greater understanding of the overarching narrative of the Bible, which will provide great context to your future Bible studies. - Learn about a storytelling principle called Chekhov’s gun and why it matters in the Bible. - Identify the many ways the Old Testament points to Christ, and gain a greater appreciation for the work he did on the cross. - Great stories change us, and the Bible is no exception. Discover your role in the story that God is still telling today. What is included in the Course? The entire course can be taken at anytime, and it is hosted online. I’ve packed as much Scripture and good theology as I can into shorter, bite sized pieces. The course contains 20 different videos, and each one is about 3-5 minutes long. There are also a handful of activities that will get you into God’s Word and help you apply what you’re learning. I’ve structured the course into 3 different lessons, which means the entire course could work really well as a 3-week Bible study that you do on your own or with a group. Here is the full course outline: Lesson 1: The Structure of Story In this lesson, we’ll explore the fundamentals of good storytelling and then apply those lessons to the story of the Bible. We look at a variety of stories in the Old Testament and finish with Christ. Topics include: - Introduction (the video towards the top of this page) - The Pixar Story Structure - Activity: Story Structure - In the Beginning - Until One Day… - The Eden Narrative - Activity: Solomon and the Eden Narrative - The Message of the Old Testament - Until Finally… Lesson 2: Chekhov’s Gun Chekhov’s Gun is a popular storytelling technique, and it is actually used in the Bible. In this lesson, we’ll define what Chekhov’s Gun actually is and then look at a few examples. We will also answer the question, is Jesus really the only way to salvation? And finally, we discuss bungee jumping to help build our understanding of what it means to believe. - What is Chekhov’s Gun? - The Story of Abraham - The Blood of the Lamb - The Tabernacle and the Temple - Activity: How Jesus Fulfills the Law - Is Jesus Really the Only Way? - Reverse the Curse - Repent and Believe Lesson 3: The Denouement In this final lesson, we discuss the denouement of stories. Jesus has conquered death and will return one day, but what do we do now? How do we live as citizens of Heaven in a broken world? How do we bear good fruit and make the world a better place? The answer, you will find, is surprisingly simple (but it isn’t easy). - What is the Denouement? - Citizens of Heaven - Activity: What does a Citizen of Heaven Look Like? - The Key to Bearing Fruit - Activity: Sitting at the Feet of Jesus In addition, to the topics above, each lesson contains a few discussion questions you can review yourself or with your small group. Can I try the course for free? If you want to get a taste for what the course is like, then good news! You can watch the first two videos for free! The first one is the introduction and it is towards the top of the page. The second video in this course is below, and it focuses on the basics of good story structure: If you want to watch the rest of the course, then you’ll have to register. Who is this course for? This course is designed for anyone looking to build a greater understanding and appreciation of God’s Word. If you enjoy good stories, you’ll love looking at the Bible through this unique lens of storytelling. It doesn’t matter if you’re investigating the claims of the Bible, a new believer, or a christian with years of experience. I believe there is something new and fresh for you in this course. You can register and take this course on your own, but you can also go through the course with a small group. The course contains activities and application questions that will be great to discuss with friends, family, or the members of your Bible study. The course is offered completely online, and you can register or access it from anywhere in the world. Once you register for the course, you will gain access to the full course and your access will never expire. What are you waiting for? If you made it this far, you’re clearly interested in learning more about the Story of the Bible. Go ahead and register, you can start the course today!

<urn:uuid:b38d8803-e2ca-452d-a96e-3568045f3d31>

CC-MAIN-2021-17

https://leadersgolast.com/product/introduction-to-the-story-of-the-bible-course/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00064.warc.gz

en

Note-Taking: A Must-Have Skill For Children - December 7, 2018 - Posted by: admin - Category: Articles Written By: Clinton Nwojo-Emeson Note-taking is an essential skill that helps propel students highly in their various careers. Whether they are in a class, participating in brainstorming sessions, or jotting down points while reading, notes are simply an effective way of learning, reserving and remembering important information and ideas. This piece seeks to explore the best techniques for taking notes in class and how students can benefit from them too. - Students tend to write down everything being said by their teacher without listening The act of taking notes should be in the ratio of 75% listening and 25% writing. This way, the student can relate to all that the teacher has delivered and thus, works out the new concept in their head in order to solidify them and jots down the critical information in his own words. This is one of the ways to ascertain that learning has taken place. - The use of notation symbol such as arrows, circle boxes, colours, mapping web, in taking down notes allows students to stay organized and properly lined up. This method is known as Dynamic Outline. The colorful nature of the notes, using symbols to represent words for easy recollection is without doubt, far more dynamic and easier to access than the block of text which most times appears cumbersome and boring to students. - Mind-mapping helps to give a visual representation of ideas, connecting with them via circles and lines. This makes it easy to form connections between ideas. Usually, the central topic of discussion is circled in the middle and as the teacher carries on, sub topics are branched out into smaller circles. This is a great way to make strong visual connections with topics and keep them in your memory. - Page-splitting. The process of separating the main topic from the subtext is also a great method. this case, page is split into two halves whereby the main topic is written on the left and on the right, notes are taken down. The left side helps for easy retrieval of information and helps make recalling more efficient. In view of this, note-taking is an important tool that helps students in their academics because it helps them remember important information. This is a very personal practice as methods vary from person to person, especially as it is important for students to own their own learning style. Clinton Nwojo Emeson is a Literacy Executive with Jordan Hill Creative Writing & Reading Workshop. He studied English & Literature and loves to write.

<urn:uuid:adf9f168-4875-4851-b0f9-193f238ade19>

CC-MAIN-2021-17

https://jordanhill.org/note-taking-a-must-have-skill-for-children/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039375537.73/warc/CC-MAIN-20210420025739-20210420055739-00145.warc.gz

en

When students don't feel safe in school, they don't thrive academically, socially, and emotionally. According to a 2015 survey from the National Center for Educational Statistics, more than one out of every five students (20.8%) has reported being bullied. Bullying takes many forms and impacts not only the student being bullied, but the entire school community. Participants of this course will be equipped with the knowledge and tools to build safe school communities that identify bullying behaviors quickly (and even before they happen), empower students to move from bystander to advocate, and use character development and social-emotional learning to build stronger school communities. Techniques for effective interventions as well as best practices from both a teacher and school-wide perspective will be provided to enable participants to address (cyber)bullying concerns within their respective schools and communities. Participants will leave the course with a framework for implementing classroom meetings to foster a positive classroom climate, integrating social-emotional learning/character education, and speaking with key stakeholders (parents, other teachers, and administrators) to prevent (cyber)bullying in and out of the classroom. Participants will be able to: - Conclude that building and maintaining safe communities for children facilitates their learning and fosters positive personal growth and development - Develop a fundamental understanding of bullying behavior and the roles that stakeholders play - Differentiate between types of bullying behavior including aggression, discriminatory harassment, and cyberbullying - Evaluate how differing forms of bullying warrant various intervention and prevention approaches - Assess the need for bullying prevention interventions within his/her own classrooms, schools, and districts - Propose effective teacher-based strategies for bullying intervention/prevention both within and outside the classroom: character education, social-emotional learning, and classroom management strategies - Conclude how social-emotional learning and character education is a foundation for fostering citizenship in students and promoting safe and supportive learning environments - Establish communities of practice within a school that act as collaborative measures in facilitating and maintaining positive school culture and climate To Enroll in a Course: - Choose the version of this course you would like to take: Graduate-Level Professional Development Credit (you will receive a University transcript) or Non-Credit (you will receive a certificate of completion). - Add the course to your Cart and continuing shopping, if you’d like to purchase more courses. - When you are ready to check out, go to your cart. You will be asked to log-in to your account or create a new account. - Follow the enrollment and payment prompts. If you have a coupon/discount, you will be asked to enter it during the enrollment process. - Upon purchase, you will receive an email receipt and be able to login to your course at eclassroom.cecreditsonline.org. You have 6 months (180 days) from your purchase to complete your course. - If you have any questions, check out our FAQs or email firstname.lastname@example.org. Graduate and Graduate-Level Professional Development Credit Courses - Graduate Credits are available through Adams State University. Graduate-level professional development credits are available through Valley City State University and Humboldt State University. The University partner will process your course completion and provide a transcript that includes the name of the course, course number, number of credits, and your grade. - You will receive directions on how to receive your transcript in email form, and you can also review the University Partners section of our website for more information. - Upon completion of your course, CE Credits Online will forward all the required documentation to the University you selected. - Note: If you would like to take courses with Adams State, please purchase the Non-Credit version of the course and upon completion email email@example.com asking to sign-up for graduate credit through Adams State. - You must check with your district to ensure the credits received will meet your specific requirements. We will not be held responsible if your school, district or state does not accept the credits issued. - We offer all of our courses as a Non-Credit option that can be used to meet your recertification or professional development needs in Illinois (always check with your district/state to determine eligibility). - Upon successful completion of your course, you will receive a Certificate of Completion for your records that will include the name of the course and number of professional development hours completed. - The Certificate of Completion acts as a record that verifies that a professional development course was taken and passed.

<urn:uuid:63a37056-0bb8-4f57-b299-67d08a41b84c>

CC-MAIN-2021-17

https://www.cecreditsonline.org/collections/illinois/products/illinois-preventing-cyberbullying-creating-safe-schools-for-all-students

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038064520.8/warc/CC-MAIN-20210411144457-20210411174457-00465.warc.gz

en

- With Choice of New Leader, College Board Hopes to Extend Its Reach - Reading In American Schools: Will Common Core State Standards Improve Literacy? - City Instructs Schools to Expand Common Core Introduction - ‘Common core standards’: education reform that makes sense - Advocates Worry Implementation Could Derail Common Core Collaborative blog post by Mike Fisher and Jeanne Tribuzzi, of the Curriculum 21 Faculty. The companion LIVEBINDER OF INTERACTIVE TOOLS IS HERE. Expecting students to read deeply and draw meaningful conclusions is at the heart of the Common Core ELA standards. Students are asked to read closely, cite evidence, and make evidence based inferences when they read. They are expected to deepen their learning by valuing textual evidence and reading critically. Annotating text is one way students can cite textual evidence, infer and deepen meaning as they read.. Annotations make thinking visible for teachers and students. We can use the words and features of a text to better comprehend it, ask questions, and note our thoughts while reading. One goal of comprehension is that students will be proficient annotators of texts to understand more deeply by interacting and making thinking transparent while they read. There are many reasons to ask students to annotate text: for basic comprehension, to show evidence of conceptual understanding, to show what is implied, to identify the claims in an argument, to read like a writer and identify characteristics of genre, to notice the nuance of language…and many other reasons. Giving guidance as to what we want students to annotate for will be beneficial for the reader. Otherwise, they will annotate everything that comes to mind, and the work may not be helpful to the reader or the teacher. Annotations are often a singular, individual experience. Annotexting ups the ante all around. Annotexting is a process that involves the collection of thoughts, observations and reactions to reading that show evidence of critical thought. These annotations, rather than being on paper, can be collected with different web tools so that students can collaborate, both locally and globally, around the conclusions that they will ultimately draw from their reading. Students submit their annotations via their smart phones or other digital devices, and then analyze each other’s notations collectively. They could be looking for main ideas, thematic and literary elements, or big ideas from the work. They could be looking for evidence of connections to other texts, their own experiences, or world issues. They could simply be searching for meaning to support them when reading complex texts. In addition, students could reflect on the collective evidence as a metacognitive activity to assess their own learning. Perhaps the collaborative exercise raised new questions for them or offered them new ways of thinking about the text. Perhaps there is something else the student wants or needs to know? Metacognition can be strengthened when citing evidence in text. Textual evidence that supports the thinking behind what they are thinking is a gigantic first step into the depth and complexity that the Common Core is asking of students. Annotexting kicks that up a notch by engaging task specific tools that offer opportunities for strategic thinking and globally connected opportunities. Consider THIS ANNOTATED TEXT. The student wrote all over this poem. The student underlined specific words and wrote annotations about them in line with the text. This student is engaging in a thoughtful, albeit singular, analysis of this poem. What changes with multiple perspectives? We have our own ideas about squat pens and writing utensils as weapons (based on the student’s annotations) but they are different than this student’s collection of evidence. What would have changed in the interpretation of this poem if our perspectives were woven together? Does the collaborative process of conversation yield a greater product? Does the thinking extend when multiple perspectives are mixed? Does the evidence yield to strategic thinking when multiple viewpoints are involved? Besides the strategic and capable use of digital tools, annotexting offers students the opportunity to value evidence, think critically and engage with different perspectives. Rather than working independently to read, comprehend and analyze text, annotexting will allow students to engage with other audiences in tasks with an expanded purpose, supporting college and career readiness. We’ve created an example of what this could look like in Corkboard using William Blake’s poem, “The Tyger.” (Click on the Corkboard tab in the Livebinder. The example is in a subtab.) You can see other examples in several of the tabs in the binder. We would also like to share this DISCUSSION RUBRIC (2007) that you can use as students submit annotations and begin to draw conclusions about what their evidence is pointing to. In order to get students to own this process, we have to relinquish some control. Let them think, let them make mistakes and respond. Let them draw conclusions even they are not the conclusions we would have drawn. We can be there to coach them through misconceptions. The college and career ready student (on page seven of the ELA Common Core document) is expected to attend to audience, task, purpose and discipline in both reading and writing. The standards also expect students to think critically and value evidence. The document goes on to explain that the college and career ready student should use digital media strategically and purposefully. Annotexting is at the intersection of all of these capacities. In addition to collecting evidence with web tools, there are also digital APPS that we’ve come across that would work for Annotexting too. (These are represented in the LiveBinder as well.) Some are notetaking apps that let you collect evidence and annotations with a digital device and some let you edit and annotate PDF files and documents. There are resources in the binder for both iTunes and Android Market Apps. Some Youtube tutorials: PaperPort (this one’s free) it let’s me import my pdf files…and annotate them! Note Shelf- for notetaking If you would like to explore this and other Modern Learning moments more in depth, check out Curriculum21’s Webinar Series and our all new LEAD21 Academy at this year’s Curriculum Mapping Institute. We will also be exploring the Common Core as it relates to Curriculum Design at the upcoming Ohio Regional Conference in May. (Space is limited!) Fisher, Michael L., Jr. and Nancy Cook. “Notice, Think, and Wonder: New Pathways to Engage Critical Thinking.” IN TRANSITION: Journal of the New York State Middle School Association. 25.1 (2007): 15-18. Web. 25 Feb. 2012. <http://www.nysmsa.org/associations/611/files/ITv25n1_Fall 2007.pdf>.

