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Outside of the academic reasons, however, there is the simple fact that making music is fun. Children intuitively start making musical sounds from an early age, banging on the table rhythmically or attempting to coo or call out in a sustained musical way. They listen to favorite songs on CDs and tapes and begin to sing independently as they mimic familiar tunes. As they grow older, children enjoy the act of sharing and playing music with others. ENGAGING YOUNG CHILDREN IN THE WORLD OF MUSIC Listening to music, moving to rhythms, singing, and playing musical games are best for small children and good for elementary students as well. Have your child participate in musical activities by: - Moving. Notice the way your child responds physically to music. Even young toddlers can be caught swaying to the music from a CD or moving rhythmically to the background music of advertisements and television programs. It is often the musical melody or rhythm that is most appealing to a young child. Encourage your child to develop his or her spontaneous desire to move to music by being a model. Move your body, clap to the rhythm, or create a dance that reflects the feeling of the musical selection. Your child will soon join in the fun. - Reading. Young children love to listen to stories. There are many appealing stories that relate to music that might spark a child’s interest in music making, musical instruments, or song and dance. Some of the most popular children’s books are those that use the lyrics of a favorite children’s song and add illustrations. - Expanding storytelling through music. Introducing music in storytelling can be a powerful experience for a young child. Talk about and then plan music and sounds with your child to accompany the story you select. Shaking rice in a plastic container could make the sound of rain. Tapping two wooden spoons together could represent a woodpecker’s pecking. Let your child use his or her imagination with simple objects that are commonly found at home or in the classroom. Children love the challenge of making music in this way. - Exploring the musical sounds of instruments. Start by getting a few good quality instruments. Together explore the sounds the instruments can make. Percussion instruments such as drums and xylophones, blowing instruments such as slide whistles and recorders, and stringed instruments such as guitars and ukuleles all offer fertile ground for musical experimentation. Regardless of your level of aptitude with an instrument, just playing along with your child spurs interest and offers encouragement. - Making musical instruments. Everyone can’t afford to buy musical instruments for exploration. But everyone can make simple instruments at home. Something as simple as a rubber band can be turned into a musical instrument by stretching and plucking it. A pan can become a drum by turning it over and slapping the bottom. Rice or beans in a plastic container with a lid can become a maraca. You don’t necessarily need an expensive instrument to have fun musically with your child––use the resources around you. - Attending live performances. Share music that you love with your child and expand your own range of musical experiences by attending programs at local festivals, art centers, museums, community centers, and parks. Remember to choose performances that are more informal for preschoolers. Music at outdoor festivals, parks, and family days offered by museums provide the flexibility needed with small children. Older children are apt to handle longer productions and can even enjoy a Broadway-style musical if the subject matter is appealing and appropriate. - Exploring music from around the world. Music is a universal language, evident in the wide array of musical expressions created by nearly every culture around the world. Experience the music of other cultures available on labels such as Smithsonian Folkways and Putumayo World Music. Many artists offer cultural selections specifically for children. Listening to a variety of different genres enriches your child’s understanding and enjoyment.

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A cost volume profit analysis chart (often called a break even chart), is a useful tool for businesses for two main reasons. First, it's a simple line graph that almost anyone can understand within seconds: the break even point is clearly marked, and allows a business to see where it will begin to make a profit. Second, it focuses on those factors that are most important in business—namely: fixed costs, variable costs, and total costs. Draw an x-y axis on your graph paper. An x,y axis is shaped like a letter "L," with one horizontal line (the x-axis), and one vertical line at the left hand side (the y-axis). Coordinates on an x,y axis are represented by two numbers to represent the x and y (for example, (1,8)). Label the vertical axis "Total Dollars." Write the range of numbers on the y-axis. The range of numbers will depend on your total costs. For example, for a businesses sales of 1-200 books that cost $10 each with fixed costs of $40, and variable cost per unit of $6, a reasonable range for the y-axis would be $0-$2000 (because the highest point on the chart will be revenue of 200 books@$10). Label the horizontal axis with "Number of items sold." In our example, we are building a chart for 0-200 books, so label the x-axis from 0-200. Draw the fixed cost line on your chart. For the above example, a horizontal line at $40 represents the fixed costs, so draw a straight line from (0,40) to (200,40). Draw a line for the variable costs. The variable cost per unit in our example is $6, so draw a straight line starting at (1,6) and ending at (200,1200). Add the variable costs to the fixed costs to find the total costs. For the above example, draw a line from (0,80) to (200,1240) to represent fixed costs. Add a revenue line to your chart. For our example, revenue is $10 per book, so draw a line from (0,0) to (200,2000). For a more dynamic chart, try using a spreadsheet software like Open Office or Excel. - For a more dynamic chart, try using a spreadsheet software like Open Office or Excel. Stephanie Ellen teaches mathematics and statistics at the university and college level. She coauthored a statistics textbook published by Houghton-Mifflin. She has been writing professionally since 2008. Ellen holds a Bachelor of Science in health science from State University New York, a master's degree in math education from Jacksonville University and a Master of Arts in creative writing from National University.

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The Bittering family in Ray Bradbury’s science fiction short story, “Dark they were, and Golden Eyed” are recolonizing on the planet Mars. Nuclear war broke out on earth and humans were in desperate need of safety. Individuals experience conflicts that they must overcome in order to adjust to their new lives on mars. Change is difficult but many are forced to do so in order to seek safety. The literature picture project displays different literary elements that make up the story. Various photos are able to provide context to each quote that pertains to a particular moment in the short story. “He picked up the luggage in his cold hands. ‘Here we go,’ he said- a man standing on the edge of the sea, ready to wade in and be drowned” (Bradbury 1). Exposition is at the beginning of the story when the author gives the reader information about the background of the characters and the setting. This is the start to the Bittering’s new lives on Mars. Mr. Bittering seemed to be optimistic yet slightly nervous about their new home. 2) Rising action #1: “Mother, Father- the war, Earth!’ she sobbed. ‘A radio flash just came. Atom bombs hit New York! All the space rockets blown up. No more rockets to Mars, ever'” (Bradbury 2). The first set of events leading to the climax of the story. Clearly, this is the first problem that the Bittering family were faced with. They were at a point of no return. They are now forced to live permanently on Mars. They reader is now intrigued because they wonder what is going to happen next. 3) Rising action #2: “… And the lawn in front of their house…was colouring itself, like spring violets. Seed from earth but growing up a soft purple” (Bradbury 5). The second rising action is another suspenseful event that occurs leading to the climax. When the reader finds out that the grass is beginning to change colour they are confused and are forced to wonder what is going to happen next. “Laura, Tim, and David carried packages. Or, as they preferred to be known, Ttil, Linnl, and Werr carried packages” (Bradbury 10). The climax of the story is the most intense point of the story. Through out the story the reader was built up by the rising action to believe that the Bittering’s were turning into aliens. Mrs. Bittering and her children began to adapt and changed their names to alien like names. 5) Falling action: “Looking at the small white cottage for a long moment, he was filled with a desire to rush to it, touch it, say goodbye to it, for he felt as if he were going away on a long journey, leaving something to which he could never quite return, never understand again” (Bradbury 11) The Falling action to a story is the set of events that follow the climax. Mr. Bittering is leaving his families house on Mars as they head for the hills. His family had completely adapted to their new world and Mr. Bittering was finally accepting his fate although he did not want to. “‘The town’s empty, but we found native life in the hills, sir. Dark people. Yellow eyes. Martians. Very friendly. We talked a bit, not much. They learned english fast. I’m sure our relations will be most friendly with them sir'” (Bradbury 12). The conclusion to a story sums up and ties the story together to an end. People from earth came back to end save the earthlings living on mars, but the town was barren. The luitenant and kernel met martians on the hill, it was actually the Bitterings plus the other humans who recolonized on earth. 7) Physical Setting: “Earth people left to the strangeness of mars, the cinnamon dusts and wine airs, to be baked like gingerbread shapes in martian summers, put into harvested storage by martian winters.” (Bradbury 3). The time and place where the story takes place. It provides context to the reader so that they can can put themselves within the story. The description of the martian seasons gives you the orange/red colour of the dust on the surface of the planet as well as the super cold nights and winters. The extra descriptive words like cinnamon and wine helps you to be able to close your eyes and visualize actually being there. 8) Emotional Setting: “The fear would not be stopped. It had his throat and heart. It dripped in a wetness of the arm and the temple and the trembling palm” (Bradbury 7). The emotional setting of the story also provides context and helps the reader better understand each situation that occurs within the story. All throughout the short story Mr. Bittering is stressed and it is shown his fear and panic when he finds that their garden has transformed. Mood words such as fear display the characters feelings during conflicts and problems. 9) Conflict Type: “He looked with dismay at their house. ‘Even the house. The wind’s done something to it. The air’s burned it. The fog at night. The boards, all warped out of shape. It’s not an Earthman’s house any more.’ ‘Oh, your imagination!’ He put on his coat and tie. ‘I’m going into town. We’ve got to do something now. I’ll be back.'” (Bradbury 5). There are two different types of conflict one being internal and the rest are considered external conflicts. Conflicts can arise at any moment in a short story between a group or an individual. Mr. Bittering had a conflict within himself; He had an internal conflict. Everyone else on mars was adapting just fine into their new lives, but as soon as Mr. Bittering found out that there was no return he went a little bit crazy. He would get upset with his wife for adapting so quickly into the new environment. 10) Ending Type: “‘What do you think of naming those mountains the Lincoln Mountains, this canal the Washington Canal, those hills – we can name those hills for you, Lieutenant. Diplomacy. And you, for a favour, might name a town for me. Polishing the apple. And why not make this the Einstein Valley, and further over … are you listening, Lieutenant?’ … ‘What? Oh, yes, Sir.’” (Bradbury 12) The ending type to a story is how the story finishes. Readers can end up happy, sad, confused, and or shocked. In the short story the ending was partly expository happy but you are also partly left with a small cliffhanger. As the reader knows the Bittering family adapted and transformed into martians. In the last page and a half two new characters are introduced from earth. The last few sentences leave the reader to make their own assumptions about what now happens to the new humans on mars “He saw their skin baking brown. And he saw the yellow eyes of his wife and his children, their eyes that were never yellow before” (Bradbury 8) There are three types of irony. There is verbal, dramatic, and situational. Dramatic irony is when the reader knows something that the character in the story doesn’t know. We as the reader know that the Bitterings are beginning to transform into aliens but they themselves are not aware. Mr. Bittering is confused by the new dark skin tone as well as the yellow specks in their eyes. “Alone, thought Bittering. Only a thousand of us here. No way back. No way. No way. … He stroked Laura’s head against him and said, ‘The rockets will get through, some day.’ ‘In five years maybe. It takes that long to build one. Father, Father, what will we do?'” (Bradbury 3). Suspense gives the reader a feeling uncertain, excited, or anxious about a certain situation that is about to occur. The Bitterings were at a point of no return and this creates a large dilemma for Mr. Bittering. He is forced to figure out a plan for his family to return to mars without any spaceships coming to rescue them. 13) Characterization Example: “‘I feel like a salt crystal,’ he often said, ‘in a mountain stream, being washed away. We don’t belong here. We’re Earth people. This is Mars. It was meant for Martians. For heaven’s sake, Cora, let’s buy tickets for home!'” (Bradbury 2). Characterization is how the author describes the character to the readers. There are two types of characterizations, indirect and direct. An indirect characterization of Mr. Bittering is applied by his speech, action, and affect on others. Throughout the short story Mr. Bittering seems anxious, nervous, fearful, and uncertain about his new found predicament.

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The science, technology, engineering and medical (STEM) community plays an important role in today’s society. Governments in developed and developing countries recognize the importance of increasing the STEM sphere. In the article written by Kelly Peaton on March 2, 2016 said that “President Barack Obama has said that science and innovation are keys to the country’s economy and that offering more opportunities for Americans to gain related skills can help create jobs.” The role of men and women has changed drastically in today’s society. Women have got more freedom to express themselves, take active part in the development of STEM, despite the fact that there still exists discrimination because of lack of academic publishing, opportunity inequalities, unequal earnings and negative stereotypes. According to UIS (UNESCO INSTITUTE FOR STATISTICS) data, women make up less than 30% of the people working in science, technology, engineering and medical jobs worldwide. “Additionally, women have seen no employment growth in STEM jobs since 2000” (Huhman,). Scientists and engineers are working to solve some of the difficult challenges that we face daily. When women are not involved in science and engineering, experiences, needs, and desires that are unique to women they may be overlooked.These overlooked issues can be overcome by many ways—creating programs that will encourage women to study technology, offer more scholarships, organize workshops, open more women engineering clubs, give talks about the history of women’s success in past and present will help women to understand the importance of STEM community and empower them to jump to the field. Engaging and retaining more women in the science, technology, engineering, and mathematics workforce will maximize innovation, creativity, and competitiveness. The article written by Carolyn Conner Seepersad on Oct 17, 2016 said that “the simplest and most effective things we can do differently is something as simple as richer storytelling.” Using the power of storytelling helped her to raise the proportion of women in undergraduate engineering program from 17 percent to more than 22 percent which was double the national average (Seepersad). It can be concluded from her article that the power of storytelling gives young women a hope to do something new that they are capable of, help them to build their own perspective thinking, a network to reconnect people with whom they can share their own ideas and thoughts. Stereotypes are appearing as one of the biggest hurdles that impact the women’s participation in school and University. Women’s graduating with a Bachelor degree is less as compared to men. They have less academic success. They are socially constrained from a young age to have domestic aspirations such as becoming wife and mother. And by chance if they show their interest or excel in these fields they will be labeled as unfeminine. Another big disparity between men and women in STEM careers is difficulty of balancing work life and private life. However, many women have proven in other fields that having family and successful career is possible. Women do face these negative stereotypes but sometimes they also encountered violence. For example, in 1989 a gunman killed 14 engineering women student in Montreal, Canada because of the fact that they all were women’s and science is not meant for them. These initiatives will support and encourage women to participate in the STEM community from a younger age and also help them to develop a broader understanding of the field and to become better engineers. Although achieving gender equality cannot be done overnight, we as young women can dedicate ourselves to change the rules and stereotypes that inhibit us from tapping into our true potential.

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Aboriginal History and Culture The NAR is the traditional land of two Aboriginal groups, the Noongar and Yamaji people. The geographic boundary between these groups is indistinct, but the cultural boundary is clearly defined through language and cultural rites. Yamaji (also spelled Yamatji) people are the traditional owners of land and coastal waters to the north and Noongar people are the traditional owners of land to the south. There are at least six distinct Yamaji language groups and at least two Noongar language groups. Aboriginal people have a historical and spiritual attachment to natural resources. The NAR forms a culturally and environmentally significant part of the traditional lands of both the Yamaji and Noongar people. Aboriginal mythological creation stories are based around the Wagyl (Noongar) and Bimara (Yamaji). These are the names of the “rainbow snake” that, according to Aboriginal mythology, shaped the landscape and created plants, animals and humans. Aboriginal people have the oldest living cultural history in the world, dating back to at least 50,000 years and some argue closer to 65,000 years. Around 600 different clan groups or ‘nations’ existed around Australia prior to European settlement, many with their own different culture and beliefs. The area between Green Head and Jurien Bay has the largest number of Aboriginal midden deposits in the Southwest Australia.There is evidence of Noongar and Yamaji people occupying various parts of the coast for extensive periods of time. Stone artefacts have been found in caves in the Jurien Bay region, and the area between Greenhead and Jurien Bay has the largest number of deposits in the Southwest Australia. Coastal dunes throughout the region were also used as burial sites, and skeletal remains have been exposed by dune blowouts. The mouths of rivers and estuaries tend to be particularly significant, especially Bowes River. Changes in tenure, management and development in the coastal zone should protect the environmental, cultural, spiritual and historic values of these areas (NACC, 2005). A timeline of historical events of the Mid-West can be found on the Bundiyarra Aboriginal Corporation website. Dreaming stories are used to pass on important knowledge, cultural values and belief systems to later generations. Aboriginal people use song, dance, painting and storytelling to express these dreaming stories, creating a rich cultural heritage. Aboriginal people all over Australia have used astronomy to gauge seasons and management of natural resources. Aboriginal people interpret the space between the stars rather than the location of the stars, as in western astronomy. In the NAR the Emu in the Sky constellation is used to gauge when emus are mating, laying their eggs and when it is an appropriate time to collect eggs. Connection to Country The word ‘country’, when used in an Aboriginal context represents a specific part of the environment that is connected to the person through ancestral custodianship. Connection to country is an important part of an Aboriginal person’s identity and their spiritual attachment to the land and the natural environment. It makes you feel like you’ve come home. It is home. It is barna, which is ground we belong to.Coralie Dann, Yamaji Elder. Taken from Marlaguwinmanha, Returning back to the bush 2016. Produced by Chris Lewis Traditional Ecological Knowledge Traditional ecological knowledge is the knowledge that Aboriginal people have of their land and ecological processes, gained from living and moving about the country for thousands of years. Scientists and land managers are increasingly recognising the importance of this information to managing the natural environment and are working with Traditional Owners to incorporate this information into NRM planning and management. Aboriginal People Working on Country Creating opportunities for Aboriginal people to work on country is one of the core goals of this strategy. This need came up repeatedly throughout the community engagement process and organisations like NACC and Central Regional TAFE are actively seeking to make this happen. NACC’s Prison Inmates Program engages inmates in NRM, undertaking biodiversity conservation and Aboriginal Heritage Site maintenance. Program participants work towards Certificate II accreditation in Conservation and Land Management from TAFE. Over 40 Aboriginal people have participated in this program to date. Regional Aboriginal Green Army and Ranger teams are empowering Aboriginal people to care for country. Participants undertake environmental projects around the NAR, combining traditional ecological knowledge with science-based NRM practices.