<urn:uuid:f619fbac-d8c4-4876-b601-922fe5789075>

CC-MAIN-2021-17

http://beta.curriculum21.com/2012/03/annotexting/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00505.warc.gz

en

Student engagement is essential in today’s classrooms. Many studies have found that increased attention is connected to higher achievement and effective classroom management. It is much more challenging to keep students engaged than it is adults. If we do not create an engaging environment and a creative learning experience, subjects may not interest them. Getting your students focused and eager on the activity at the initial stage of the class is tough. It is also problematic once you have locked them into learning; they quickly lose interest. If teachers sometimes get bored sitting for long presentations, NO doubt students go off track. You need to attract students’ attention and make sure they stay focused in class. Here are some strategies to ensure student engagement: 1. Use a fairness cup You can use a fairness cup to help your students learn how to handle failure in life. Write each student’s name on a Popsicle stick and put the sticks in a cup. Pull a random stick to select someone to speak or answer a question, then choose a set of questions your students can answer. Many schools use Bloom’s taxonomy to improve the thought processes of students. When they think beyond the imaginable it leads to exciting thoughts and motivates mental growth. There are 6 major categories for questions: 2. Start class with a warm-up activity One exercise is to ask students to find mistakes written on the board. Instead of working individually, they can collaborate on a group project. Assign students to small groups. Ask them to work as a team and raise their hands when finished. When all groups have completed the task, have them compare their results. 3. Teach students about teamwork Project learning and team-based work needs to be trained in the early stages of school life to develop their collaboration skills. An example of a team-building exercise is to divide the students into small groups and give each team a pair of scissors, two papers, ten paper clips and tape. Ask them to build a free-standing tower in a limited period of time. Have some teams begin construction while others observe. The “observing” teams can give positive suggestions. Switch teams and see if they can produce better projects. 4. Utilize quick written reviews After completing a topic, ask your students to briefly write what they have learned. It can cover vital points about the topic and their thoughts about challenging sections. This will keep students engaged and prepare them to focus on the next subject. 5. Use different learning styles Every student has unique ways of learning with their own strengths and weaknesses. You need to incorporate various activities and methods to reach all students. With this method students improve both listening and speaking skills. They think in words and will often be learning as they speak. Suitable activities for these students cover: - Brief lectures - Word games - Team projects These students learn first by seeing. They may see in words or images. Some activities for this type of learner include: - Taking notes - Looking at images, videos, etc. - Drawing and reading charts or maps - Resolving puzzles This method can be used to organize thoughts graphically by creating a diagram. A word or group of words expresses various concepts. Primary concepts should be listed at the top of the diagram. As other ideas are added, linking phrases and cross-links can be used. 6. Turn learning into games Students learn more and get engaged most when they are having fun. This concept suggests giving more focus to the benefits of playing learning games in the classroom. 7. Learning in a story session Storytelling is another highly engaging strategy that can be used in the classroom. This activity helps engage both the emotional and logical sections of the brain. With diverse areas of the brain being stimulated, the hearer can better engage with and cherish the information within the story. 8. Create a positive emotional environment Ask students about their feelings as they consider a vital topic such as bullying. Be open and available to them if they need help with their emotions. Many students have no moral support from family or friends. When upset, kids are more likely to misbehave and less able to concentrate or be engaged in the subject matter. Teachers and counselors are vital in helping students in these situations. 9. Educational apps Introducing some technology into the classroom can take away dullness and make students excited towards the class. With the extensive use of mobile devices, educational apps are now becoming a necessary tool in the present-day classroom. With video sessions, math apps allow teaching difficult mathematical problems through games. 10. Autonomy support Including students in the learning process is vital to obtain their interest for the subject. Students should be able to express their ideas and opinions during the activity. They should be given a good amount of time to understand specific topics and not rushed onto the next subject. In teaching, not every strategy will work with every student. You need to have a big bag of tricks that you can pull from when students’ interest starts to waver.

<urn:uuid:66670ed2-b1e3-4aa3-9b29-66c2aa260eeb>

CC-MAIN-2021-17

https://kindovermatter.com/2021/02/tips-for-teachers-to-keep-primary-students-engaged.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038469494.59/warc/CC-MAIN-20210418073623-20210418103623-00105.warc.gz

en

Uncover patterns in your story During the reporting process, we see how the issues we cover are often perpetuated by cyclical patterns. We call these patterns feedback loops, which are a series of forces that connect to one another in a cyclical way. Feedback loops are the foundations of many systems and dictate how they function. While feedback loops can be hard to see and articulate, this exercise can help you identify core patterns that are at the heart of a problem you're reporting on. Once you start uncovering feedback loops, it's likely that you will start seeing them everywhere. Review core outcomes In completing this exercise, you will be able to: Identify underlying dynamic patterns at play in issues you cover; Understand how these feedback loops drive your area of coverage; Uncover entrenched patterns that can inform your reporting and storytelling. Materials + set-up This exercise works well with our Seeing Your Story as a System > exercise, but can be done without. This exercise can be completed on your own, with your reporting team, or with members of the community. There's also an opportunity to go deeper > and create a small systems map of interconnected feedback loops. You will need: sticky notes, sharpies, flip chart paper Use this corresponding slide deck > for facilitating this with your team or collaborating remotely. Here's what you need to get started Identify key forces Think about your topic and the myriad forces and elements that contribute to or are affected by it. These can be patterns, trends, policies, attitudes, power dynamics, or beliefs. Write down a few of these forces on a piece of paper. If you’ve already mapped your topic in the previous exercise, review the forces you surfaced. EX: If you're covering public safety or criminal justice, you could point to: policing in Black neighborhoods, recidivism rates, employment opportunities, the "war on drugs," or the availability of social services. Create a loop Ask yourself or your team: What does that force lead to? Try to find another force you’ve already identified on a sticky note that answers that question. If you need to add a new force, that’s fine too. Keep asking that question until you’ve looped back around to the first force. If you get stuck, work backwards. Try to keep your feedback loop size to 3-6 forces. Keep the forces neutral. For instance, instead of saying “Inability to find a job,” say “Employment." (It will become more clear why in the next step.) For example, if you’re working on a pattern about criminal justice, here’s what one feedback loop could look like: Pick a force Look at the forces you’ve written down and pick one that you or your team thinks is particularly important to your topic. Write it on a sticky note and place at the top of a large white piece of paper. Describe the connections Once you’ve created your loop, it’s time to describe the connections between each force. In the graphic below, notice how an increase in incarceration leads to a decrease in Employment Stability. Use “+” and “-” signs to indicate the relationships between each force. (This is why you keep them neutral. Complex systems are always changing, which means the forces will as well. Using "+" and "-" signs can help indicate that.) Review + discuss Talk through your loop. Does it make sense? Can you explain each connection? Is there something missing that would better complete the loop? Using loops for your reporting Creating these loops can be a useful way of understanding the patterns that are fueling the issue you're covering. After you've created a few loops, ask your group: What story can you tell that illuminates one or more feedback loops? How could you report stories about ways to intervene in these loops? Who can you bring in from the community to test the accuracy of your feedback loop? Name three people. Could you publish a visual of a feedback loop to help illustrate a story you're reporting? Want to dive deeper? Use our tool to create connected feedback loops >

<urn:uuid:232c567e-659e-4e47-8764-47e876136f09>

CC-MAIN-2021-17

https://www.systems.journalismdesign.com/surface-dynamic-patterns

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038059348.9/warc/CC-MAIN-20210410210053-20210411000053-00306.warc.gz

en

Classroom Activities Using Storytelling Storytelling in the classroom can seemingly be one of the most diverse and engaging ways to help students learn English as a second language. Storytelling for the purposes of this essay is a broad term that I am using to refer not only to students telling stories about what they did on the weekend for example but also using existing stories that are well known and loved, for example, Harry Potter or the Lion King. This post was written by our TEFL certification graduate Jamie S. Please note that this blog post might not necessarily represent the beliefs or opinions of ITTT. Benefits of Storytelling Activities Firstly, classroom activities using storytelling when centered around the students are a great way for students to get to know one another. With appropriate facilitation, a student can turn a basic conversation about how many people they have in their family, into a story highlighting what they did or would like to do with their family. From here, this conversation can build into shared experiences with their fellow students. A student in the classroom that regularly plays soccer, for example, can then be paired with another student who also regularly plays soccer, and together they can try to build a story out of that shared commonality. Storytelling Skill Development Further, students can be encouraged to go and explore and to create their own stories. This can again be facilitated by the teacher. For example, a teacher can pass out a homework sheet listing different animals, which the students can then try and find outside of class. Back in the classroom, the students can then have a conversation with others who saw the same animals they did and discuss how. Thus, they will be sharing stories. This is seemingly a way to create stories that students can engage within the classroom and they are creating their own content without perhaps realizing it. Moreover, using existing stories, such as the Harry Potter or Lion King examples as listed before, opens up a plethora of additional classroom activities. In addition to showing videos in class, which typically keeps students engaged, these stories are already well known and loved. Students can then periodically discuss who their favorite characters are and why, or they can complete a word-find listing the animals they have seen in the Lion King movie. Students could play a bingo game, listening for certain words or looking for different items on the screen and describing it. Moreover, students can be asked to write a summary of a story that they love, or else tell it in their own words, as a way to build and construct full sentences. For the more ambitious, writing a script from a part of the movie and then re-enacting it would be another fun class activity, although this would likely be embarrassing for many. In short, there is quite simply a vast array of activities that can be used in the classroom, which when paired with a story that is already well known and engaging, will likely make for a fun classroom activity. However, there need to be certain conditions for this kind of activity to work well. Any video should not be played for too long at any one time and is a supplement to other activities, rather than an activity in and of itself. Also, not all classrooms will necessarily have access to video players, especially those located in rural Asia or Africa. Do you want to teach English abroad? Take a TEFL course! Overall, storytelling - whether it be a story about the students own experience, a created story or an existing well-known story - is a fantastic way to get students to engage in learning material and provides a platform for a large array of different written, listening and spoken activities which can be delivered in a fun environment. Speak with an ITTT advisor today to put together your personal plan for teaching English abroad. Send us an email or call us toll-free at 1-800-490-0531 to speak with an ITTT advisor today. - Teaching ESL & Knowing Your Audience: Young Learners vs. Adults - Games in the Classroom: What are EFL games? - 10 Tips When Teaching English as a Foreign Language to Children - Teaching English Abroad: What's Next? - How To Advance In Your EFL Career - Top 8 Resources for Researching Teaching English Abroad - 5 Great Places to Teach English Abroad Without a Degree

<urn:uuid:c34a6255-431b-42c3-a330-4d1205447cda>

CC-MAIN-2021-17

https://www.teflcourse.net/blog/classroom-activities-using-storytelling/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038084765.46/warc/CC-MAIN-20210415095505-20210415125505-00266.warc.gz

en

Tags: Phd Thesis Critical Discourse AnalysisGood Creative Writing CollegesPay For Essay Writing UkScdl Pgdba AssignmentsPollution Essay In Simple EnglishList Of Controversial Issues Research Paper TopicsAp Language Synthesis Essay RubricHelp Solve Math ProblemHow To Write A Brief EssayNat 5 English Critical Essay Our graphing worksheets are free to download, easy to use, and very flexible. This worksheet is useful for teaching how to make box and whisker plots. Box and Whisker Plots Word Problems Worksheets These graph worksheets will produce data sets based off word problems, of which the student will have to make box and whisker plots. You may select the amount of data, the range of numbers to use, as well as how the data is sorted. For sixth graders, these standards will help them tackle reading and comparing non-fiction texts, including magazine, books, and digital sources. The Common Core State Standards (CCSS) ask that learners take on… Follow the links for Spaceship Math Addition worksheets, multiple digit addition worksheets, no-carrying addition worksheets and other addition topics.Each of these multiplication charts is a high resolution SVG, so the multiplication facts print beautifully!Are you looking for a printable multiplication table that has more than just the facts? The multiplication tables on this page are all high resolution SVG files that print beautifully on your printer and are great resources for learning the times tables in the grade school classroom or at home!You'll find multiplication worksheets for Dad's Eight Simple Rules for Mastering the Times Table, Rocket Math Multiplication, multiple digit multiplication, squares and other multiplication worksheet topics.All of these multiplication worksheets include answer keys and are instantly printable and ready classroom or home school use. This includes Spaceship Math Division worksheets, multiple digit division worksheets, square root worksheets, cube roots, mixed multiplication and division worksheets.This is the first step for determining the greatest common divisors of two numbers, or determining the least common multiple of two numbers, but additionally prime factorization introduces the concepts of prime numbers and composite numbers.These order of operations worksheets mix basic arithmetic, including parentheses and exponents.Follow the links for Spaceship Math Subtraction worksheets, timed subtraction tests, multiple digit subtraction worksheets, simple borrowing and regrouping worksheets, and math worksheets with mixed addition and subtraction problems This is the main page for the multiplication worksheets.Put your fingers away, because this is the first math operation where memorization of the facts is a requirement.Click here for a Detailed Description of all the Graph Worksheets.Recommended Videos Single Line Graphing Worksheets These graph worksheets will produce a chart of data and a single coordinate grid to graph the data on. Single Line Graph Comprehensions Worksheets These graph worksheets will produce a single coordinate line graph and questions based off the graph to answer. Double Line Graphing Worksheets These graph worksheets will produce a chart of data for two lines and a single coordinate grid to graph the data on.

<urn:uuid:e9bd0456-5a54-4c28-b77b-902b8d86efd7>

CC-MAIN-2021-17

https://chesh.ru/6th-grade-homework-worksheets-6274.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464065.57/warc/CC-MAIN-20210417222733-20210418012733-00025.warc.gz

en

RAYS (Reading Awakens Young Scientists) is an interdisciplinary program that introduces young minds to science through classroom workshops, engaging students in lively storytelling and well-designed hands-on science experiences. RAYS brings science alive to the smallest of scientists through the pages of literature. Through literature and storytelling, this award-winning program reveals the science that surrounds us in our daily lives. Designed for young elementary grade students, RAYS introduces children to the vocabulary of science and reinforces scientific concepts. After participating in an exciting storytelling session of a great piece of children’s literature, students don lab coats and work together on interactive science investigations. The RAYS curriculum is consistent with recognized criteria and uses National Science Foundation standards, Benchmarks for Science Literacy, and California Science Content standards. These standards are designed to improve the teaching and learning of science. Music Over Manhattan. Using oversized illustration boards, our effervescent storyteller will delight the class with a lively retelling of the book Music Over Manhattan. The retelling will be followed by an exciting hands-on science lesson designed to reinforce the concept:something must vibrate to produce sound. This lesson investigates vibration and how sound is produced. Students rotate through four learning centers, as they study the effects of pitch and frequency on vibration (appropriate for grades K-3). The Wartville Wizard. Our animated storyteller delivers the sticky tale of the Wartville Wizard. The story is followed by a fun filled, hands-on science lesson designed to reinforce the following concepts: When certain objects are rubbed together static electricity is produced. Objects that are statically charged may affect other objects (appropriate for grades 1-4). Hey Little Ant. This engaging tale offers children a moral dilemma to explore: Should a boy step on an ant? In the follow-up experiment on insect behavior children discover that the lives of insects are altered by a variety of stimuli. In this lesson mealworms are subjected to stimulation by sight, smell, and touch (appropriate for grades 1-3). Stone Soup. This is a delightful modern retelling of the timeless tale set in a small village in China. Magnificent watercolor illustrations enhance our storyteller’s ability to bring this classic to life. The book serves as a springboard for a hands-on chemistry experiment. Students working in lab teams are challenged to think like scientists, as they create a substance with the properties of paste. Teams formulate hypotheses and then measure, mix and test the combinations. Test formulas are recorded on prepared lab sheets for this fun-filled lesson (appropriate for grades 4-5). Puddle Pail. Puddle Pail explores what scientists do, the concept of exploring and the properties of water. Students work collaboratively, just like real scientists, to conduct investigations that include the concepts of gravity and surface tension. All workshops are presented at your school. For information and reservations call (818) 879-2021. *International Science Center Award for Innovation for RAYS: Honorable mention given by the Association of Science and Technology Centers in Washington DC. The competition included 350 + science centers from around the world.

<urn:uuid:12f6aed4-7455-4a17-9cdb-ccc62b969672>

CC-MAIN-2021-17

http://discoverycntr.org/programs/rays/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00343.warc.gz

en

In Grades 4-6, a comprehensive curriculum is followed that emphasizes strong academics, thinking skills and practical applications. Classes are equipped with SMART Boards and students have regular access to the computer lab and are able to incorporate these technologies into their learning. In Language Arts, the focus is on oral communications, vocabulary development, reading comprehension, written language, grammar and creative writing. Students learn how to independently plan, revise and edit their work and they participate in speech and writing competitions. Students are given group and individualized programs based on their strengths and abilities. Ongoing assessments ensure that key concepts and skills are grasped. The Mathematics program is organized to ensure the incremental development of each skill. Place value, computational skills, fractions, decimals, ratios, percent, geometric properties, number theory, measurement, statistics, graphing and probability are some of the areas covered. Emphasis is placed on the importance of process, format, analytical thinking and sequencing in daily work. Students complete drill work and problem solving and are able to work above grade level or receive additional assistance if needed. In Science, students acquire a broad scientific understanding and technological capacity in all areas of Science. By completing various classroom experiments, investigations, research projects and science fair activities, the students develop a great deal of knowledge which they apply to new situations. Topics in the areas of environmental science, biology, chemistry, physics, and space science are studied at a high level. Social Science seeks to examine and understand communities, from the local to the global, their various heritages, and the nature of citizenship within them. The acquisition of key social science concepts, including change, culture, environment, power and the dynamics of the marketplace are studied. Ancient civilizations, Canadian history, Canadian geography and units related to a study of a country within a continent are studied each year. Different viewpoints are evaluated and information is examined to learn how to make decisions and solve problems. In French, students read a wide variety of materials, appropriate to their age level. They develop strong oral communication skills and explore further aspects of the written language, including grammar. Education in the Arts is essential to a student’s intellectual, social, physical and emotional growth. Our Visual Arts program includes the traditional fine arts of drawing, painting and sculpting. Students learn to analyze and appreciate art work from various historical periods and styles. In Music, the guitar is studied and students continue to grow in their appreciation of music. They learn musical notation and theory and are given the opportunity to perform at school concerts. Computer technology teaches the students to become familiar with various programs and functions, equipping them for our technologically advanced and fast-paced society. Wireless access throughout the building allows the students to use their own personal laptops in all classes. SMART Boards are incorporated across all disciplines and enhance learning. A comprehensive Physical Education program, rounds out the students' learning experience. Intramural and extra-curricular sports activities and teams are available. Fitness, good sportsmanship and high level skills are developed. Drama skills are encouraged as each class prepares presentations for the school assemblies. Two high level drama productions are performed each year, one at Christmas and one in the Spring. Highly qualified, specialty teachers help the students to develop their acting, singing, dancing and production skills.

<urn:uuid:cf039b7b-e689-4d27-b5a5-f677d19327a6>

CC-MAIN-2021-17

https://meadowgreenacademy.ca/curriculum/grade-4-6/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039526421.82/warc/CC-MAIN-20210421065303-20210421095303-00381.warc.gz

en

Name of Book: Noah’s Ark Author: Peter Spier Illustrator: Peter Spier Publisher: Dragonfly Books Audience: Ages: 4 – 10 Summary: Have you ever heard the saying, “A picture is worth a thousand words”? Well, that’s just what this children’s picture book, Noah’s Ark is like. As the story begins, the only words on the page are; But Noah found grace in the eyes of the Lord. As you turn each colorful page you will see no words, except Peter Spier’s translation of a Dutch poem at the beginning which guides you through the story; “High and long, Thick and strong, Wide and stark, Was the ark. Climb on board, said the Lord”. With that, a host of animals in all shapes and sizes parade across the colorful pages of this wonderfully illustrated picture book. The illustrations do an excellent job of portraying perspective. The ark is made to appear enormous. Yet there are some illustrations during the flood where the ark is clearly very small in the context of the huge ocean. There are lots of stories within the story. For example, the sequence where the dove is released several times before the last one brings back a sprig of leaves from dry land is quite interesting as is the promise for the future which is wonderfully captured by a gorgeous rainbow at the end. Literary elements at work in the story: The theme of the story is sequential thereby making it easy for the reader to tell what’s going on. The illustrations provide the nonverbal stories about Noah and the enormous task it was to build an ark, the difficulties of rounding up all the animals, the even greater challenges of taking care of them during the flood on the ark, and the process of returning to the land as the waters receded. By using only illustrations, the author allows for quite a bit of latitude as to how the story can be interpreted. Many wonderful discussions can be generated through the illustrations and based upon the age range of your audience. This book would be appropriate to use with both children and adults. Perspective on gender/race/culture/economic ability: The story of Noah is universal and would therefore make this book appropriate for use with any audience. The lack of words and detailed illustrations allows for vast interpretation and discussion. Theological conversation partners: Genesis 6:1 – 9:17 Faith Talk Questions: 1. Why did Noah find favor with God? 2. Why did Noah put two of each animal in the ark? 3. Why did God send the flood? 4. Do you think people in Noah’s town thought he was crazy for building an ark? Review prepared by Union Presbyterian Seminary student Donna Fair Noah’s Ark by Storypath is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

<urn:uuid:90979af2-bacc-4d65-8a8a-513ec8a2c895>

CC-MAIN-2021-17

https://storypath.upsem.edu/noahs-ark/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00066.warc.gz

en

David Treuer, born on a Minnesota reservation went on to earn a PH.D. in anthropology and teach literature and creative writing he offers some perceptive insights. Indians were not as backward or as noble as they have been depicted. They were however beaten down. David's father was Jewish and had survived the Holocaust. His mother was Ojibwe, had trained as a nurse and became a lawyer. Indians were in North America thousands of years before European discovery. They were many tribes with many languages. They fought among themselves and formed alliances. They had in fact developed agriculture and we have adapted much of it such as corn, squash, etc. After they caught on that there were different European "tribes" they were able to play one against the other, until the American Revolution. A big game changer was the horse. Introduced by the Spanish, the Indians stole horses and mastered riding. This increased their mobility (hunting, trading, etc.) and also their ability to resist the colonizers. Read more: http://www.therealjohndavidson.com/2016/05/north-american-indians-domesticate-horse.html The Louisiana Purchase in 1803 allowed Thomas Jefferson to shift Indians to the west. Some, such as the Seminoles in Florida refused to go. Indians were relocated for convenience of settlers, but in one instance the Osage tribe were clever enough to retain mineral rights and when oil was discovered in their section of Oklahoma they became the richest people per capita in America, but they were undermined. Read more http://www.therealjohndavidson.com/2018/01/killers-of-flower-moon-bit-of-history.html Ely Parker, a Seneca Indian and educated as an engineer attempted to organize the Iroquois confederacy for the Union Side for the American Civil War, but was rejected as not being American. Ulysses S Grant vouched for him. Ironically Ely helped to draft the articles of surrender that ended the Civil War. When Grant became president there were some friendlier political policies. Part of the friendlier government was strategies to help assimilate Indians. One of the outcomes was boarding schools where young children were separated from their parents and forced to speak English and learn history from the American perspective. Similar strategies were enacted in Canada with similar sad results. Eventually boarding schools were abolished on both sides of the border, but still the results linger. A law was established that Indians could not be taxed on their reservations. Seminoles in Florida were perhaps the first to test this in 1976 by selling cigarettes, but later moved into gambling, first with bingo and later with casinos. Many tribes jumped on the bandwagon. A perhaps unexpected offshoot of this was that many tribal leaders wanting to keep more the profits ruled that some people were not really Indians and were excluded. The author points out that blood had been imposed against Indians when it suited the government. The bottom line is that it is human nature to want to concentrate wealth in as few hands as possible. The author discussed that it really is more than just blood that should define Indians and other factors include language and culture. He covers the Standing Rock protests that ended in failure. In the end it is an American problem that includes Indians. Naomi Klein suggested that environmental groups should align themselves with indigenous groups that not only share common goals, but have different tools to enact change. They survived by first resisting, but in the end settled in by fighting for the Americans in the many wars (including the American Revolution for some tribes). AIM (American Indian Movement) looked at the Black Panthers as a model as they made things happen and opted for violence, but also boosted education. There are now opportunities to learn tribal languages and Indian history. Indians are adapting. There are many events depicted and different perspectives including many from his own life. I would like to close with a quote used by the author from John Adams in a letter to Thomas Jefferson in 1816; "Power always thinks it has great Soul and Vast Views beyond the Comprehension of the Weak."

<urn:uuid:6fa1f1aa-b6ff-457f-8274-346cbff9e4c3>

CC-MAIN-2021-17

http://www.therealjohndavidson.com/2021/02/the-heartbeat-of-wounded-knee.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038507477.62/warc/CC-MAIN-20210418163541-20210418193541-00185.warc.gz

en

Children can learn about family heritage at the same time they are improving their literacy skills. Using family-based writing projects, you can build a connection with parents, and help children see the value in their own heritage and in the diversity around them. Every child has a person whose story should be told, a person who has taught,cared-for, and loved them, a person whose influence and ability to inspire is trulyheroic. — Bill Starkey, counselor at Cherry Valley School, Polson, Montana - Encouraging students to talk with family members about their cultural heritage shows respect and interest in students' diverse cultures, making students and families feel more connected to the school. - Families are offered authentic, academically oriented ways of being involved in the school without themselves needing to be highly proficient in English or numerous academic subjects. - Writing projects that illuminate diverse cultural traditions allow all students to share and learn from each other, while heightening respect and appreciation for diversity and improving school climate. Students' writing connects them to their families and communities in diverse and creative ways. Families can support and provide experiences for their children to write about, and they themselves can participate in the story process by being storytellers or audiences. Children love to listen to stories, sharing time and family history with the parent or grandparent who tells them. Listening to these stories, children learn the structure of narratives and the many ways of relating meaningful and engaging thoughts and events. Middle school teacher Priscilla Kelly (1993) relates how allowing her students to tell their families' stories inspired not only their writing, but wide-ranging research projects: The first time I assigned the biographies I envisioned students researching a notable person, probably someone unrelated to themselves. You can imagine my surprise when at least two-thirds of the class chose to write about members of their own families. I was horrified since each student presents a twenty-minute oral report about her biographical subject. How many grandmothers could we stand to hear about! How wrong I was. First, I was and continue to be amazed at the relatives that my students have. They come with stories that amaze, complete with documentation in old pictures, diaries, awards. I ask them to read at least one book that will familiarize them with the context of their subject's life. What children can learn of history and themselves by talking to their families is beautifully evoked in Christopher Paul Curtis's afterword to his popular children's book, Bud, Not Buddy,, a story about a young boy making his way through Depression-era Michigan in search of his father. Curtis (1999) says: Much of what I discovered about the Depression I learned through research in books, which is a shame — I didn't take advantage of family history that surrounded me for many years. I'm afraid that when I was younger and my grandparents and parents would start to talk about their lives during the Depression, my eyes would glaze over and I'd think, "Oh, no, not those boring tall tales again!" … Now I feel a real sorrow when I think of all the knowledge, wisdom and stories that have been forever lost with the deaths of my grandparents (p. 242). He urges young people: "Go talk to Grandma and Grandpa, Mom and Dad and other relatives and friends. Discover and remember what they have to say about what they learned growing up. By keeping their stories alive, you make them, and yourself immortal". Teachers can help their students embrace this advice by respecting the fundamental importance of family knowledge to the academic curriculum. One teacher asked her American history students to interview their parents about the civil rights movement when the class was studying that period. She then invited parents of diverse groups to share their experiences in class (Jackson, 1998). Here we see the families not simply feeding and nurturing the students' growing sense of who and what they are, but evolving from "just family" into knowing experts in their children's eyes. It can be a motivating experience when children make this realization. At Tulalip Elementary School located on the Tulalip Indian Reservation in Washington, teacher David Cort and his students engaged in a project that included connecting technology, literacy, art, and culture: Kids love learning about the rich culture we have here at Tulalip. They feel pride; they see themselves as leaders. Culture motivates them to learn. For many of these kids, when they realize that their family and the canoe culture is something they can share in the classroom, that's when they realize they have powerful stories to tell that they are excited about telling. Honoring families' heritage language. Offering parents whose native language is not English the opportunity to participate in their child's education is yet another critical element in the potential for story projects in any classroom. Students build bridges between their classrooms and their home cultures, integrating all aspects of themselves into their education. Simultaneously, as their cultures are connected to their classwork, their fellow students gain knowledge of diverse cultures, languages, customs, histories, and experiences. By positioning ethnic and cultural diversity as critical and respected realms of knowledge and experience, children's cultural differences are understood as strengths from which to build knowledge and skills, and they promote cross-cultural understanding among their classmates. Dyson and Genishi (1994) write: "By connecting to kids' cultures, one not only recognizes and honors the communities to which they belong; faith, cultural, ethnic, interest … you also allow a community to be forged among the students in the class". In Medford, Oregon, teacher JoAnna Lovato has developed a project with her seven- to -nineyear- old Latino students in which they read autobiographies, write their own and family stories, and create a colorful laminated paper "wheel" that carries the stories and images of their lives. "One of the beauties of this project," she observes, "is that it fully embraced my students — their language, culture, and family traditions. They loved it because it was about them, and they all took great pride in their projects". Similarly, fifth-grade teacher Stephanie Windham has found that her Family Story Book project has helped students improve their writing skills, learn about the genre of story writing, and-most important-develop a sense of pride about their own lives. The children at Atkinson Elementary School in Southeast Portland come from Latin America, the former Soviet Union, and countries such as China, Vietnam, and Pakistan. The project involved writing a story based on the stories told by their own families, as well as a poem on the theme "Where I Am From." They then selected one piece to take through the revision and publishing process. Through the project, Windham has found that family members, especially those unfamiliar with American schools, gain confidence and a better understanding of their child's education. The father of a Russian student, in his struggling English, made a point to contact Windham after the project in order to tell her "it is good you teach this, having children come to ask their parents questions. You are teaching the right things". Researchers have found that the most powerful form of parental involvement occurs when parents are actively engaged with their children in ways that enhance learning (Thorkildsen & Stein, 1998). Projects such as these offer ways for non-English speaking parents to participate in their children's education, and motivate non-English speaking students to convey who they and their families are to the English-speaking community. Students learning English as a second language can interview family members in their home language and write their family stories in English, perhaps sharing the stories with classmates in two languages. Students have opportunities to read, write, and speak both their home language and English. Students also may gain new insights into what makes a story. After observing her family's storytelling habits and interviewing family members, a fifth-grader at a Portland, Oregon, school remarked: I had to ask a lot of questions of my parents and I was surprised about how much I didn't know. It was really interesting because I didn't know that when my grandma talks, when my great-grandma talks, I didn't realize that saying "I used to do that when I was your age" was considered a story. It was really interesting. By encouraging and providing opportunities for meaningful family involvement, teachers play a critical role in bridging home and school. In the small, rural town of Copper Center, Alaska, Tamara Van Wyhe, a secondary school English teacher, engages her students in creating an annual publication of poetry and prose that is shared with the community in a year-end celebration. Through the writings, Van Wyhe says she has developed a greater understanding of the strengths of her students' families and how they support their children's learning. She says this new knowledge has even changed the focus of her parent newsletter-moving away from "look what the school is doing for your child" to "thank you so much for all you are doing to help your child learn". Stucynski, A., et al. (2005). Tapestry of Tales: Stories of Self, Family, and Community Provide Rich Fabric for Learning. Northwest Regional Educational Laboratory: Portland, OR.