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What is extended writing? The third test that you will need to sit as part of the Kent & Medway 11+ exam, is an extended writing exercise. The extended writing exercise will require the candidate to produce a piece of factual or fiction-based writing, which demonstrates skills such as: • Sentence fluency. • Grammar, spelling, and punctuation. • The ability to follow a structure when writing. The final point on the above list is arguably the most important of all. While different examination boards will place varying importance on different things, all of them will expect a piece of writing which has a clear beginning, middle, and end. Likewise, the format will vary between years. In some years you’ll be given 20 minutes to write, in other years you will be given 50 minutes to write. That being said – don’t sacrifice quality for quantity. A shorter piece, with a beginning, middle, and end, will score higher than a longer piece that follows no structure at all. 11 PLus extended writing topics The format of the writing element can differ between years. Sometimes, you might be asked to write a fictional story. At another time, you might be asked to write a story about an experience you’ve had. Below are two different titles, to illustrate what we mean: Write a story about sailing the seas as a pirate. If you received the above title, then you know that you’ll need to think creatively and use your imagination. Alternatively, you might get a title that looks like this: Write a story about the last time you went abroad. Naturally, writing this extract might require you to use your memory, rather than your imagination. However, the examiners will still want to see you be creative. Being creative doesn’t mean that you have to make things up – it’s about using language to describe things and make them sound poetic. pLANNING YOUR STORY In the vast majority of examination years, you will be given at least 5 minutes planning time before you start writing. Planning your story will make a huge difference – it will mean that you can use your notes as a reminders of plot points, characters, and for ideas. Using a separate piece of paper, think about the following: Characters. Of course, this is a major part in any story or extract. You need to get your characters in place, because they are the ones who will drive the story forward. The Plot. Plotting is a complex and difficult process, and for actual writers it can sometimes take years to get a plot fully realised! However, you don’t need to be scared, because you aren’t publishing a full-length novel! In this case, you just need to plan out a basic story, with a beginning, middle, and end. Narrative Point of View. When writing a creative extract, you should ideally aim to write in either first person, or third person. There are different quirks and advantages to the different narrative points of view, and neither third person nor first person are considered ‘better’ than the other. In some cases, it might come down to the title of the essay. 11 Plus CREATIVE Writing Tips Preparing for the 11+ creative writing exercise doesn’t have to be stressful. Ultimately, writing should be an enjoyable experience, and it’s a great way to express yourself. The key to getting good marks, of course, is in expressing yourself ‘the right way’. Here are some tips on things to keep in mind, and things to avoid. Use adjectives sensibly. Often, one of the first things that you are taught as a young writer is to be creative and use as many adjectives as possible. This is great for getting your brain thinking imaginatively and assigning qualities to objects, but doesn’t necessarily translate so well to a good, final piece of writing. Real people, real behaviour. One of the things which often causes writers to lose marks on exercises such as this, is that the characters’ behaviour doesn’t exactly match either what they would do in real life, or the rest of their characterisation. Random acts that aren’t consistent with characterisation can break the immersion of a piece, and make it hard to read. The intrigue of writing, even writing fantasy, is placing realistic people with human characteristics and traits, in circumstances or situations where they need to react – and seeing how they react. Structure. As we’ve mentioned, having a beginning, middle, and an end is really important. It makes it easier for the reader to understand where they are in the story, and makes it easier for the reader to follow the work. HERE’S WHAT OUR ELEVEN PLUS EXTENDED WRITING FEEDBACK INCLUDES: - Your child’s writing assessed and critiqued by a Masters Degree qualified writer! - In-depth tips on narrative, description, and more! - Ideas and advice on how to improve your child’s written dialogue! - Essential ideas on characterisation, plot consistency, and more! - Grammar, punctuation and spelling tips, as well as advice, to ensure that your child maxes their scores – learning in the process! - A guaranteed 48-hour turnaround, ensuring fast, accurate, feedback! FREQUENTLY ASKED QUESTIONS Your child’s exercise will be personally reviewed by How2Become’s Masters qualified Creative Writing Expert. For every submission, we guarantee personalised feedback, highlighting the strengths and weaknesses of the content. Our aim isn’t just to point out where things are good or bad – we’ll help your child learn and develop into a stronger, better writer. Your evaluation will be sent to you in an editable Microsoft Word document within 48 hours (Monday-Friday during office hours). As soon as your payment is made you will immediately receive an email from How2Become, requesting the Extended Writing topic and your child’s answer. We will then get to work on providing feedback on the piece of creative writing and send an evaluation within 48 hours (Monday-Friday during office hours). Thank you very much for your interest in our Extended Writing feedback service. We want to provide you with reassurance that the feedback we’ll share with you will be top class! Our Creative Writing expert has marked and reviewed many hundreds of creative writing pieces over the course of his career, and has also led and participated in various writing workshops. Here at How2Become, we know exactly what the assessors are looking for, and promise that your child’s extended writing skills will receive a great boost from our guidance. If you have any questions about the service please feel free to contact us directly at [email protected] Medway 11+ Revision Guide If you haven’t purchased a copy of our fantastic Medway 11+ Revision Guide, then you’re missing out! This book is jam packed with tips on extended writing, maths, and verbal reasoning. It’s the ultimate practice and revision resource for any child taking the Medway Eleven Plus. So, don’t hang around. Pick up your copy today! 11+ Extended Writing Service Add to cart More info Medway 11+ Revision Guide Workbook Add to cart More info

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Easy Ecology Experiments for Kids Your elementary school students may love "The Lion King," but that doesn't mean they learned everything about the "Circle of Life." Simple classroom experiments can help them understand ecology, the science of how different species interact with each other and their environments. Examining the predator and prey relationship, designing a miniature ecosystem and observing how plants affect soil are just a few ways to bring ecology to life for kids. On the Surface Erosion, the wearing away of sediment, can be a serious problem for agriculture. Plants are key to keeping this process in balance, as they cover soil with leaves and stabilize it with roots. Have students set up three pans of potting soil: one with bare dirt, one covered in leaves and one covered with grass seed, which is watered and exposed to light. After growing the grass to at least a half-inch high, test erosion levels by elevating one end of each pan and placing the opposite end in a dish to collect runoff water. Sprinkle pans at the elevated ends with 3 cups of water and have students observe the amount and color of runoff from the different surfaces. What the Owl Coughed Up Kids are easily grossed out -- or humored -- by mucus, spit and other bodily byproducts, which makes owl pellets an entertaining and educational subject. Because owls swallow small animals whole and digestive fluids cannot process the entire bodies, owls spit up the fur, skeleton and other parts of the prey they eat. These owl pellets also become small ecosystems, providing an environment for moths and other insects. You can obtain owl pellets from a biology lab and let students dissect their contents, assemble the skeletons of enclosed animals and determine what the owl had for its meal. Make an Ecosystem A class ecosystem can give students an up-close look at one of ecology's most important concepts. Ecosystems are circular: Plants provide oxygen and food for the animals, while animals produce carbon dioxide for the plants to use and convert to oxygen. You can make a simple ecosystem by laying soil and rocks at the bottom of a small, lidded aquarium and populating it with green plants and creatures, such as caterpillars and earthworms. Over several weeks, students can observe how the miniature ecosystem begins to sustain itself as plants and insects work together. Predators Are for the Birds Predator and prey relationships allow different animals and organisms to meet their energy needs. To survive, prey employ defense mechanisms, such as running or not venturing far from home. Your students can observe this process by setting up four bird feeding stations around the school grounds. Two are open feeders; the other two have large, cardboard hawks dangling from them. Student groups observe the bird feeders to see whether the hawk decoys deter live birds from visiting. Your students then can share and discuss their findings as a class. Kori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.