<urn:uuid:ea735356-3613-47aa-b749-31a687f1cbb1>

CC-MAIN-2021-17

https://www.readingrockets.org/article/family-stories

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00386.warc.gz

en

About the Holiday From 6:02 a.m. to 6:02 p.m. on 10/23 chemists, scientists, students, and others who love numbers celebrate Mole Day to commemorate Avogadro’s Number, which is a basic weight measuring unit in chemistry. Defined by the equation 6.02 x 1023, Avogadro’s number finds that for any given molecule one mole of that substance has a weight in grams equal to its atomic number. The name of this scientific constant naturally led to an association with the furry underground burrowers, and the mole and mascot moles can be found working in tandem to promote a better understanding and enjoyment of chemistry. As today’s book proves there is no better mixture than the chemistry between friends. A Friend for Mole By Nancy Armo Mole loves his cozy burrow. “He liked his soft bed of leaves, the warm smell of the earth, and the quiet darkness all around.” He can imagine the world above him by all the distinct sounds he hears. But one day those sounds become louder. Instead of gentle tapping and buzzing, he hears stomping, shouting, and laughing. He decides to go up above and see what all the ruckus is about. “The bright light, loud noises and new smells were overwhelming,” and Mole thinks it was a very bad idea to have left his burrow. He tries to find his way home, but he can no longer see the hole. In a panic he starts to run. He trips over a tree root and rolls under a bush. The soft leaves and darkness remind Mole of his burrow and soon he is fast asleep. Mole wakes up during the night. He hears rustling and sees two shiny eyes staring at him. “‘Oh no!’” thinks Mole. “‘Please don’t be something scary.’” Mole closes his eyes, hoping to hide. But then he hears a small whimper. “‘Are you afraid of the dark too?’” When Mole takes a peek, he sees a wolf. “‘No,’” Mole answers. “‘I’m afraid of the light.’” Wolf tells Mole that he is lost after being chased by the other animals and that he is scared. Mole and Wolf think about what they can do and devise a clever plan. Mole says he will stay with Wolf in the dark, and Wolf agrees to help Mole find his burrow when the sun comes up. To make the time go faster, Mole and Wolf play games, such as hunting “imaginary slithering creatures,” stomping on “pretend scampering bugs,” and “chasing away scary monsters. It was all so much fun they forgot about being lost and scared.” As daylight breaks, Mole begins to think about home. Wolf also feels homesick. As they search for the entrance to Mole’s burrow, Wolf shields Mole’s eyes from the sun with his tail, and Mole giggles at the tickly softness of Wolf’s fur. Soon they discover Mole’s burrow, and Wolf realizes that he lives nearby. Although Mole is happy to be home, he also feels sad to say goodbye to Wolf. He asks if Wolf would like to play again sometime. Wolf shouts, “Yes! That was so much fun! I was scared but having you there made everything okay.” As Mole settles back into his leafy bed, he knows “exactly what Wolf meant.” In her sweet story of friendship found, Nancy Armo relates that most comforting feeling—the knowledge that friends always stand by you even when times are hard or scary. Her characters Mole and Wolf are perfectly chosen foils with opposite strengths that, combined, help solve their immediate problem and form a strong friendship. Armo’s straightforward storytelling is enriched by the endearing personalities of Mole and Wolf as well as their honest sharing of feelings. In vivid two-page spreads Armo superbly depicts the daytime and nighttime scenes, transporting readers into the heart of her story. Above the “quiet darkness” of Mole’s burrow, cute mice scamper in the rain while an earthworm, a snail, and a bee take shelter. When his roof rings with noise and curiosity gets the better of Mole, he emerges into an open field, and his tumbling trip over the tree root is nimbly portrayed with a series of flips rendered with a filmy transparency. As nightime falls the Mole’s and Wolf’s adventure plays out on pages with a solid black background. Wolf’s eyes shining on a completely darkened page offers just the right amount of suspense for little readers, and a careful look at the expression in his eyes is reassuring. Kids will enjoy the games the two friends enjoy, and will cheer when the sun dawns on their new friendship. A Friend for Mole is a great book for young readers navigating the world of meeting new classmates, teammates, and other children who may see the world differently but would make good friends. Ages 3 – 7 Peachtree Publishers, 2016 | ISBN 978-1561458653 You’ll find fun A Friend for Mole activity sheets, a portfolio of artwork, and more on Nancy Armo’s website! Mole Day Activity Mole Tunnels Maze Dig into this printable Mole Tunnels Maze that has as many twists and turns as a mole’s home! Picture Book Review

<urn:uuid:3a80113b-83f8-4d09-b51a-b2fb02bb3c6b>

CC-MAIN-2021-17

https://celebratepicturebooks.com/2016/10/23/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038461619.53/warc/CC-MAIN-20210417162353-20210417192353-00305.warc.gz

en

Ano ang self efficacy? The General Self-Efficacy scale measures self-perception of self-efficacy. It is the optimistic self-belief in our competence or chances of successfully accomplishing a task and producing a favourable outcome. It is a self-report questionnaire that asks test-takers to rate perceived self-efficacy in order to predict their coping abilities Self-Efficacy in Education. Self-Regulation: Exercise of influence over one's own motivation, thought processes, emotional states and patterns of behavior. Gumawa ng isang slogan na nagpapahayag ng pagmamahal mo … The data are gathered using survey type questionnaire which is composed of two domains, English efficacy and Math efficacy to find if there is significant relationship between academic performance and their self-efficacy. How to use self-effacing in a sentence. Self-efficacy has probably been most studied within the context of the classroom. But it s the high school 47 4. Tagalog translator. Data was analyzed using mean and test of difference (t-test). self-esteem in Tagalog translation and definition "self-esteem", English-Tagalog Dictionary online. Effects of Self-Efficacy. Perceived Self-Efficacy: People's beliefs about their capabilities to produce effects. In addition to the academic, social, appearance, and physical/athletic dimensions of self-esteem in middle and late childhood, teens also add perceptions of their competency in romantic relationships, on the job, and in close friendships (Harter, 2006). Filipino words for self-esteem include kapalaluan, pagkapalalo, pag-ibig sa sarili, pagpapahalaga sa sarili and pagpuri sa sarili. Factors That Influence Self-Esteem . : There is a dearth of research on general perceived self-efficacy relative to teen pregnancy. : This study examined the self-efficacy for self-regulated learning of 146 early adolescents with and without learning disabilities. Self-efficacy was measured by Self-Efficacy Self-Report Scale that was designed by (Erford, Schein and Duncan, 2011). Self-efficacy refers to an individual's belief in his or her capacity to execute behaviors necessary to produce specific performance attainments (Bandura, 1977, 1986, 1997). Image Courtesy of Wikimedia. When we understand that there is a bad idea. As self-concept differentiates, so too does self-esteem. It is one’s belief in one’s capacity to execute behaviors necessary to produce specific performance attainments (Bandura, 1977, 1986, 1997). Thesis statement example tagalog for university of mississippi oxford creative writing mfa. Exercise: Build Self-Efficacy. (tagalog answer) 2 See answers sspeedplayzgaming sspeedplayzgaming Answer: Ang kakayahan mo sa pagsagot ng tanong ng ikaw lang magisa. As you might imagine, many factors influence self-esteem. Pagpapahalaga sa sarili. Be particularly careful when tagalog abstract thesis in you can rearrange your ideas or data and, if advisable, adjusting one s own work well, and the course through concrete examples that follow, the revision process. Self-efficacy can have a powerful influence on how people behave, including the motivation they have to pursue their goals. Low self-efficacy in patients can be spotted by their failure to follow prescribed diets and exercise regimens. Self-efficacy, or confidence as it is commonly known, is one of the most enabling psychology models to have been adopted into positive psychology. Many people are also searching for information about self-efficacy . term used in psychology to reflect a person's overall emotional evaluation of his or her own worth. For example , if you have low... | Meaning, pronunciation, translations and examples We will ask our contributors about English Bisaya translation and meaning of self-efficacy. Well, Self-efficacy is also related to confidence, in other words, according to Bandura, “just as with self-esteem and motivation, self-efficacy and can work in a positive correlation”, which means the more confident being is more likely to succeed which ultimately helps in providing experiences to develop one’s self-efficacy. Are you confused with gender identity or searching for self-esteem? Feelings of high or low self-worth often start in childhood.Family life that is riddled with disapproval can follow a person into adult life. Self-efficacy is certainly worth having because as Henry Ford famously put it, whether you believe you can … Filipino translator. This self-affirmation constitutes an important component of Bandura's (1997) social cognitive theory, the self-efficacy belief that we use to exert a measure of control over our environments. IPA: ˌself.ɪ'stiːm; Type: noun; Copy to clipboard; Details / edit; wikidata. Items in the condom use self-efficacy scale were recoded dichotomously to determine the extent to which groups interviewed differed in their endorsement of each item. Translate filipino tagalog. Self-efficacy reflects confidence in the ability to exert control over one's own motivation, behavior, and social environment. Self image is important as it affects your self esteem and confidence. In this article we will look at the relationship between self image and self esteem and discuss how you can develop a more positive self image to … Consider your own goals, both large and small. Self-efficacy can have a significant effect on nearly every aspect of human life, from work to school, to personal relationships. Self-efficacy, self … October 10, 2020 al perkins amp betty bibbs homework. Read More. In Health. Filipino dictionary. Translate filipino english. Explanation: Wow nice answer men magayanesjoella62 magayanesjoella62 Answer: Sariling kakayahan , sariling diskarte . Athletes who have high self-efficacy generally push themselves to work harder, train harder, develop better strategies and to become more focused. 6. Self-efficacy theory is an important component of Bandura's social cognitive theory, which suggests high inter-relation between individual's behavior, environment, and cognitive factors. How to use intrapersonal in a sentence. Self-efficacy can be built by increasing participation in sports. One can hold opposing views of self-concept and self-efficacy. In Turcios-Cotto and Milan’s (2013) study, for example, Latino students were. Self-regulation definition: Self-regulation is the controlling of a process or activity by the people or... | Meaning, pronunciation, translations and examples The basic premise of self-efficacy theory is that "people's beliefs in their capabilities to produce desired effects by their own actions" (Bandura, 1997, p. Self image and self esteem are very closely connected. Peter Rabbit (TV series) (2,482 words) exact match in snippet view article encourage preschoolers to learn problem-solving and interpersonal skills, self-efficacy, resilience, positive re-framing and fostering an interest in and respect. New questions in Edukasyon sa Pagpapakatao . Those with high self-transcendence are thought to be more spiritual, unpretentious, humble, and fulfilled than those who are low in self-transcendence. Intrapersonal definition is - occurring within the individual mind or self. Self-effacing definition is - having or showing a tendency to make oneself modestly or shyly inconspicuous. Self-esteem definition: Your self-esteem is how you feel about yourself. self-esteem . In terms of traits, behaviors, and preferences. One of the ways in which self-efficacy influences behavior is in goal setting. Self-efficacy encompasses a more specific focus on the actual behaviors and cognitive skills necessary for a task. It is important to note that self-esteem is a concept distinct from self-efficacy, which involves how well you believe you'll handle future actions, performance, or abilities. Find more Filipino words at wordhippo.com! Translate english tagalog. 1. If you know something about this term, share it here. Self-efficacy refers to one’s belief to succeed in specific situations or accomplish a task, that one has capabilities to produce certain effects and to learn or perform behaviors at designated levels (Bandura, 2006, 2012). Sharing expertise and familiarity with documentary research techniques. Specifically, the self-transcendence scale measures “the extent to which individuals conceive themselves as integral parts of the universe as a whole” (Cloninger, 2015). Self-efficacy is a way to assess themselves and the horse using a scientific method. Individuals with high self-efficacy tend to set ambitious goals for themselves and are more likely to follow through with the things they set out to do. Building self-efficacy is one of the best ways to develop your self-motivation. Self-efficacy has been a recurring predictor for students’ academic success because it is an indicator of motivation and perseverance towards reaching a goal (Bandura, Barbaranelli, Caprara, & Pastorelli, 2001). Perhaps you have plans in your daily life such as hitting the gym, reading a book, or organizing your closet. Self-Efficacy in Nursing Essay 2064 Words | 9 Pages. University Athletic Association Fall 2020, False Pass Bering Sea Map, Mid Blue Slim Wide Leg Jeans Topshop, 300 Year Earthquake Nz, How Long Does A Child Passport Last, How Long Does A Child Passport Last,

<urn:uuid:67a62302-f446-484e-a46e-9ef613c28217>

CC-MAIN-2021-17

https://shtraining.pl/of9kbjw/self-efficacy-in-tagalog-4227cc

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039596883.98/warc/CC-MAIN-20210423161713-20210423191713-00346.warc.gz

en

Once upon a time… These charming, magical words have opened fables and fairy tales for hundreds of years. “Once upon a time” stories evoke imagination, adventure, and wonder in listeners. But long before stories were written down, they were passed down orally from generation to generation. Storytelling is an ancient and universal art form which exists in all cultures. It is a distinctly human endeavor that is hardwired into our cultures and psyches, and some say storytelling is essential to human survival. What is the allure and power of stories? Why do we desire to tell and hear stories? Telling stories unifies us. When we share the same legends, myths and histories, we reinforce our group identity. Our stories reflect the wisdom and values of our culture. Telling and retelling stories draws us together, reinforces those values, and promotes group cooperation. These shared stories also help us to determine appropriate ways of conducting ourselves within society. “Story is the umbilical cord that connects us to the past, present, and future,” according to Terry Tempest Williams, a prominent environmental author. “Stories are recognizable patterns, and in those patterns we find meaning. We use stories to make sense of our world and to share that understanding with others.” Stories lead us to develop empathy. A 2013 study reported in Science magazine reinforces the idea that stories can help people understand others. (As an English teacher, I love this study.) “Reading Literary Fiction Improves Theory of Mind,” is a study on literary fiction, that shows how it fiction “uniquely engages the psychological processes needed to relate to characters’ subjective experiences.” Reading fiction, which portrays characters’ inner feelings and thoughts, fosters an understanding of others and a realization that others’ beliefs and desires may be different from one’s own. Being able to read emotions, developed through reading stories, is a crucial skill that enables complex social relationships to occur in human societies. No need to belabor how important this is in today’s climate. Stories play a significant role in binding us together and reinforcing our shared identity. Nonetheless, storytelling, which likely evolved as a group survival strategy, can sometimes be used to isolate or invalidate others. Even inadvertently, a culture may tell stories that misrepresent others. Stories are powerful. If people have no prior knowledge about a group except through popular culture portrayals, that is the depiction that will be retold as the definitive description of the group. As an intentional abuse of power, stories can be perpetuated to subjugate people who are viewed as enemies. Wielding storytelling as a weapon promotes stereotypes and robs people of their identity and dignity. As Nigerian novelist Chimamanda Adichie explains, if the only story that the West tells about Africa is one of darkness, negativity and poverty, the people are then defined by that story. That story excludes the loving family bonds, commitment to community, and resilience that Nigerians embody. When we define people as only one thing, that is what they become. There is no default story about any culture and no group can be reduced to a single narrative. Clearly, stories matter and our stories need to be told, particularly the stories we tell about ourselves. Each day we create our lives and add to our stories. Taking the diverse aspects of our lives and weaving them together into a narrative creates a tapestry that unifies our lives and makes sense of them. Telling our stories can be redemptive and provide a vehicle to reclaim our lives in the face of adversity. It is a courageous act to tell one’s story since it is open to the judgment and scrutiny of others who may dismiss or disparage it. We expose ourselves to vulnerability, but at the same time we broaden the depth of our character and personal integrity. It is empowering to engage in honest self-reflection and to enter the peace and wholeness of standing in our own truth. As elders, parents, and grandparents in our community, we are in an optimal position to tell the stories of what we love, what we believe in, what we have learned. Through our stories, we honor the defining experiences that shaped us and allow our loved ones to know us and to accept our triumphs and shortcomings. We offer our loved ones a wealth of family history. These stories provide a context within which children grow to know their families. Research shows that family histories, anecdotes about parents, shared memories, even recipes tighten family bonds and build security and self-confidence within children. Our personal stories are the lifeline to our descendants. Tell your story. Mary Petersen is a retired COC English Instructor, 30 year SCV resident, and two-time breast cancer survivor.

<urn:uuid:d5080d24-d951-48d1-befa-ee8863fa72f0>

CC-MAIN-2021-17

https://signalscv.com/2018/10/a-second-wind-share-your-story/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039379601.74/warc/CC-MAIN-20210420060507-20210420090507-00506.warc.gz

en

The mask is a storytelling device that obscures a wearer’s identity, while highlighting his or her psychological predicament — masks have a rich history of symbolic meaning in fiction. Masks are often incorporated into stories as a visual metaphor, or a literary device, giving physical form to the invisible: mental imprisonment, dehumanisation, trauma, psychological anguish, shame, spiritual emptiness, social alienation, and disconnection. The mask is a retreat from the social space, allowing a character to hide in plain sight, and to believe they can function within society, either by repressing their feelings of loss or by creating a consciously constructed persona. There is a difference between voluntarily donning a mask, and being forced to wear one. A hero might choose to wear one to hide his or her identity, thus empowering them to dispense justice anonymously, which means they can live an otherwise ordinary life without unnecessary attention. The superhero characters Batman, and Spider-Man, wear masks when they’re in superhero mode, but not in their normal lives. Superman doesn’t have a mask, as such, he wears glasses and assumes the persona of a shy reporter to avoid attention. The mask of Zorro allows him to fight corruption and treachery, while simultaneously living a respectable private life away from recrimination. The audience identifies with the common man, and his unrecognised strengths — as if there is something invisible holding him back in life. He needs an alter ego to turn him or herself into a superhero. The Guy Fawkes mask in V for Vendetta is used as a political statement as well as a way of evading CCTV surveillance, and the clutches of a police state. It’s a badge of membership and a statement of belief. A character such as the imprisoned man in the iron mask (from one of the many versions of The Man in the Iron Mask), is forced to wear a mask to obliterate his identity and remove his existence from the world. His incarceration is a living punishment, forcing him to endure permanent injustice. Sometimes a mask is used to cover up facial disfigurement; the physical injury acting as a metaphor for an inner or spiritual damage. Darth Vader’s mask in Star Wars gives his character menace and mystery. Who is he? What is he? We learn that he has lost his humanity — the mask symbolises this dehumanisation: his face, what remains of it, is hidden in darkness, disfigured like his soul. He has turned to evil. The mask literally conceals the person he once was, now those around him can only see the machine-like visage in front of them. In the Phantom of the Opera (1909 – 1910), a man is reduced to the spectre of a ghost-like presence, hiding behind a mask to conceal his disfigurement — and a truth that he is unable to endure. Darth Vader and the Phantom are negative representations of people with facial disfigurement, characterised as dark and violent or creepy and unable to live harmoniously within society. In Predator a technologically sophisticated combat mask provides adaptive camouflage, and conceals the face of a monstrous alien hunter, a creature incapable of pity or mercy. The Borg in Star Trek have technological adaptations and mask-like covering to their faces, accentuating their dehumanised, machine-like existence. In The Mask (1961), the wearer suffers from a psychedelic affliction, something akin to a bad LSD trip. The man in the iron mask is imprisoned in a cell, and forced to wear a mask to hide his identity: what is a man without a face? The answer suggests that he is no one. Locked behind a mask literally means a loss of face, and a loss of identity. For a character with a destiny and a rightful place in the world — that has been unfairly stolen from him — this presents a protagonist with something for an audience to empathise with, and goal for him to fight for: to restore justice. Sometimes a mask does more than allow a character to operate incognito: it acts as a magical portal to a new world. With a mask, the protagonist is able to operate in a space outside of his ordinary environment. In Eyes Wide Shut a grounded doctor wears a masquerade mask, which allows him access to a bizarre world of ritual and temptation; a place where the elite indulge in their sexual fantasies without shame or remorse. The mask that Stanley Ipkiss wears in the film The Mask (1994) turns him into a comically animated superhuman. Becoming The Mask enables him to develop as a character, and to become what he needs to be to win over the romantic interest. In the end, he must cast the mask away so that he can reconnect with himself — to become an improved version of the person he really is. The horror mask plays on anonymity, and the creepy incongruity of strange or ‘fun’ masks that have been subverted from their original context. The mask in Halloween creates anxiety about the mysterious killer prowling around a town. The concealed face of the psycho in a hockey mask, in Friday the 13th, turns an apparently ordinary sports item into a terrifying icon of sadistic death. And, Hannibal Lecter’s muzzle, in The Silence of The Lambs, accentuates his twisted lack of humanity: physically turning him into a menacing presence. In these cases, the obscured face of the murderer turns him or her into a dehumanised monster. Sometimes a mask represents a protagonist’s deep emotional need to deny their pain (usually a trauma of some kind, or a catastrophic injury). In Vanilla Sky the mask is a sign that something has gone wrong in the protagonist’s world. Rorschach from The Watchmen has an ever-changing Rorschach test inkblot that appears on a special fabric across his face, begging the question: what do you see? And: what does he understand about himself? It suggests a history of psychological trauma. Masks are usually a ‘red flag’, a danger sign, but they also allow characters to operate anonymously, or to take on a persona. Wearing one can be a symptom of a previous trauma, or the catalyst for a new event (plot line) — either pushing the character into darkness, and spiritual oblivion, or to self-discovery and empowerment.

<urn:uuid:524f30da-9d12-4a6f-be29-198178f57d20>

CC-MAIN-2021-17

https://adriangraham.co.uk/masks

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039626288.96/warc/CC-MAIN-20210423011010-20210423041010-00503.warc.gz

en

Hands-On Activities to Teach Writing Mixed Numbers to Improper Fractions Mixed numbers are those that include a number and a fraction, such as 5 1/2. When they are converted to fractions, they create improper fractions. That 5 1/2 becomes 11/2. Mixed numbers and improper fractions can be difficult concepts for some students. Using hands-on activities in the classroom can help students learn how to convert mixed numbers to improper fractions and vice versa. Pizza is a good prop for teaching fractions. Most kids love pizza, and they are used to dealing with it in fractions since a typical slice is 1/8 of the pizza. While it may not be practical to bring real pizza into the classroom, you can instruct students to make their own pizzas out of construction paper. Each student should make at least two pizzas. Tell students to cut the pizzas into the number of slices that correspond to the fractions you want to focus on for the lesson, such as four slices for fourths. Give students a mixed number, such as 1 1/4, and ask them to collect the number of fourths that would be needed to make the number. The number of pieces is the top number, or numerator, in the fraction. Ball play can also be a fun way to learn fractions. Each ball can represent the unit of the fraction. For example, if you are working with fifths, each ball would be 1/5. Like with the pizza, give students a number in that unit, such as 3 1/5. Tell students that for each whole number, they should set aside five balls. To make the three, students should have 15 balls. The remaining 1/5 would be one ball. The exercise can help students visualize the units of the fraction. At the end, the number of balls is equal to the numerator. Make Fraction Strips Fraction strips help students see the parts and the whole for each mixed number very easily. Give students strips of paper and ask them to cut the strips into the fractions you will be using, such as thirds. Students should leave one strip uncut as reference. Give them a number, such as 3 2/3, and ask them to lay out the number of fractions needed to form the number. For each whole number, they should lay out three fractions next to the model strip. At the end, they count up the number of pieces to create the improper fraction. Once students have become more comfortable with fractions, they can start experimenting with more variations. Provide students with a pair of dice and ask them to put together fractions based on the numbers they roll. For example, if they roll a 6 and a 5, the fraction would be 6/5. Ask them to then write the mixed number for that fraction, or 1 1/5. Provide three dice to create mixed numbers. The first number would be the whole number, and the next two would be the fraction, such as 6 1/4. Then ask students to convert the mixed number to the improper fraction. Maria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.

<urn:uuid:ed8d04c8-5ec6-4fb9-81aa-24f1d68b2b3a>

CC-MAIN-2021-17

https://education.seattlepi.com/handson-activities-teach-writing-mixed-numbers-improper-fractions-3986.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038065903.7/warc/CC-MAIN-20210411233715-20210412023715-00547.warc.gz

en

Our Language Arts curriculum focuses on reading and analyzing poetry and literature, writing, grammar, and development of vocabulary. Students analyze various writing styles and elements such as theme, plot, character, tone, and setting of classic and contemporary literature. Our English teacher challenges students to cite textual evidence to support explicit or inferred claims. We believe that exposure to classic and contemporary literary works improves overall writing in students. Students continue to develop their writing styles and focus on narrative, expository, and persuasive writing. Explicit writing instruction is critical, and we focus on developing ideas, organization, voice, word choice, mechanics, convention, sentence fluency and writing technique. As budding authors, students practice the writing process by prewriting, drafting, editing, revising, and publishing. Our Language Arts curriculum is aligned to California Common Core State Standards. In 6th Grade English, students are exposed to literary novels, poetry, short stories, and an online non-fiction program, Newsela. Examples of literature and short stories that students read include: The Boys in the Boat by Daniel James Brown; My Mother’s Secret by J.L. Witterick; Inside Out and Back Again by Thanhha Lai; The Circuit by Francisco Jiménez; The Gift of the Magi by O. Henry; and Monkey’s Paw by W.W. Jacobs. Literature circles encourage rich discussion and serves as a space in which students share ideas and opinions. In these circles, students cite textual evidence to support their opinions. Explicit grammar and vocabulary is taught on a weekly basis. Throughout middle school, our English students analyze works of poetry, short stories, fiction and non-fiction. In 7th grade, students explore the theme of overcoming challenges and read novels such as: A Long Walk to Water by Linda Sue Park; Wonder by R.J. Palacio; Trouble Don’t Last by Shelley Pearsall; and The Hobbit by J.R.R. Tolkien. Through discussion and analysis, students discuss their interpretations of the novel, literary elements, and themes. They take it a step further and write compelling essays supporting their interpretations. Explicit grammar and vocabulary is taught on a weekly basis. In 8th grade, students explore various themes such as dystopia and historical tragedies through the lens of a Holocaust survivor and William Shakespeare. Examples of literature students read include: Animal Farm by George Orwell; Fahrenheit 451 by Ray Bradbury; Night by Elie Wiesel; and Julius Caesar by William Shakespeare. To complement our literature program, students engage in more sophisticated writing honing and refining their essay composition skills. Explicit grammar and vocabulary is taught on a weekly basis. Our comprehensive mathematics curriculum focuses on strengthening student understanding of mathematical concepts and the application of these concepts to real world problems. We believe all students can learn and succeed in developing mathematical skills, and our math program prepares our middle school students for high school. We tailor our math program to challenge students across all skill levels. Our mathematics curriculum is aligned to California Common Core State Standards. 6th Grade: Math in Focus 6 or Pre-Algebra 7th Grade: Math in Focus 7 or Algebra 8th Grade: Algebra or Geometry Science is innately interesting, and our hands-on science curriculum allows students to apply theoretical concepts to the real world. Using an integrated approach, students investigate principles of physical science (physics and chemistry), Earth science, life science, and engineering by asking questions and constructing experiments to test their scientific ideas. Through experimentation and analysis, students actively engage in scientific inquiry and reasoning, which advances their conceptual understanding as well as critical thinking skills. Each year, the curriculum increases in complexity and sophistication, and students are challenged to think deeply about real world problems. Our science curriculum is aligned to the Next Generation Science Standards. 6th Grade: Design Thinking, Scientific Method, Energy, Molecules to Organisms, Heredity, Earth’s Systems, and Earth and Human Activity 7th Grade: Design Thinking, Scientific Method, Matter and its Interactions, Molecules to Organisms, Ecosystem, Earth’s Systems and Human Activity 8th Grade: Design Thinking, Scientific Method, Motion and Stability, Energy, Waves, Heredity, Biological Evolution, Earth’s Place in the Universe Our history program integrates geography, culture, governance, economics, world and American history. The goal is to teach students to critically analyze historical events through multiple perspectives as well as to evaluate local, national and global issues. The history program helps shape students identities and global awareness. Our curriculum prepares students to be civic-minded individuals who can research issues and platforms to make informed decisions. Our history curriculum is aligned to California Common Core State Standards. 6th Grade: Ancient Civilizations: Early Human Migration to the great Roman Empire 7th Grade: World Studies: Roman Empire to Modern Era 8th Grade: U.S. History: Colonies to Civil Rights Hebrew is a defining component of our academics, and our Hebrew program is recognized for its excellence. Our Hebrew program is divided into two tracks, dovrei Ivrit and dovrei Anglit. The dovrei Ivrit track is designed for native Israeli and advanced Hebrew speakers. The curriculum is imported from Israel’s Ministry of Education and, as a result, our students learning is aligned to the corresponding grade level in Israel. Equally strong is our dovrei Anglit track. Our hands-on program is designed to develop Hebrew language skills, reading, writing, and speaking Modern Hebrew. Our students are exposed to Israeli literature, music, and culture strengthening their connection to the State of Israel. Judaic StudiesThe Judaic Studies program is designed to hone our students’ analytical and critical thinking skills while strengthening and applying their understanding of Jewish traditions and values in their daily lives. Goals of our program are to empower our students to: 1) feel comfortable attending and actively participating in prayers at any synagogue; 2) develop their skills to independently analyze a text and 3) instill in them Jewish values, which they will carry with them through life. In our program, students gain a love of learning while critically analyzing classic Jewish texts and commentaries. By analyzing the meaning of ancient Jewish texts, students develop logical reasoning as well as critical thinking skills. Our classes also serve to enhance our students’ biblical Hebrew vocabulary as well as to allow students to explore moral and ethical issues through the lens of a Jewish framework. The Gemara track is geared for students who are interested in focusing on textual learning with a strong emphasis on Gemara while maintaining a high level of Chumash, Navi, and Halacha. Students will acquire analytical and critical thinking skills enabling them to become independent learners. The Tanach track is geared for students who are interested in focusing on Chumash and Navi. In addition to Chumash and Navi, students will learn Halacha and be able to choose from a variety of Judaic experiential of Judaic textual classes that will be offered.