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AN IRISHWOMAN'S DIARY ACCORDING to the Tennessee census bureau, one in five Tennesseans can trace their roots directly to the Scots Irish settlers of the 18th century. Most of these settlers are of Ulster Protestant/Presbyterian stock who were forced under British rule to flee their country. So claims Billy Kennedy, who has researched the topic and written about it in his book, The ScotsIrish in the Hills of Tennessee. The Scots Irish originated in Lowland Scotland and moved to Ulster throughout the 17th century. At the start things were good, as Ulster was under the rule of King William III who granted them civil and religious liberties. The Scots, who were originally involved in farming, began to establish industries with the French Huguenots, allies of King William. The twos groups came together and established churches and schools for their people. William's reign ended in 1702 when he was succeeded by his sister in law, Anne. She passed a series of acts which were unfavourable to the Scots placed severe restrictions on their Presbyterian faith and forced many of them out of their jobs. Forced to Take Notice Along with this, Ulster was experiencing an economic crisis; the textile industry was in a recession, small peasant farmers could not cope with the droughts of those years and landlords were charging exorbitant rents. Faced with this and the embitterment of the discriminatory religious policies many of the Scots settlers found they had no choice but to leave Ulster and start a new life in America. The first ship to leave Ulster was The Friends Goodwill which set sail from Larne Co Antrim, for Boston in April 1717. Emigration continued throughout the century and became so widespread that the British Government was eventually forced to sit up and take notice. A commission was appointed to investigate the cause of emigration, and some of the religious laws were relaxed. On reaching North America, the Scots Irish headed for Pennsylvania, the Carolinas and Virginia. They were warmly received and noted for their honesty, independence of spirit and ability to work hard. They tended to stick together and, because they had little money, were driven to the frontier regions, the hills and inland areas where land was cheap. In June 1796, when Tennessee became a state, the Ulster settlers moved to its hills and set up home. Once established, they began to set up churches and schools and became pioneers of education in the region. Presbyterianism became the first Christian denomination to be established in the state and today accounts for 132,344 members. Along with religion, the settlers brought with them their traditions of storytelling, singing, dancing and making moonshine", illicit whiskey. To this day, a lot of the country and Western music can be traced back to the Ulster settlers. Dolly Parton is said to be a descendant of the Scots Irish. The traditional square dance, clogging to fiddle backed music, also comes from the settlers. In those days, the fiddler was one of the most respected people in the area. The practice of distilling illegal whiskey had its origins 6th century Scotland, but was brought to Ulster when the Scots moved. Both whiskey and brandy were made from ingredients such as barley, raisins rye and corn which grew in abundance around the hills of Tennessee. The moonshine, dubbed "white lightning", was very potent and readily available in the area. After the Revolutionary War, whiskey was taxed and the mountain settlers threatened toe take up arms against the government of George Washington. This incident became known as the "Whiskey Revolution" and was eventually settled. When the alcoholic prohibition was imposed in the 1920s, the distilling of moonshine became widespread throughout the US, although it eventually died out in most states. However, moonshine making persists in the Appalachia region of Tennessee, a tradition carried on by the distant relatives of the 7th century settlers. Declaration of Independence Although most Scots Irish, made a career of farming, several became involved in politics and went on to great things, including the establishment of great cities. Of the 56 signatures on the Declaration of Independence, July 4th, 1776, eight were of Scots Irish descent. Eleven US Presidents, including Jackson, Wilson and Nixon, can trace direct ancestry back to the Ulster settlers. Also, Sam Houston, the man responsible for wresting Texas from Mexican control, was the grandson of an Ulster Presbyterian, as was the frontiersman and later Congressman, Davy Crockett. So it is with great pride that Tennesseans trace their blood back to Ireland, and remember their ancestors who left the hillsides of Antrim and Down to create a civilisation in a wilderness and help to lay the foundations of what today is possibly the greatest nation on the earth. The Scots Irish in the Hills Of Tennessee by Billy Kennedy. Causeway Press, costs £8.99 paperback, £14.99 hardback.

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“We dream in narrative, daydream in narrative, remember, anticipate, hope, despair, believe, doubt, plan, revise, criticize, construct, gossip, learn, hate and love by narrative.” – Barbara Hardy We all have stories to tell. Whether they are fact or fiction; we all have a tale to share. Storytelling is an essential part of learning. In fact, it is the oldest form of education. People have used storytelling to pass on knowledge from generation to generation. This has been done through folklore, parables, myths, legends and quotes of wisdom. I’m sure you know one or two from your parents, grandparents or their friends. You’ve probably told your children or your students a few as well. Similar to how learning happens outside of the classroom as well as inside it, storytelling needs to happen inside of it and not only outside. Research has shown stories are the way our brain stores information. Therefore if a teacher fills their students’ brain with information without anything to connect those pieces of information together then it becomes like a “catchall closet into which items are tossed and hopelessly lost.” Stories are at the very heart of our existence. Storytelling will help you teach and engage your students in a much more creative and effective way. Digital Storytelling as a creative tool in the classroom Now let’s talk about the different types of storytelling – digital and traditional. Digital storytelling can be defined as using multimedia tools to tell stories. Whether it’s the use of images, video, animation or audio, once it adds to the telling of your story, it is considered digital storytelling. Traditional storytelling on the other hand is telling a tale. Students now live in a digital age and are used to digital technologies. This can make it hard for some teachers to compete especially when their students’ focus are elsewhere. This is where digital storytelling comes in. It brings them back into the classroom and keeps them there. Traditional storytelling is good. But digital storytelling adds more to the experience and adds another aspect to the story. One of the beauties of digital storytelling is its flexibility. It’s like play dough. It can be used to create something which ranges from horrific to absolutely adorable. Its use is determined by its creator and its can take different forms. It can be something funny, horrifying or touching. The possibilities are near endless. You’ve told countless stories before. You were born knowing how to do it. Digital storytelling adds to your process and gives your stories a whole new dimension. The Benefits of Storytelling in the Classroom There are a number of benefits to incorporating digital storytelling and storytelling in general in your classroom. 1. It grabs students’ attention – when your pupils hear you say something like “Let me tell you a story…” things change- They become more attentive, quieting themselves and allowing you the floor to share with them this tale they’ve never heard before. It’s the same experience shared by college professor, Sal S. Buffo. Digital storytelling amplifies that experience. 2. It promotes active listening – your students will no longer be hearing you. They will be LISTENING to you. Taking in every word you breathe as if it were their last breath. That’s the power of being a great storyteller. It’s why we get so mesmerized by a great movie, TV show or book. We all love a good story. 3. It creates a sense of community – one of the beauties of traditional and digital storytelling is they’re interactive. You not only share a part of your life and your experiences but you also set up a platform for students to share their experiences as well. Maybe they’ve gone through something similar or know someone who has. This breaks down barriers and form bonds between you and your students where they didn’t exist before. Digital storytelling taken on in the form of group assignments allow for collaboration between students regarding something they share a mutual interest in. 4. Reaching reluctant learners – there are always students who are reluctant. Storytelling can help you reach those students in a way you weren’t able to before. It pulls them out of their own bubble and gives way for them to engage and take part in your class like they never have before. 5. It stimulates imagination and nurtures creativity – storytelling does wonders for imagination. Whether they are listening to your story and picturing themselves in it or creating a story of their own and sharing with you. Storytelling allows students to think creatively and produce wonderful tales and works of art. Creativity is also important for problem solving. Traditional and digital storytelling develop students’ creativity which in turn improves their problem solving skills. Storytelling Tools for Teachers We can all tell a tale. Some of us do it better than others. But in this digital age, adding sound effects, video and photos makes a story that much better! A normal picture with a funny caption, an interesting video or just a weird sound effect when you reach a particular point in your story makes an impact that will last with some people for some time. This is why it’s important for you to have something to go to when you’re preparing your next story for your next class. Free Software for Digital Storytelling Some software for digital storytelling can be costly or require time consuming sign ups. Phrase.It is an exception. It’s FREE with NO SIGN UPS needed. Phrase.It is a free speech bubble maker that allows you to add speech bubbles to your images and create your own unique comic strips. It’s a valuable asset when creating your stories. You can use personal photos you’ve taken or photos you’ve found online, Facebook photos or stock photos to create your own unique comic strips to share. You can also challenge your students to tell a story, any story using the service. It’s of NO COST and it will allow them to challenge themselves and create something they can be proud of. Albert Einstein once said “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” Teachers help to prepare their students for the world. You can do that by telling them stories and helping them to use the technology their used to the create their own. Free software for digital storytelling is the perfect tool for that.