<urn:uuid:61d28485-0604-4ae7-94a6-79388e10b73e>

CC-MAIN-2021-17

https://www.sphds.org/apps/pages/index.jsp?uREC_ID=1897039&type=d&pREC_ID=2043501

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00346.warc.gz

en

This resource was created by Horniman Community Action Researcher, Scherin Barlow Massay, who is researching the connections between the Horniman’s collections and Guyanese masquerade. The History of Afrikan-Caribbean Masquerade In the 1600s, enslaved Afrikans were taken to the Caribbean, where their traditions were suppressed by European authorities. Masquerade is found in many different cultures but originated with the Fulani people in West Afrika as many as 8,000 years ago. Prehistoric cave paintings found in Tassili-n-Ajjer, Algeria, show people wearing masks and horns. In ancient Egypt, masquerade was an important part of ceremonies and festivals. Priests wore masks of the jackal-headed god Anubis as they prepared bodies for the Afterlife. Important gods such as Hathor were depicted with part-animal features. In West Afrika, the Yorùbá people’s ‘Egúngún’ masquerades honour the dead and mark the return of ancestors to the land of the living. It is believed that the masker transforms into the spirit of his ancestors through the mask. The Igbo people live mainly in modern-day Nigeria. Their stilt walker masquerades are known as ‘Izaga’ or ‘Ulaga’. The Ulaga masquerade is only seen during the funerals of important men, or to show someone’s importance within the community. In the late 1600s, the European quest for Afrikan resources led to the trans-Atlantic slave trade. During the Maafa, over 15 million Afrikans were kidnapped, enslaved and taken to the Americas and Caribbean. In the Caribbean, enslaved Afrikans continued masking traditions in secret. Masquerade was one of the few remaining connections to their culture. In Barbados, traditions came together from across West Afrika and mixed with the traditions of British and Irish people who also lived there. This cultural fusion created a new kind of masquerade. After slavery was abolished, people flocked from Barbados to Guyana, then British Guiana, in search of better opportunities. They took masquerade with them. Over time, Guyanese masquerade has changed. Today, many performers and audiences do not know the original meaning of the Afrikan tradition. Become a researcher and create a fact file about the Yorùbá or Igbo people: - What can you find out about their masquerade traditions? - Sketch the masks that they traditionally use and add information labels. How are the masks made? What do they mean? How are they used? - How are these masks different from those that you have seen, or worn, before? - Present your research to an adult. The Music of Afrikan Masquerade Traditionally, Afrikan music was used as a means of communication between the living world and beyond. Drums had a meaningful presence even when they were not played. Where there were no instruments, hands and feet were used to keep rhythm. Dance and music were always connected. Enslaved Afrikans took these musical traditions to the Caribbean where they became an important method of communication, rebellion and connection to the home they had been torn from. Djembe drums originated with the Mande people about 800 years ago. They were originally used by griots; singers and trained historians, who passed down stories. It is believed these drums hold three spirits: the tree, the animal whose skin was used, and the drum’s maker Three main types of bells are used in Afrika: the Pellet-bell, the Clapper-bell and the Struck-bell. The Pellet-bell has a free moving object in the cavity and is closed. The Clapper-bell has a hanging attachment on the inside, while the Struck-bell is hit with an implement. Talking drums are used to imitate the Yorùbá language, where words have different meanings depending on their pitch. The drum is held under the arm so the lacing between the two skins can be squeezed. This stretches the drum’s skin to create different pitches. The patterns of speech rhythms are beaten out with the curved stick. Kettle drums can be either small or large to make them easier to carry. Traditionally, the main beat is played by the right hand and the secondary with the left. This drum is made of a gourd covered in goat skin. The flute was one of the earliest musical instruments of civilization. Flutes were originally made from bamboo, wood, or reed with the mouthpiece either at the side or at the top. This rattle is made from a dried gourd. Beads or cowrie shells are strung on a net tied around the hollow gourd. The net is then pulled, shaken or tapped, hence its onomatopoeic name. There was flute music a little bamboo thing that they would play. And drumming and they paraded around the village, and as they walked through the village, they dance to the music that was being played by them. The ones that stuck out for me were the characters in grass skirts. They all wore different masks, depending on the character... Because it was just for the village, it was quite small. It was very colourful and noisy. There was lots of tinny sounds as opposed to a bass drum sound; [the drums] were small and they played it under their arms. And they played with a hook-line stick... There were cowbell sounds. Read the eye witness account of Urhobo Masquerade: - Which instruments does the person see? - Can you draw the scene that the person is describing? - How might it have felt to be there? Now watch this video of Masquerade in Guyana: - Write an account of what you can see in the video. - What are the differences and similarities between this and the Urboho Masquerade? - Why do these differences and similarities exist? The Characters of Guyanese Masquerade Guyanese Masquerade is an exciting and colourful performance that moves through the streets of the South American country around Christmas time. An important part of masquerade are the costumed characters who perform to a band’s music, collecting money from audiences. These characters have evolved over time but were inspired by the Afrikan and Indian cultural traditions of enslaved or indentured people who were taken to the Caribbean by colonial authorities. It is not known when the cow was added to Masquerade. However, in 1838 people arrived in Guyana from India as unpaid workers. The cow has religious importance to many Indian cultures, so it may have been added then. Different Afrikan cultures have their own traditional dances for celebration, religion, and storytelling. Dancing also became a method of survival and a moment of release for enslaved Afrikans, who were made to dance on slave ships for exercise. In Afrika, stilt walking is an important cultural practice. Some Afrikan cultures view stilt walkers as guardians of villages, tall enough to drive away evil spirits. Stilt walking was taken to the Caribbean by enslaved Afrikans. On some islands, stilt walkers were called ‘Moko Jumbie’, Healer Spirit. To some, the stilt walker became the spirit of fate and retribution. There is a bull cow made out of bamboo, then they cover it with a horn. They move from left to right. They have a string attached to their shoulder and the person stand in the frame of the cow dancing. The dancers move from left right, front to back, then they go on their right foot with their hips and hands moving, then you step on the back and repeat. The dancers would spin their foot inwards, heel and toe, that is the flounce. Sometimes there would be 10 to 15 dancing on the streets. They wore female clothes; they wore strip pieces of cloth made into a skirt. Mother Sally was [a man dancing] on a stilt. Years ago, the character was made from bamboo. He was on a stilt and his head protruded from the character. I was scared. The frame was made from bamboo or raffia. Discover more about the history of the characters of Guyanese Masquerade - Use the eye witness account to draw a picture of how you think each masquerade character might look. Which would you most like to see in person? - Watch this video of Guyanese Masquerade. Which characters can you see? Do they look how you imagined? - Another festival, Mashramani, is also held in Guyana each year. It is a much newer celebration and has different origins. - Research the history of ‘Mash’. Why was it created? How is it celebrated? How is it different from the older tradition of Masquerade?

<urn:uuid:4c132098-c503-427b-aeb6-0267b064f59a>

CC-MAIN-2021-17

https://www.horniman.ac.uk/plan-your-visit/around-the-horniman/afrikan-caribbean-masquerade/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038056869.3/warc/CC-MAIN-20210410105831-20210410135831-00227.warc.gz

en

Narrative structure and expectation is a difficult topic to teach: it is highly conceptualised, yet somewhat narrow in scope. Question 3 on the English Aqa Ks4 syllabus requires the analysis of form. The Stanley Parable offers useful in-class provocation to consider and learn this skill. I begin with a simple question as students enter: why do stories need a beginning, middle and an end? This is developed by writing (and visually stacking) the expectations of students from the following line: “chipped finger nails flicked the burning butt onto the splintered planks below.” Where is this set? What are they doing? Why are they doing it? Who is this character? Of course, some guidance is useful (what time of night? What gender? What profession?). From this the students play the game. The first run through seems to elicit the following of all the narration, and the switching on of the machine. While this is intense, it is safe enough for secondary students. Invariably, the second run through sees students attempting to disobey the narration. At this point the game is paused at key moments (such as when Stanley ventures down, rather than up, the stairs). Expectations are made explicit. It is at this point that students begin to discuss and record the purpose of expectations. The meta of this is recognised by some: the notion of confirming our confounding expectations seems to be discovered by all. The last run through sees us run through to the office where the code is inputted before the narrator can share it. The sarcastic response by the narrator delights. The lesson ends with the attempted consolidation of ideas of expectation, with explicit reference in the immediate lessons afterwards. As ever, students need cultural capital in order to create expectation: the most able and most read gain most from this lesson. However, all benefit. See below for the worksheet to aid this. See also the link below to purchase the game. Two further recommendations are to ensure that the students controlling the game have some FPS experience, and that a randomizer is used to select from these students (I use this number website in lieu of alt + tab to a classtools visualiser as a desktop shortcut). I look forward to developing these lessons using the narrative walking games: more school safe versions are desirable, although psychological horror is perhaps their best incarnation! I recommend ‘Home is Where One Starts’ (especially for the T.S.Eliot context).

<urn:uuid:a7b97445-f56c-4a3d-95aa-727f07c776eb>

CC-MAIN-2021-17

https://www.thequillguy.com/using-the-stanley-parable-to-teach-narrative-structure-and-expectations/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038464146.56/warc/CC-MAIN-20210418013444-20210418043444-00385.warc.gz

en

During Women's History Month, we recognize female achievement across centuries and professions, including music. While more than a few designated weeks every March are necessary to reverse the consequences of an historical narrative written largely by men and for men over centuries, it's important to celebrate the progress we've made as we continue to work towards inclusiveness. In the article, "Women's Hidden Roles in Historic Preservation," Laura Kise offers a wonderful summary of the actions we can take to celebrate all year round: Every one of us can contribute to this enriched history by remaining curious, researching women, including historical women’s stories, quotes and objects in our museums and heritage sites. Hiring women in all roles related to history and preservation, and educating women about other women in history. Women themselves can continue to share their own stories to pass them down to future generations. As a preservationist, I'm proud that the origin story of my profession is significantly female. The earliest examples in the United States are from Native American women who maintained and preserved their cultural heritage through folklore, storytelling and mediating peace. The Mount Vernon Ladies' Association was the first national historic preservation organization. They saved President Washington's home and continue to own and operate the property today. In 1853, Louisa Bird Cunningham wrote the following words to her daughter Ann that would inspire her to establish the organization: "If the men of America have seen fit to allow the home of its most respected hero to go to ruin, why can't the women of America band together to save it?" These female beginnings, inspiring as they may be, were also problematic. While women led the preservation movement, their efforts lauded male history (particularly Caucasian men of European descent) to the exclusion of their own and that of all other minority populations. A casualty of their time, chronicling the female experience was neglected, much less given secondary focus, and those uncollected accounts and artifacts are forever lost. But women began to express concerns about their representation in the mid-nineteenth century with the Battle of Bunker Hill memorial. Although men and women both fought on the battlefield and women championed this commemorative piece through advocacy and fundraising, only men were acknowledged: "Half a people made only half a monument," wrote Dr. Harriot Hunt. "The other half, the feminine, made it a whole." It was designed "for John and Peter, not Mary and Deborah. But it will not be always so." To a significant degree, this early focus permeates the profession today. I see it in my own work. Most of my projects have focused on Caucasian male artists because this is where public and private interests meet opportunity and funding. Unfortunately, as long as preservation professionals and their work depend on grants and benefactors instead of salaries promoting objectivity and diversity, this influence will always be there. As for determining who and what should be preserved and advocated, these decisions should be more democratic. After all, our history is a public trust and should be treated accordingly. Delving further into the issue of power and affluence, many pioneering female preservationists were from the upper echelons of society. This inadvertently led to preservation being perceived as a "hobby" or "pastime" for the wealthy woman instead of a profession worthy of salary and benefit like their male counterparts in architecture. They weren't considered professionals, but handmaidens. This leisurely stigma in conjunction with its caretaking nature (feminine) has continued to define preservation in such a way that it has never been able to escape from its founding and claim the professional dignity it deserves. Women are still associated with volunteerism (the origins of preservation) and men are associated with career earnings (traditional bread winner role). Historically devalued by patriarchy and a culture of volunteerism dependent on chance and charity, the obstacles faced by our predecessors remain. Women are still underrepresented as subjects and undercompensated as professionals. This is because preservation work is still essentially funded the same way and by the same people. You'll find some of my thoughts and ideas about how we can restructure and build anew in the recent entry, "Rural America Scholarship Program Supports Music History And Heritage Work On Main Street." My M.A. thesis at the University of Westminster concerned Europe's aristocratic concert society, its patronage and influence, the emergence of public concerts for the middle class (Bourgeoise) and the elitism associated with opera and classical music that continues to hinder the genre's ability to capture a broader audience today. This research constructed the foundation of my work and professional identity. I want to create accessibility, relevance and excitement for the music of yesteryear so that it can bypass its historical oppressors and live in the world as it should. Preservation is rooted in feminine virtues. History, in its interpretation and resulting heritage, tends to be masculine. In order for preservation to reach its full potential and offer women an equal share, we need reconciliation. It's about eradicating stigmas and stereotypes, diversifying, replacing qualitative associations with quantifiable ones, and assigning value. In short, establishing preservation as a profession supported by and beholden to the public trust that is mankind and womankind. The content on this site belongs exclusively to its creator and author, Sherry Davis. It is protected under the Copyright Act of 1976 and all subsequent amendments to copyright law. An excerpt or image may not be reproduced without consent. Please contact the author to request permission.