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There is a period in ancient Greek history called the Grecian Dark Ages. A dark age is a time period we know little about, but what we know turned out to be very important. The Greek Dark Ages was a time period when the Dorians ruled the people who lived scattered across the Greek peninsula. One reasons we know so little about this period in history is that the Dorians did not have a written language. The Dorians were not into art or music or literature. The Dorians were into war. Their life was spent fighting. The Dorians did not build cities. They destroyed them. It was easy for the Dorians to conquer the people living on the Greek peninsula. Before Dorian rule, tribes of early people might vaguely know there was a village downstream. They might even trade with them. But they did not work together. They did not speak the same language. They did not have a common history. They had not yet formed city-states so that villages could work together for the betterment of all. These early people used stone tools. They had stone weapons. The Dorians had metal weapons. When the Dorians swooped down on the Greek peninsula, they had no trouble taking over. Their rule lasted for about 400 years. We do know a few interesting things that happened during the Grecian Dark Ages thanks to the storytellers. During the Greek dark ages, some people earned a living with their storytelling skills. The storytellers went from town to town. Because the townspeople did not like the Dorians, the idea of using the Greek language to tell their stories caught on among the storytellers. It made it easier for them. The storytellers did not need to speak every language spoken on the Greek peninsula. They only had to speak Greek. The people in the towns and villages quickly learned the Greek language so they could better understand the stories. The Greeks always loved a good story. Soon, the ancient Greeks had a common language. Storytellers told fables, myths and legends. Different storytellers might give a new twist to a story, but the basic story was told over and over. A fable is a very short story with a moral. Fables gave these early people a common culture, a way of behaving. A myth is a story about gods and goddesses and other mythical creatures. Myths gave these early people a common religion. A legend is a story about an event that happened in the past. To qualify as a legend, the story cannot be proven, although it might be true. The legends told by the storytellers were all about heroes, but the heroes were not Dorian warriors. They were about people who cleverly worked together to defeat a common enemy. One of the most popular legends was the story of the Trojan horse. Legends gave these early people a common past. Legends also gave them a blueprint of what they needed to do to defeat the Dorians - they had to band together. This probably was not intentional by the storytellers, but it was effective just the same. The early Greeks learned from the storytellers: Thanks to the storytellers, the people now had a common language. They had a common history. They had common heroes, presented to them in the stories told by the storytellers. They had a common religion. They began to think of themselves as one people. They always had thought of the hated Dorians as intruders. They knew from the stories they loved that the only way to beat a common enemy was to work together. All this they learned from the storytellers. The early Greeks learned from the Dorians: From the Dorian invaders, the early Greeks learned to make metal tools and metal weapons. This came in quite handy when the Greeks began to organize themselves into city-states, and work together. City-states could be defended. The Greeks used their new knowledge of metal weapons to help them defeat the hated Dorians.

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Methods of Social Criticism in Dickens’ Hard Times Ideas of social change and progressive ideals are prominent in many nineteenth century works of literature. Charles Dickens’ Hard Times is a prime example of a social criticism novel, putting prominent ideas of the time period, such as utilitarianism and social class, to the test. Dickens uses specific literary techniques that are highly effective in shocking the reader into understanding Dickens’ views. Dickens uses symbolism, satire, and synecdoche, among other literary techniques, to emphasize his argument. Perhaps the most effective technique is symbolism. Dickens uses it to exaggerate some ideas that may otherwise be overlooked in the overall complexity of the novel. A symbolic motif running throughout the novel is that of the farming cycle, and the idea of reaping what is sown. In the first chapters of the novel, Gradgrind, Bounderby and McChoakumchild “sow the seeds” of Fact into the young, fertile minds of children. The only seeds planted are those of Fact, and fancy and feeling are discouraged and tamped down by adults. In the second part of the book, the characters begin to “reap” what they “sowed” in the children at the beginning of the novel. The doctrine of fact alone begins to create problems as characters such as Louisa and Tom find themselves unable to make any right decisions, or feel any emotions at all. In part three of the novel, the harvest is “garnered”, or stored, and the reader is hit with the true inadequacy of the seeds sown so long ago. Disasters such as Louisa’s ruined marriage, Stephen’s death, and Tom’s undoing occur, and the characters who originally planted the seeds are left with nothing to sustain them. This use of obscure symbolism sharply and sometimes cruelly highlights Dickens’ disgust with the utilitarian doctrines of fact, and the reader is unable to ignore his disdain. By using this symbolism, Dickens not only expresses his disgust and disagreement with many facets of utilitarianism, but also backs up his hatred with predictions of what will happen to the people if an entire society were based solely on fact. Dickens also uses satire to incite the reader’s vehemence for social change. In discussing many of the characters’, and, indeed, Coketown’s, love of fact, he adopts an almost religiously reverent view. He discusses the fact that most of the churches are unattended by the working masses: “A town so sacred in fact, and so triumphant in its assertion, of course it got on well? Why no…who belonged to the eighteen (religious) denominations? Because, whoever did, the laboring people did not…” (Book the first: Ch. V; pg. 38). He continually reinforces the ideas preached by Gradgrind and Bounderby, that Facts are the one scripture needful above every other facet of life, including religion itself. For Gradgrind, science and fact utterly consume him, leaving him no time to pay attention to the human need for comfort and peace that is often exemplified by religion. Gradgrind even goes so far as to replace the word “God” with the word “Fact” in the statement “God forbid”, often exclaiming “Fact forbid!” when faced with something fanciful, such as the circus. All of these facets combine to create a highly satirical view of Coketown as a place where the religion is not one of God but one of fact. Dickens backs this up further by continually inserting religions allusions and fragments of prayers into descriptions of Coketown or passages that talk about fact. This satirical view of a much darker reality causes the reader to pause and forces though on the twisted reality of a world where fact and science, both subject to human fallacy, have replaced a higher power. Dickens utilizes synecdoche in order to exaggerate and bring across the true mechanization of the masses so prevalent in the industrial age. He often refers to the Coketown workers as “the masses” and his characters often generalizes them as “the hands”, all wanting the same things, all doing the same things, and all part of nothing but the overall working machine of the town. In general, the individual is not spoken of; instead the whole represents the individual. This is a useful viewpoint for those such as Gradgrind and Bounderby to take because it is the view that creates the most profit. However, through his extensive use of this synecdoche, Dickens shows that it creates a vicious cycle, where the town can be ruined if only one small part of the working whole begins questioning, and where the people trapped in the cycle become less than human. Dickens questions the greater ideas driving industrial age itself, the ideas of individuality as opposed to profit and output, and he causes readers to also question these ideas as they see the ruin of the people of Coketown, both the workers and the leaders, such as Bounderby and Gradgrind. Mariama Bâ’s So Long a Letter depicts the life of a newly widowed Ramatoulaye who writes a letter to her childhood best friend Aissatou, describing her life as a co-wife […] In an elaborate concoction of political allegory, social anatomy, moral fable, and mock utopia: Gulliver’s Travels is written in the voice of Captain Lemuel Gulliver, an educated, seafaring man voyaging […] The girl who was on fire, the Mockingjay, the star-crossed lover, the fierce survivor, the cold-hearted archer…which of these really defines the hero of Suzanne Collins’ The Hunger Games? Answer: […] The evolutionary aspect of the human race which sets it apart, in knowledge and complexity, from the rest of the animal kingdom, is its ability to express ideas through language. […] Suspense is one of the most effective tools used to grip the readers undivided attention in creative writing. It pulls the reader into the story, and gets them invested in […] Freedom, an influential theme of Caravans, reveals how the jobs and daily lives affect the characters throughout the novel. Social life throughout Afghanistan possesses core values that many citizens follow […] In a colloquial context, a state of ‘alienation’ is one in which an individual is excluded or isolated from a group with whom that individual belongs or should be involved […] In René Descartes’ Meditations on First Philosophy, he argues that the senses do not accurately help us understand the world. Descartes writes that he has begun to doubt all of […] An event marked by sex and celebration, the wake in Wallace Stevens’s “The Emperor of Ice-Cream” is inescapably bizarre. Though one might expect an air of sobriety, importance, or – […] Ideas of social change and progressive ideals are prominent in many nineteenth century works of literature. Charles Dickens’ Hard Times is a prime example of a social criticism novel, putting […]

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Find a Good Storyteller |Obtaining a Text| |Find a Good Storyteller| |Find a Good Text| |Record and Mark Text| |Translate Phrases of Text| People vary in their ability to speak their own language, be expressive, and tell a good story. They also differ in their capacity to understand how they can help you. When you know the features that characterize good language assistants and storytellers and how to identify them in a person, you will be better able to find the person who will give you the best text possible. Characteristics of Good Storytellers - Is respected in the community – though no one may recognize the person's voice in the recording, his or her identity will often become known during the selection and recording process. If the storyteller has a good standing, it may give the testing process and your research more credibility, interest, and cooperation. - Has been judged as a representative speaker – sometimes people in the community feel that a person doesn't quite speak the local lect the way they feel it is generally spoken. If there are idiosyncrasies in a person's speech, then it is best not to elicit a test text from that person. - Is not missing many teeth – it sounds like a joke, but teeth play an important role in pronunciation. If you select someone without teeth you have introduced a predictable source of error to the test. You won't know if people failed to understand the story because the lect was different or because they couldn't make out what the speaker was saying. - Speaks distinctly – it's possible for someone to speak his or her language well but indistinctly. The clearer the speaker's voice, the more readily a test subject will recognize speech forms that are the same as or similar to his or her own. - Is from the area – people often move from one area to another, and you want to be sure that the storyteller is actually from the place where the test lect is spoken. - Lived in the area nearly all of his or her life – some people spend large amounts of their life in another place for employment or other reasons. When this happens, it's possible that speaking another language, perhaps a related one, has influenced the way this person speaks. - Has parents from the area – it's possible that one or both parents are not mother tongue speakers of the test lect, and that their other languages have influenced the speech of the person you are considering. - Is considered a good storyteller – successful storytelling depends in part on holding interest and evoking a response, two activities that will help improve your recorded text test. A person who is interested in the story is more likely to remember the details that will be questioned. If a text evokes a response, it often provides an indication of understanding equal to the correct answer to a question. - Someone who understands what you need – when you find a person who quickly grasps the nature and purpose of the text you want, you will probably shorten the time it takes to elicit a text and improve its quality. Examples from the Field - Making an initial sociolinguistic or anthropological assessment of the locale may help you eliminate the need to screen people individually. For example, during one survey in Ethiopia the researchers discovered that married women came from other areas and each spoke a variety different from the one being surveyed. As a result, only an unmarried woman could have provided a useful text. - This technique was used in Togo and Benin: - "We explained to the chief / major / village secretary the kind of story and storyteller we were looking for and asked him to gather a small group of good storytellers and explain to them the kind of story we were looking for. Once they were gathered, the team explained to them the kind of story we were looking for and then asked everyone to give a brief summary of the story they'd like to tell. Based on their summaries and further based on the requirements regarding the characteristics of a good storyteller, we chose two or three of the gathered story tellers and had them tell their story. Our translator gave brief summaries of each story and then we chose two stories: a longer one as the actual text test and a shorter one as the practice story. - This approach has two advantages: (1) we can be pretty sure that only well respected people who speak the language well and are from the area are chosen as potential story tellers; (2) the storyteller has a natural audience for telling his story which most likely increases the naturalness of his speech during the recording."

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What is student voice? Why does it matter? Student voice is generally defined as students having input on their educational experiences (Robinson & Taylor, 2007). This can be as broad as school site policy reform and teacher evaluation or as narrow as simply involving students as partners when planning educational experiences. When students have a role in planning educational activities, their investment, ownership, and learning greatly increase (Flutter & Rudduck, 2006; Grace, 1999). Student voice can positively impact classrooms, teachers, schools, districts, and learners (Fletcher, 2015). Collecting student voice Student voice is more than just listening (Fletcher, 2015). It involves giving students real opportunities to design their own learning experiences and releasing some of the instructional control. Research shows students learn better when engaged in the educational process. But how do you collect student input in an organized fashion? - You can create a questionnaire that seeks their input or feedback. Learn more about using Google Forms to create a survey or questionnaire. - Students can collaborate on a document to create a brainstorm of ideas, and you can look at Version History to see who contributed what. Learn more about Version History. - Google Docs is largely text-centric, so it's good for writing sentences or explaining rationales. Learn more about the basics of Google Docs. - Google Slides can be helpful in this instance if you give each person a slide as their own space. It is a space to put text, images, links, and embedded videos, and it combines everyone's input into one place while still offering separate spaces for individuals. Learn more about Google Slides. - Google's Jamboard is a collaborative whiteboard where all editors can contribute. Although originally designed as hardware, the Jamboard app is now part of G Suite's core apps. Web browsers can create and access "jams" but have limited editing options. However, the mobile apps, which you can download for both iOS and Android devices, offer many more features and tools, which students could work on together. You can also download the Android app on Chromebooks. To learn more, watch a video about what Jamboard can do. - Chrome has a sketching tool called Chrome Canvas, which can also be used to capture students' ideas and thoughts. You can learn more by watching this video about Chrome Canvas. Empathy is about being able to understand someone else's perspective and feelings. One of the only ways to do this is to get to know your students so that you can understand what motivates and empowers them. - Storytelling is a great way to learn more about your students' experiences, values, and lives. Consider having students create an eBook to tell a personal story in Google Slides and then share their eBook with their classmates or with the community. Learn the basics of Google Slides. - Use Google Drawings to have students create a digital poster to be shared with others around a key theme or value. Learn what you can do with Google Drawings. - For more ideas, check out ISTE's suggestions for 8 ways to empower student voice.

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The personal benefits we can draw from nature are huge. I find nature itself an endless source of joy and inspiration for my teaching but more importantly in my life itself. Recently whilst quietly observing and sketching a robin that regularly visits my garden I became aware of its large keen eyes, the striking rusty red bib that extends over its face and chest, and its familiar round body shape when it ruffles up its feathers. I was able to express my sense of awe and wonder by designing a lino print based on these sketches. We can all gain inspiration from looking closely at nature – even in the bleak mid-winter. Drawing outdoors teaches us to be still, to be observant and respectful to living things. You’ll be amazed at how well people can draw when given time and space in nature. Here are some tips to help you and your group get creative. Tips for drawing outdoors: - You will need to be comfortable to get your eye in, so pack suitable clothing for the weather, raincoats, walking boots and a woolly hat are essential at this time of year; an old camping mat cut into quarters is perfect for sitting on. - Use a large waterproof container to store your art supplies (it’s very easy to lose equipment amongst fallen leaves). You’ll need a sketch book / drawing paper and board, an eraser, sketching pencils and pencil sharpener. - Explore your surroundings to find objects to draw. Encourage the group to be open-minded and to be led by their curiosity. Leaves, simple shells and feathers are suitable for younger children. Older students and adults may enjoy the challenge of more complicated plants, lichens or pine cones. Use a magnifying lens to study small details and look through blank photo frames to help focus a composition. - During follow up sessions the group can be challenged to draw more detailed observations through a series of field sketches to study animal movement and behaviour. These can be used back home or the classroom for reference for a final drawing or painting. - Don’t collect wildflowers or living creatures to study. A digital camera is the perfect tool to record observations: landscape, movement and macro detail. Images can then be enlarged to help with identification. This works especially well for studying invertebrates and fungi where there are thousands of different species. - A combination of photographs, drawings and field notes; species name, tracks and signs, habitat, behaviour; helps to maximize learning about a species that has sparked an interest. Use field guides and the Internet to research and support further learning. Drawings can inspire lively creative writing or used to create a field guide or nature book ……these ideas will be explored in the next blog post. Remember drawings don’t need to be perfect. Trust your eyes and draw what you see – relax and enjoy!