<urn:uuid:21443336-2639-4a7d-8e71-c9e083745061>

CC-MAIN-2021-17

https://www.sherrydavis.org/single-post/the-femininity-of-preservation-and-masculinity-of-history-and-heritage

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038917413.71/warc/CC-MAIN-20210419204416-20210419234416-00425.warc.gz

en

Who was King Alfred the Great? - Find out in this Handy Guide for Kids Updated: Mar 16 Alfred the Great was the king of Wessex and, later, the first King of the Anglo-Saxons. He is the only King in English history to be labelled ‘The Great’ - but how did he manage to get himself such a complimentary title? Alfred had 4 older brothers, who all ruled as King of Wessex before him. When Alfred's brother, Ethelred, was King of Wessex, Alfred supported him in nine battles against the Vikings. Wessex became the only Anglo-Saxon kingdom not to fall to the Vikings. Sadly, in the year 871, Ethelred died of battle injuries and Alfred became King. The Viking threat was stronger than ever, but Alfred bought himself some time by paying the Vikings not to attack Wessex. The Vikings called this payment the Danegeld. But the peace between Wessex and the Vikings didn't last long. In the year 878, the Viking leader, Guthrum, launched a surprise attack on Alfred's base in Chippenham. He was forced to flee and he went into hiding in the Somerset Levels. Here, Alfred and his men were hiding in the marshes and relying on local people to supply them with shelter and food. Legend has it that during this time, a peasant lady asked Alfred to watch her cakes as they cooked on the fire. He received a stern telling off when he accidentally let the cakes burn! There is some debate about whether the legend of the burnt cakes is true (this story was written 100 years after Alfred’s death), but one thing's for sure - you wouldn't want Alfred on your team in a baking competition! After gathering his forces, Alfred defeated Guthrum and the Vikings at the Battle of Edington. Alfred and Guthrum agreed to split the English land between the pair of them. There was now a boundary between the Anglo-Saxon kingdoms in the South and the large bits of England that the Vikings had conquered through invasion in the North and East. The Viking land was called the Danelaw. Alfred kept Wessex in the South-West. Unfortunately, the Vikings were not a unified group of people. This meant that Alfred's Kingdom was still occasionally under threat from Viking groups not lead by Guthrum. As a result, Alfred dedicated much of his reign to protecting his people. He built forts and walled towns called "burhs", built warships to defend the coast from raiders and better organised his army. Despite the constant threat of Viking invasion, Alfred made time for one of his main passions - literacy. On a trip to Rome as a boy, he had learned to read and write. As an adult he felt education was important. He translated many books from Latin to English so that more people could read them. He also encouraged monks to start writing the Anglo-Saxon Chronicle - an account of Anglo-Saxon history. So, what do you think? Did King Alfred deserve the title of "the great"? If you're a teacher then you'll definitely want Imagining History to bring their 'How to Survive in Anglo-Saxon England' Interactive workshop to your school. Our Award-Winning sessions combine role-play, storytelling, demonstrations and drama and performance to bring history to life for your students. In our 'How to Survive in Anglo-Saxon England' workshop, Imagining History will teach your students everything they need to know to make it out of the Dark Ages in one piece. Your students will: Learn how to survive and thrive as an Anglo-Saxon peasant, noble and monk. Discover what life as a Monk was like in a Christian Monastery and try to live through a Viking raid. Learn how to farm and grow crops the Anglo-Saxon way. Uncover the secrets behind the Anglo-Saxon conversion from Paganism to Christianity. Join a Fyrd and transform the school hall into a battlefield to learn how to fight in an Anglo-Saxon shield wall.

<urn:uuid:b6794e8a-a903-46cc-ac76-a4dedbc5c619>

CC-MAIN-2021-17

https://www.imagininghistory.co.uk/post/who-was-king-alfred-the-great

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039604430.92/warc/CC-MAIN-20210422191215-20210422221215-00427.warc.gz

en

How to Write Great Story Beginnings Story beginnings are important, and in terms of getting published, they’re the most important part of a story. Your beginning is where the reader (or editor) decides whether to keep reading. Your beginning also sets the reader's expectations for the story’s middle and ending. But don't let the importance of your story beginning intimidate you or make it hard to start writing. Some writers freeze up at the sight of a blank page; they feel that everything has to be perfect right away. It doesn't. Remember: even though the beginning is the first part of your story most people will read, it doesn't have to be the first part that you write. And you can always go back and improve your beginning later. Your first task is to get something -- anything -- onto that blank page. If it doesn't come out right, then let it come out wrong. No problem. You’ll fix it afterward. Unless you're very lucky, the perfect story beginning may not occur to you until you're at the revision stage. Then it is time to turn the first page, the first paragraph, the first line of your story into an invitation that the reader can't refuse. Hooking your reader How can you capture the reader's attention right away? Here are some strategies to consider: - Make the reader wonder about something. For example, let's say you mention that your character is terrified of going to school that day, but you don't say why (yet). The missing information raises a question in the reader's mind and provokes curiosity. The reader will want to read on to find an answer to the question. - Start with a problem or conflict. This could be a small problem; for example, your character is about to miss her bus home. Even a small problem gives your main character something to do and creates some activity and momentum right away. - Start at an exciting point in the story. Don't be afraid to start your story right in the middle of the action. But provide enough clues to orient your readers and make sure they can follow what's happening. More tasks of your story beginning Apart from hooking the reader, your story beginning has some other tasks to accomplish. You don't have to accomplish these tasks in the very first sentence, but you should take care of them early on: - Introduce your story's setting. Does your story take place in 5th Century China? In contemporary working-class Detroit? In a boarding school for young werewolves? If you don't let your readers know soon, they are likely to feel disoriented and confused. - Introduce your main character. In most stories, readers care about the plot because they care about the main character. The sooner you introduce your main character, the sooner the reader can develop an emotional relationship with him or her. - Let your reader know what kind of story it is. Is it a comedy? Horror? Realistic contemporary fiction? A fantasy with elves and fairies? The reader develops expectations about your story based on the beginning and is likely to feel disappointed -- even betrayed -- if you switch gears partway through. Here are some common problems to watch out for as you’re revising your story beginning: - Starting with background information. For example, sometimes inexperienced writers start out with little biographies of their main characters. These story beginnings feel a little bit like Wikipedia articles about people who don't exist. They are not very interesting to read. Don't feel like you have to provide all of the information upfront. You can start your story with a scene or action and gradually weave in background details when/if they become necessary for the reader's understanding. - Starting too early in the story. If your story seems to take a long time to get interesting, consider starting right at the interesting point. You might have to lop off a few pages. Don't feel bad about throwing away part of your draft -- those pages you throw away are not wasted work. They are part of a necessary process of exploration that showed you where your story has to go. - Starting a different story. The creative process often leads writers down unexpected paths. You start out with a certain story in mind then are surprised at where it leads. As a result, the story's beginning (even if it seemed perfect when you wrote it) may not be an ideal fit with the rest of the story. When that happens, ask yourself -- which version of the story do you like better? The version you started out writing? Or the version you ended up with? Based on your answer to this question, you know which part of the story you have to rewrite. Great story beginnings Below are a few examples of great story beginnings written by our Twitter followers. Look out how each of them sets up a scene and a problem in just a few words. Do they make you want to keep reading? - (by @maryannestahl): It looked dead, but I began to back away just in case. - (by @africanflourish): They huddle around the last bundle, listening to the cries of the baby girl wrapped inside. - (by @UWishUWereMe666): She smiles at me. "I have no intention to punish you or break you." My hands spasm. "I plan to remake you entirely. - (by @MarliciaF ): Alex measured the passage of time by the water dripping from the ceiling; it wouldn’t be long now. - (by @ASingleBell): Nadika was glad to be officially alive again, but she wished she didn’t have to be alive in the king’s antechamber. Read more about how to write a story Learn how to complicate your story conflict and keep reader's interested. Browse open creative writing courses << BACK from Great Story Beginnings to Creative Writing Courses HOME

<urn:uuid:355361d4-9ae8-401e-9f73-d4e3c6f2f0b8>

CC-MAIN-2021-17

http://sinowitpx.com/story-beginnings.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038085599.55/warc/CC-MAIN-20210415125840-20210415155840-00625.warc.gz

en

- is underpinned by aims, values and purpose; - is fun, enjoyable and memorable; - is flexible and responsive to the children’s needs and interests; - develops the whole child; - has clear progression in subject knowledge and skills; - offers purposeful experiences; - uses environments beyond the classroom; - makes strong cross curricular links; - has a local, national and international dimension where appropriate Our Curriculum Statement: Teachers and other adults create a positive climate for learning in which pupils are interested and engaged. Teaching strategies, together with support and intervention, match individual needs. Teachers, pupils and parents are aware of our high expectations and have equal ambition to reach them. The organisation of teaching and learning ensures children have a rich and varied experience which enthuses, motivates and engages them in their learning. Teachers inspire the pupils to learn through their energy, enthusiasm, the creative use of resources and the creation of wonderfully inviting learning environments both indoors and outdoors. Teachers are skilled at making learning interesting, using their knowledge of the pupils to plan lessons that closely meet individual learning needs. Skilled and well-planned questioning is used to probe the pupils’ thinking by requiring detailed answers. From the Trust Visible Learning Programme schools have developed approaches to teaching the children the skills of being a successful learner. The curriculum offers real experiences that include trips, visitors, outdoor learning and practical elements to engage children in a concept learning approach. Concepts have been developed and applied across the range of subjects - requiring a cross-curricular skills approach. The children enjoy and are motivated by this approach. The emphasis throughout is on a broad and balanced ‘language-rich’ curriculum, delivered in an innovative and engaging manner, with English and Mathematics at its core. At every opportunity pupils are challenged, questioned and encouraged to think. Teamed with memorable experiences and a stimulating learning environment, we aim to nurture a life-long love of learning. English is linked to the termly topic where appropriate and we use high quality texts as models to promote progression e.g. the use of 'Carrie's War' in a Second World War topic. Following a 'Storytelling' or 'Talk for Writing' approach, children often learn part of these texts by heart to give them a framework to improve their writing. They then innovate on these texts. Spelling, grammar and punctuation are taught and then practiced in different written contexts, where possible linking with the genre of writing being taught. these links can be seen in the 'Learning Journeys' created to follow throughout a unit. Phonics is taught in EYFS and Key Stage 1 to teach pupils how to read and spell and this reading is practiced individually or in groups during guided reading sessions. Letters and Sounds and Phonics Play are used in teaching this. We use the White Rose Hub and AET planning for mathematics. This places greater emphasis on spending more time teaching ensuring that key mathematical themes are embedded e.g. place value in Key Stage 1. It also encourages learners to explore different areas of mathematics in greater depth and requires them to explain their reasoning and combine lots of different maths learning to solve problems. Science is taught where possible, integrated into the topic, although some concepts areas are taught discretely. We are developing and Enquiry-Based Learning approach to the curriculum. Our 'approach is outlined below and we have attached our curriculum ladders of progression which ensure we teach age appropriate knowledge and skills. View the following documents within your web browser or download to read later We are inspired by the awe and wonder of the world. We are bold and innovative in our approach to find new solutions to the challenges we face. We are the best we can be. We take responsibility for our actions in an environment of mutual respect. We overcome all barriers to reach our potential, developing a capacity to improve further. We are passionate about learning. Please remember that the last day of the Spring Term for children is Wednesday 31st March. There is a staff day for professional development on Thursday 1st April. The first day of the Summer Term for all children is Monday 19th April. © 2021 Bridge Schools trust is a company limited by guarantee, registered in England and Wales. Registration number 7736425. It is an exempt charity.

<urn:uuid:bb6668ad-b4d5-485a-8fe6-5790a60bc914>

CC-MAIN-2021-17

https://www.trenodeprimary.co.uk/Learning/Our_Curriculum

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038067870.12/warc/CC-MAIN-20210412144351-20210412174351-00346.warc.gz

en

Exponents show how many times a number is multiplied by itself. For example, 2^3 (pronounced "two to the third power," "two to the third" or "two cubed") means 2 multiplied by itself 3 times. The number 2 is the base and 3 is the exponent. Another way of writing 2^3 is 2_2_2. The rules for adding and multiplying terms containing exponents are not difficult, but they may seem counter-intuitive at first. Study examples and do some practice problems, and you will soon get the hang of it. Check the terms that you want to add to see if they have the same bases and exponents. For example, in the expression 3^2 + 3^2, the two terms both have a base of 3 and an exponent of 2. In the expression 3^4 + 3^5, the terms have the same base but different exponents. In the expression 2^3 + 4^3, the terms have different bases but the same exponents. Add terms together only when the bases and exponents are both the same. For example, you can add y^2 + y^2, because they both have a base of y and an exponent of 2. The answer is 2y^2, because you are taking the term y^2 two times. Compute each term separately when either the bases, the exponents or both are different. For example, to compute 3^2 + 4^3, first figure out that 3^2 equals 9. Then figure out that 4^3 equals 64. After you have computed each term separately, then you can add them together: 9 + 64 = 73. Check to see if the terms you want to multiply have the same base. You can only multiply terms with exponents when the bases are the same. Multiply the terms by adding the exponents. For example, 2^3 * 2^4 = 2^(3+4) = 2^7. The general rule is x^a * x^b = x^(a+b). Compute each term separately if the bases in the terms are not the same. For example, to calculate 2^2 * 3^2, you have to first calculate that 2^2 = 4 and that 3^2 = 9. Only then can you multiply the numbers together, to get 4 * 9 = 36. About the Author Ruby Martes has been writing professionally since 1985, specializing in pop culture, quitting smoking and odd bits of trivia. Martes has a Bachelor of Arts in psychology from the University of California, Berkeley, a Master of Arts in English/creative writing from San Francisco State and a Juris Doctor from University of California, Hastings, where she was a law journal editor.