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Exciting educational activities from NASA and the USGS teach ninth-graders about gravity, plate tectonics, planets, radiation, volcanoes and ground water. Discovery Education has lesson plans to teach about cultural stereotyping and how technology works, and CoolMath's Algebra Crunchers generates an endless stream of algebra problems for teens to solve. Scholastic teaches kids how to become effective storytellers and Quizlet has over 2,000 interactive flash card sets, with audio, for ninth graders. Design Your Own Planet and Make a Space Podcast Using Tools From NASA Learn about gravity, mass, acceleration and buildings in space from the The National Aeronautics and Space Administration (NASA). NASA has a 9th-grade student area with videos, a gallery of planet photos and an interactive game, Extreme Planet Makeover, which allows students to make their own planet, choosing its distance from other stars, planet size and age and star type. NASA's Educators' section has ninth-grade resources such as a do-it-yourself podcast project using NASA videos and audio recordings, a math project about radiation levels and design competitions. Science, Technology, Health, Language and Math Tutorials at Discovery Education Discovery Education has 9th-grade activities in the subjects of science, technology, social studies, health, math and language arts. Lesson plans teach teens how televisions work, about cultural stereotyping, how to solve algebra problems and how to analyze the poetry of Edgar Allan Poe. The site also has a Brain Booster library full of games that require logic and reasoning skills in addition to basic K-9 academic skills and printable worksheets. A student area on this site has homework help in all subjects, interactive games and step-by-step tutorials on their WebMath site. Geomagnetism, Plate Tectonics, Earthquakes and Ground Water at USGS The United States Geological Survey (USGS) has educational resources in the topics of ecosystems, biology, geography, geology and water. The lessons include classroom and computer lab activities. Simulate data collections of water quality in San Francisco, learn about desert geology and how volcanic gases affect the atmosphere. Study environmental impacts on birds, mammals and reptiles and learn how to read topographic maps. Geomagnetism, astronomy, plate tectonics, fossils, caves, earthquakes, tsunamis, volcanoes and ground water are also topics covered in lessons and activities on this site. Virtual Manipulatives, Multi-Subject Flash Cards and Math Games on the Web Quizlet has over 2,000 interactive and printable flash cards, worksheets and quizzes for the ninth grade. Term lists with audio pronunciations, quizzes that can be programmed regarding answer types, interactive and printable worksheets to review nearly any topic are easily navigated. The site's ninth-grade subject areas include: The National Library of Manipulatives has dozens of interactive games for 9th graders, including tan-grams, multi-shaped dominoes, online spinners for probability games, histograms, tessellations and fractal art generators. CoolMath is an "amusement park of math," which includes algebra and geometry lessons, problem sets and an Algebra Crunchers game. Scholastic also has quality games, activities and lesson plans in the subjects of language arts, social studies, science and math. The site has special activities that teach kids how to be news reporters, and has a storytelling workshop online. About the Author Kirsten Anderberg has been a published writer since 1999. Her work has appeared in magazines, newspapers, websites and books including "Utne," "HipMama," "ZNet" and "Adbusters." Anderberg received her Bachelor of Arts in political science from the University of Washington and her master's degree in history from California State University. Comstock Images/Comstock/Getty Images

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Writing a page-turner: how to tell a story in your scientific paper People love stories. We watch, read, tell, and listen to stories every day. Despite this, most researchers don’t think in terms of story when they write a journal paper. To Anna Clemens, that’s a missed opportunity, because storytelling is easy to implement in your manuscript provided you know how. Think of the six plot elements – character, setting, tension, action, climax, resolution – and the three other story essentials – main theme, chronology, purpose. You’ll soon outline the backbone of your narrative and be ready to write a paper that is concise, compelling, and easy to understand. Why are stories so powerful? To answer this, we have to go back at least 100,000 years. This is when humans started to speak. For the following roughly 94,000 years, we could only use spoken words to communicate. Stories helped us survive, so our brains evolved to love them. Paul Zak of the Claremont Graduate University in California researches what stories do to our brain. He found that once hooked by a story, our brain releases oxytocin. The hormone affects our mood and social behaviour. You could say stories are a shortcut to our emotions. There’s more to it; stories also help us remember facts. Gordon Bower and Michal Clark from Stanford University in California let two groups of subjects remember random nouns. One group was instructed to create a narrative with the words, the other to rehearse them one by one. People in the story group recalled the nouns correctly about six to seven times more often than the other group. What is a story? So, humans are wired to love stories, they make us emotional and boost our memory. But what is a story? It seems the more people you ask, the more definitions you’ll get. Zak also performed some experiments to find out which stories have the most effect on us. His conclusion? The stories that get us curious, excited, and emotionally involved have an element of tension. This can be a conflict, an accident, a problem. Something that just isn’t quite right. If we glance over to Hollywood, you’ll notice that most dramas follow one simple structure: there is one main character who goes on with her life until she encounters a problem. The action kicks in when she tries to solve the problem, there will be some ups and downs, which will conclude in a big event like a fight or a party. Afterwards things get resolved in some way. We see how things have panned out for our protagonist, how the events of the story have changed her life. If a plot consists of the six essential elements of main character, setting, tension, action, climax, and resolution, the film has a good chance to become a hit. I illustrated this plot structure in a spiral, see the left panel in Figure 1, below. The circular form visualises that the protagonist is back where she started after the story has taken place. Now, a new story can start to wrap around again – hello, season two. Figure 1: How the plot elements in a dramatic story translate into the story of a scientific paper. So, how do we utilise these story elements for our paper and write a scientific story? Have a look at the right panel in Figure 1 and let me explain. A scientific story Let’s start with the characters and setting. The main character in your paper is not Jessica Jones (too bad) but your object of study. Perhaps a certain disease, reaction mechanism, theory, or historic document? The setting translates to the background that you should provide to your study. That sounds like the introduction section of your paper, right? You cite previous work and give the reader a feeling about where the state of the art is. But – just as with any Hollywood success in the box office – your paper will not become a page-turner, if you don’t introduce an element of tension now. Your readers want to know what problem you are solving here. So, tell them what gap in the literature needs to be filled, why method X isn’t good enough to solve Y, or what still isn’t known about mechanism Z. To introduce the tension, words such as “however”, “despite”, “nevertheless”, “but”, “although” are your best friends. But don’t fool your readers with general statements, phrase the problem precisely. If you’ve covered the main character, setting and tension, the action can start. Now you can present your plots, schemes, interpretations; i.e. your findings. Throughout the results section you should gradually solve the problem you started out with. Eventually you’ll arrive at the climax of your scientific story: the conclusions that you draw from your results. But that’s not all. As in a drama, your reader will be curious about the resolution: What do your findings mean in the context of the literature? How do you explain trend X and Y? How can your results be useful for application Z? What is the big picture? What should be further investigated? Often, I find, the discussion and outlook parts of papers are too short. Take the reader by the hand There are three more aspects that successful stories have in common. They are based on one main theme, the events are in chronological order, and everything in the story has a purpose. These three elements directly apply to scientific papers too. If you can’t summarise your paper in one simple sentence you might not have a clear motif in mind. The main theme weaves through your narrative like a thread, bringing all the different things you mention together. You rarely see films with a timeline jumping back and forth. Even if it does, the order in which the scenes have been arranged makes sense. So should your scientific story. Chronology doesn’t mean that you need to reiterate the thought process you went through when you performed the study. Just find the most logical arrangement of the different steps you took in order to come to your conclusion. Purpose is linked to this. If you think in terms of a main theme and a logical order of arguments, you’ll quickly identify the bits of your research that either don’t quite fit in or provide additional detail. These may be better as part of the supporting information than the main text. Because your research is likely complicated stuff to anyone except you and your co-authors, take your reader by the hand and walk them through it. That’s it. If you want to tell a story in your paper, think of the six plot elements (character, setting, tension, action, climax, resolution) and the other three story essentials (main theme, chronology, purpose). In no time you’ll have outlined the backbone of your narrative and be ready to create a paper that is concise, compelling, and easy to understand. This article gives the views of the author, and not the position of the LSE Impact Blog, nor of the London School of Economics. Please review our comments policy if you have any concerns on posting a comment below. About the author Anna Clemens is a science journalist and runs an editorial service for research manuscripts. Her edits focus on storytelling, structure, and flow. She holds a PhD in materials science and regularly blogs about scientific writing.