<urn:uuid:00467f80-0fbb-4547-a610-e7ce176233af>

CC-MAIN-2021-17

https://sciencing.com/add-multiply-exponents-5818651.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038074941.13/warc/CC-MAIN-20210413183055-20210413213055-00588.warc.gz

en

Reading & Writing in the Disciplines Presenting Facts as Evidence Elisabeth Shanley’s students debate the successes of the Aztec and Inca civilizations using evidence from their research. Teacher: Elisabeth Shanley School: Parker Middle School, Reading, MA Discipline: Social Studies Lesson Topic: Characteristics of the Aztec and Inca civilizations Lesson Month: June Number of Students: 22 Featured Lesson’s Student Goals: - Content objectives – Compare and contrast characteristics of the Aztec and Inca societies - Literacy/language objectives – Extract valuable details from primary and secondary sources (including textbooks and copies of documents) and present that information to others - Engagement/interaction objectives – Collaborate with peers, practice public speaking, and engage with active listening Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Cite specific textual evidence to support analysis of primary and secondary sources. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions. This month-long unit at the end of the school year focused on reading and writing about the Aztec and Inca civilizations. The unit culminated in a final debate in which students used evidence from their research to support their answer to the question: Which civilization is more successful? Before the Video Ms. Shanley had students work with evidence from the beginning of the school year. She started by having students find three supporting details for a particular statement. As the year went on, the questions grew bigger and students learned to argue within limitations by focusing on certain topics within the larger question. By giving them a smaller focus, Ms. Shanley prevented vague responses and instead focused students on gathering details to support specific topics. Ms. Shanley assigned a variety of creative writing projects for students to practice gathering facts and details. They incorporated their research into stories about topics such as ancient Japan or the fall of Rome. For the unit on the Aztec and Inca civilizations, Ms. Shanley also used creative writing and role-play activities to engage students in research. Students were first divided into Aztecs and Incas. They began by researching actual names and information to write a short biography for their individual characters. The Aztecs and Incas then paired with each other in scenarios that gave them opportunities to research additional details about each civilization on a specific topic (e.g., court systems, marriage practices, markets) and then had a conversation about what was similar and different between them. The pairs then collaborated on short writing assignments for which they were both responsible for a portion of the information. To prepare for the final debate, students had a day to take what they had learned about the Aztec and Inca civilizations and prepare their notes. Ms. Shanley assigned each student a side to support and a subtopic so that they would have a better focus and reduce redundancy. During the Video The debate about the Aztec and Inca civilizations was a culminating activity. Each student was prepared to debate one or two subtopics about his or her assigned civilization. Each round of debates focused on one topic for three minutes, with two or three students representing each team. At the beginning of the lesson, Ms. Shanley emphasized making counterarguments and described how to use the scoring sheets. When students were not debating, they scored the debaters by giving them one, two, or three points for each statement (for example, a fact that supported their side but was not that detailed was one point, an excellent fact that supported their side was two points, and an excellent fact that responded to the other side was three points). Students learned to recognize similar types of evidence and gained more points by listening to the other side and counterarguing a specific point instead of simply responding with a different detail that was just part of the debate topic. At the end of the lesson, students reflected on what they had learned from the experience. After the Video Ms. Shanley followed this lesson with a writing assignment so that students could further practice collecting evidence. The pressure of a debate encouraged them to be more selective of the evidence that they chose, and the writing assignment required them to think about and interpret evidence in a similar manner. Students also participated in more debates on topics of their choosing to improve their ability to develop strong arguments. Ms. Shanley provided students with a research packet about their assigned civilization. Students had learned the skill of listening and responding to each other from the rules set in place for the debate. They had learned about evidence to support a statement and had researched the information to be used in the debate before this lesson. In addition, students had practiced note taking (using the Cornell method) throughout the year. To make the unit accessible to all students, Ms. Shanley broke down large tasks into smaller ones so that everyone could be successful with their learning. This included limiting the number of topics each student prepared for the debate. In addition, students worked in small groups to research so that they could help each other be appropriately prepared. Students worked in groups and helped each other with their research. In the larger group, protocols for behavior were spelled out clearly so that all students had a turn and a role in the experience. Resources and Tools - Books and websites to research information - Handouts (Packets) Throughout the lesson, Ms. Shanley monitored how students were debating and presenting their evidence. When appropriate, she stopped the debate for a teachable moment. For example, when one student presented a great counterargument and explained it very well to the opposing side, Ms. Shanley paused the debate to point out the counterargument to the class. In general, she structures her lessons with many steps so that there are opportunities to adjust learning in the moment and so that students can receive feedback before moving on to the next step. Students were aware that they would receive more points for counterarguments and for being selective about which information that they presented. Because they were also scoring each other, students were able to think about how they would score themselves. In addition, at the end the featured lesson, Ms. Shanley asked her students to reflect on the lesson and to think about how the skills they used could be useful in the future. Students were assessed on their choice and use of facts to support their arguments. Impact of Assessment Ms. Shanley’s primary focus for the scoring sheets was to get a sense of how students judged statements that would be considered as arguing back to the other side versus facts they would see as good details. She was interested in seeing how well students listened to each other and in comparing how they interpreted the debate.

<urn:uuid:8d72ea2c-32f1-4fdb-8741-eb70fc32e4ca>

CC-MAIN-2021-17

https://www.learner.org/series/reading-writing-in-the-disciplines/argument-writing/presenting-facts-as-evidence/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00347.warc.gz

en

- Who is a major character? - What is a realistic character in literature? - What is a one sided character called? - Can you have 2 protagonists? - What are two protagonists called? - How do you make your character feel real? - How do you make a unique character? - What are the 3 types of characters? - What is a character in a story? - How do you write a story with two main characters? - How do I make myself the main character? - What is it called when a character speaks? - What’s it called where a story takes place? - What defines a character? - What are the 4 types of characters? - Can you have 2 main characters? - What are the 7 elements of a story? Who is a major character? Characters in fiction can be conveniently classified as major and minor, static and dynamic. A major character is an important figure at the center of the story’s action or theme. The major character is sometimes called a protagonist whose conflict with an antagonist may spark the story’s conflict.. What is a realistic character in literature? Definition of Realistic Fiction Realistic fiction is a genre consisting of stories that could have actually occurred to people or animals in a believable setting. These stories resemble real life, and fictional characters within these stories react similarly to real people. What is a one sided character called? Term. FLAT CHARACTER. Definition. A character who is one-sided, and accentuates one aspect of a person. Term. Can you have 2 protagonists? While there is usually only one protagonist in a story, this isn’t always true. In romantic comedies and “buddy stories,” there can be two protagonists. For example, in Romeo and Juliet it is the fate of both characters, not just one of them, that matters to the story. What are two protagonists called? tritagonistIn literature, the deuteragonist or secondary main character (from Ancient Greek: δευτεραγωνιστής, deuteragōnistḗs, second actor) is the second most important character, after the protagonist and before the tritagonist. How do you make your character feel real? 5 Ways to Make Your Characters More Realistic. … Give them flaws. … Don’t make things black and white for them. … Give them unique appearances. … Let them talk like actual people. … Give them traits from real people. … Alliteration — throw that trash away. … It always works with my schedule. How do you make a unique character? Know Your Character. Develop A Thorough Backstory. Examine Your Character’s Personality. Envision The Appearance Of Your Characters. … Write Your Character Into The Story. Develop Interior Dialogue. Create Authentic Dialogue. Dive Into The Action.Don’t Make Them Boring!Find Your Characters In The People Around You. What are the 3 types of characters? There are many ways to categorize main characters: protagonist or antagonist, dynamic or static character, and round or flat characters. What is a character in a story? In fiction, a character (sometimes known as a fictional character) is a person or other being in a narrative (such as a novel, play, television series, film, or video game). How do you write a story with two main characters? How to Successfully Feature Multiple Main CharactersThink Reader-First. You want nothing to stand in the way of the reader’s experience. … Make Your POV Characters Distinct. In subsequent books in the Left Behind series, I used as many as five different perspective characters for one novel. … Choose Carefully. How do I make myself the main character? Here are some ways you can get started.Put yourself first, always. Mental health is so important. … Not tomorrow, but today. Constantly think about what makes you happy. … Be nice to yourself. … Live in the moment. … Let go of the past. … Never stop laughing. What is it called when a character speaks? dialogue. When characters speak, it is called: setting. When, where, and the time a story takes place is called the: plot. What’s it called where a story takes place? The time and location in which a story takes place is called the setting. What defines a character? noun. the aggregate of features and traits that form the individual nature of some person or thing. one such feature or trait; characteristic. moral or ethical quality: a man of fine, honorable character. What are the 4 types of characters? One way to classify characters is by examining how they change (or don’t change) over the course of a story. Grouped in this way by character development, character types include the dynamic character, the round character, the static character, the stock character, and the symbolic character. Can you have 2 main characters? Two main characters (that is, two point-of-view characters) implies two stories within the one novel. However, you do not have to develop both stories fully. … An alternative would be for each of them to be the protagonist when in their own point of view, and have them pursue the same goal, but for different reasons. What are the 7 elements of a story? Writers of fiction use seven elements to tell their stories:Character. These are the beings who inhabit our stories. … Plot. Plot is what happens in the story, the series of events. … Setting. Setting is where your story takes place. … Point-of-view. … Style. … Theme. … Literary Devices.

<urn:uuid:c3012bdf-442f-4b38-8438-c3ca2cb6473c>

CC-MAIN-2021-17

https://officialairmaxshop.com/qa/what-is-the-main-character-in-a-story-called.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038916163.70/warc/CC-MAIN-20210419173508-20210419203508-00068.warc.gz

en

Please welcome Lauren Martin to the blog today! She’s sharing how to use comics to differentiate instruction and reach all learners. She understands the challenge of meeting the needs of all learners and wants to help all teachers effortlessly differentiate every day! Differentiating to meet the needs of struggling learners and Special Education mandates does not need to be time consuming or complicated. Comics are an effortless differentiation tool to help kinesthetic learners, struggling readers, ESL students, and students with learning disabilities comprehend challenging texts and retain new information in any subject. You do not need to create new differentiation materials for every lesson. Struggling students benefit from consistency and from the ability to conceptualize and display academic content and skills through visual modalities. This is why daily use of comics significantly improves the quality of student comprehension, analysis, and writing. You can use several comic templates again and again to introduce and reinforce any subject, text, topic, or skill. After introducing these comic templates to students just once, you can seamlessly incorporate them into your mini-lesson, guided practice, and independent practice every single day. Effortlessly make comics part of your daily teaching routine, and watch struggling readers and apathetic students enthusiastically retain new content and master new skills. Comics can be used in two major ways. First, students can illustrate comics to show mastery of skills or understanding of content. Second, teachers can illustrate and display comics as a visual aid to introduce new concepts and skills. Use the following comic template ideas again and again for any topic or text in any subject area. Simply write the assignment at the top of each comic template for no prep differentiation. 1. Comic Strips for Visualization Teaching imagery, figurative language, setting, or vocabulary? Students need to be able to visualize a “movie in their mind” in order to comprehend a text. Create or download a four-panel comic strip to reinforce content and skills that require visualization. For example, have students draw the setting of a book or the imagery in an important scene. If you want students to identify and analyze personification, simile, or hyperbole, have students illustrate the literal meaning of figurative language in each panel of the comic. Introducing new vocabulary or concepts in any subject area? Have students illustrate the word in a comic strip using images and dialogue bubbles. Finally, if students need to remember or invent a mnemonic acronym, they can illustrate their acronym in comic form to further aid memory retention. Visual modalities are the most powerful tools available to support students with reading disabilities. You can choose to have students write about their comic after the fact, but the act of drawing will significantly improve a struggling reader’s comprehension and memory retention. 2. Storyboards and Mind Maps for Any Subject Instead of taking notes on a worksheet or on lined notebook paper, storyboards and mind maps are a culturally-relevant visual alternative to truly engage all learners in the process of visualizing and retaining challenging information. The simple shift from lined paper to comics will transform the way your apathetic and struggling learners will approach your classroom and your content. Storyboards and mind maps are similar to comics except that each comic panel has a title and a space to write several sentences beneath the image. Unlike four-panel storyboards and comics, mind maps have a web format with a central title radiating out to four panels. Mind maps and storyboards can be used interchangeably depending on your preference. They are the most versatile comic in the classroom and can be used to reinforce almost any skill, content, or text. In English use storyboards and mind maps to introduce or apply any Common Core skill. While reading a text, students can illustrate any of the following Common Core skills using a storyboard or mind map: characterization; types of conflict; sequence of events; summary; main idea; setting; imagery; sensory language; figurative language; theme; symbolism; mood; tone; point of view; cause and effect; compare and contrast; and every other English Language Arts standard. When you introduce new vocabulary or concepts, students can illustrate the definition, synonyms, antonyms, and examples in four separate panels. To reinforce any text, students can summarize main ideas or analyze literary elements and devices in a creative storyboard. They are perfect for illustrating text evidence. If students need to find two to four examples of theme, characterization, conflict, etc., then they can cite each example in a different panel. Mind maps and storyboards can be used in any subject area. Use comics to brainstorm, to create KW(H)L charts, to define new concepts, to illustrate a mnemonic device, to paraphrase or summarize main ideas in a text book, and to create a classroom reference poster for any topic or concept. The list goes on. If you teach Social Studies, students can illustrate a timeline of events, the causes and effects of the Civil War, the inventions of ancient Egypt, important historical figures of the Civil Rights Movement, main ideas of a primary text, the beliefs of political candidates, and so much more. In Science or Math, students can illustrate the steps in a mathematical equation or in the scientific method. They can draw and describe shapes, angles, mathematical terms, chemical reactions, cell division, photosynthesis, the water cycle, the digestive process, and so on. Go one step further by creating your own comics to introduce new concepts and skills. Simply replace or supplement the typical reading response paragraph or essay with storyboards, and enjoy a dramatic improvement in student engagement and writing quality. 3. Plot Diagram Plot diagrams are often discussed in English classes but less often put into practice. When you make comics part of your daily teaching routine, you can commit to creating plot diagrams for every single novel and short story discussed in class. Whenever students finish a fictional text, they should always discuss and analyze the exposition, rising action, climax, falling action, and denouement while illustrating a plot diagram. Students can use a printable five-panel storyboard plot diagram or draw their own. Students can label the plot point in the title box, illustrate the scene in the image panel, and analyze why that scene is the climax or other plot point in the description portion of the panel. Plot diagrams are also a powerful tool in the writing process. When students illustrate their creative writing story on a plot diagram instead of simply being told to “brainstorm” their story, they will create more developed, creative, and organized prose. Whether you teach elementary or high school students, the act of illustrating a plot diagram as opposed to simply writing about plot structure will transform the way students comprehend, analyze, and write fiction prose. 4. Character Maps Finally, never discuss a character or historical figure again using lined paper. Students will love illustrating a character map to share what they learn about a fictional text or a historical account. They will even be eager to learn more. Students should be in the habit of beginning their character map at the start of a text or unit and filling it in as they learn more about the character. A comic character map has one central image of the character surrounded by four non-illustrated panels containing written lists or descriptions below any of the following titles: personality traits; indirect characterization; direct characterization; relationship to others; important quotes; accomplishments; major events; etc. Character maps will vary depending on if you are discussing a fictional character or a historical figure. Teachers can also create their own character map to introduce a historical figure or character in a creative and engaging way. English, Science, Math, Health, and Social Studies teachers can also use character maps to creatively personify any skill or concept and effectively bring their content and classroom to life. You can effortlessly differentiate the content, process, and product of your lesson by simply engaging students in the culturally relevant visual modality of comic-based learning. As a Special Education Coordinator, I struggled to help overburdened general education teachers differentiate their lessons and materials. Now that I know the endless opportunities comics provide to effortlessly differentiate instruction, I am excited to help teachers make comics part of their daily routine, with no extra planning required. Try my Comics for Differentiation bundle to give yourself, your staff, and your students the tools they need to succeed! I’m Lauren Martin, and I taught English and History to students with learning disabilities for five years. As the teacher-author of Common Core English with Ease, my passion is to create inspirational Common Core activities that empower students to follow their passion, reach their highest potential, and positively impact the world! My TpT store has allowed me to share these resources while running the early literacy non-profit Word Rebel, aimed to prevent the preschool word gap and subsequent achievement gap. As a volunteer-run 501(c)(3), we are proud to use 100% of funds to donate books to children living in poverty. Find free inspirational Common Core ideas and behavior management strategies at my blog, TpT Store, Facebook and Pinterest page.

<urn:uuid:3f59c85f-4876-46be-bb73-919242a237dc>

CC-MAIN-2021-17

https://minds-in-bloom.com/comics-differentiate-instruction/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038088245.37/warc/CC-MAIN-20210416161217-20210416191217-00348.warc.gz

en