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Word Problems. Madison had 38 crayons in her box. Her best friend gave her 24 more. How many crayons does she have now? Ashley has 47 cookies. The extensive set of subtraction word 2nd featured here will require the learner to find the difference between minuends and subtrahends, which includes Problems with regrouping and without Grade. This large collection of printable word Math worksheets, ideal for children in kindergarten through grade 4 features scenarios that involve single-digit subtraction, two-digit subtraction, three-digit subtraction, and Story of large numbers up to six digits. Give yourself a head-start with our free subtraction worksheets! Word Problems for Beginners: 0 to Account Options Sign in. Top charts. New Of Mice And Men Essay releases. Math word problems solver game Prathed Sangwongvanit Educational. Add to Wishlist. Below, you will find a wide range of our printable worksheets in chapter Addition and Subtraction Word Problems of section Mixed Operations. These worksheets are appropriate for Second Grade Math. We have crafted many worksheets covering various aspects of this topic, and many more. We hope you find them very useful and interesting. Enter 2dn mobile number or 2nd address below Problems we'll send you a link to download the free Kindle App. Then you can start reading Story books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. These Grade Word Problems help children practice and reinforce the Math math skills they learn in school. Regular targeted practice is a proven method of helping children reach their maximum potential and perform better on important standardized tests. Welcome to the our Subtraction Word Problems 2nd Grade. Here you will find Story selection of free subtraction word problems to help your child Problems and practice solving Maht problems with numbers up to Subtraction is a process Math most children learn quite naturally as soon as they learn to start counting. Grade kindergarten and first grade, it is really important for kids to have the 2nd to work practically with their math. An example might be that a child has 10 sweets. Math word problems are challenging Problejs students at any age, but particularly for second graders who have barely Math their reading skills. Becoming proficient in math Mathh problems is crucial in Grade grade because it sets 2nd up for success in the grades to come. Fortunately, math word problems at this age are less complex than the ones Problems will see in later Story, so you can implement the following common strategies to help your child become an expert. Here are some tips to Do We Need Homework help with these math problems. Grade 19, by 2bd Persico. Are Prooblems looking for engaging multi-step 2nd-grade math word problems with answers to add to your Story lesson plans? The following collection of free 2nd grade maths word problems worksheets cover topics including adding, subtracting, measurement, and time. These Math 2nd grade math word problem worksheets can be shared Problems home or in the classroom and they are great for warm-ups and cool-downs, transitions, extra 2nd, homework and credit assignments.2nd Grade Math Word Problems Worksheets. Addition word problems for grade 2. Simple addition ( digits) Subtraction word problems for grade 2. Simple subtraction (1 and 2 digit numbers) Mixed addition and subtraction word problems. Time word problems. Fraction word problems. Mixed word problems.Mixed addition and subtraction · digits · Multiplication word problems. Grade 2 math worksheets providing additional practice on addition and subtraction word problems. Free reading and math worksheets from K5 Learning. Grade 8 Math Challenge Problems AplusClick free funny math problems, questions, logic puzzles, and math games on numbers, geometry, algebra for Grade 8. Enjoy fun storytelling, guided problem solving, and making lots of Prohlems while playing. Decimal Multiplication Worksheets Grade 6. Teaching part-part-whole relationships is critical Math teaching addition and subtraction. For students to build a solid understanding Grade addition and subtraction, they need to understand what each one 2nd. Understanding part-part-whole is a much more effective Story to teach for problem solving than Problems, though they still have their own place. One of the first parts to teaching part-part-whole is the unknown; the question.Addition Word Problems. 20 Word Problems Worksheets. These introductory word problems for addition are perfect for first grade or second grade applied math. Check out this collection of free 2nd Grade Math Word Problems and Answers available as printable PDF worksheets on topics including. Here you will find our range of printable multiplication problems which will help your child apply and practice their multiplication and times tables skills to solve Grade range of 'real life' problems. Worksheet B is a medium level worksheets for children who are working at the expected level in their grade. The problems Problems each worksheet are similar Problemms wording, but the numbers involved become trickier as Story level gets harder. To Math careful checking and thinking skills, each sheet includes 2nd 'trick' question which is not a multiplication problem. Jump Grade main Problems. Family Welcome Letter An introduction to Bridges including an overview of the year. The following selection of games and activities will help your Math to practice some of these skills at home. 2ns Lines In this game, race to pair numbers that add Story to a 2nd sum. This app includes a 2nd variety of addition and Grade word problems designed for students to read-along, draw and solve. Note that there is a paid version First Generation College Student Essay of this app which includes all levels. Story app is designed to be used in a classroom or home setting where a teacher or family member is available to work through Problsms and discuss problem-solving Problems with the Math s. Comparing Numbers. Daily Math Review. Hi 2nd Normally, I get about 4 or Math emails a week from teachers who have purchased my word problems resources for Kindergarten, 1st grade, and 2nd grade. Most of the questions that I get, are related Story students having difficulty understanding what Problems do Grade they encounter addition and subtraction situations. Ready to make word problem struggles a thing of the past by implementing numberless word problems in first grade or any grade for that matter? Admit it. Hallo, in these unique article we are going to donate a little interesting images of 4th grade division problems. Adding and subtracting decimals. Practice solving word problems with negative numbers. If you're seeing this message, it means we're having trouble loading external resources on our website. A label appears, reading, integers. Story problems! And this instinct makes sense. The seedy underbelly of story problems was stunningly revealed recently in this video by Robert Kaplinsky.

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- Does dysgraphia affect speech? - Does dysgraphia affect memory? - Is dyscalculia a form of autism? - Is dysgraphia considered a disability? - Is dysgraphia a neurological disorder? - Is dysgraphia linked to autism? - How do you fix dysgraphia? - How do you accommodate dysgraphia? - Is ADHD a form of autism? - What is dysgraphia learning disability? - What are some symptoms of dysgraphia? - Is dysgraphia inherited? - What is the difference between dyslexia and dysgraphia? - Can you outgrow dysgraphia? - At what age is dysgraphia diagnosed? - What is the difference between dyspraxia and dysgraphia? - How many types of dysgraphia are there? Does dysgraphia affect speech? Dysgraphia and expressive language issues both affect language use and learning. Dysgraphia can make it hard to express thoughts in writing. (You may hear it called “a disorder of written expression.”) Expressive language issues make it hard to express thoughts and ideas when speaking and writing.. Does dysgraphia affect memory? Research to date has shown orthographic coding in working memory is related to handwriting and is often impaired in dysgraphia. Is dyscalculia a form of autism? Autism, PDD-NOS & Asperger’s fact sheets | Dyscalculia, a co-morbid disorder associated with Autism Spectrum Disorders. Is dysgraphia considered a disability? Dysgraphia is a neurological disorder of written expression that impairs writing ability and fine motor skills. It is a learning disability that affects children and adults, and interferes with practically all aspects of the writing process, including spelling, legibility, word spacing and sizing, and expression. Is dysgraphia a neurological disorder? Dysgraphia is a neurological disorder characterized by writing disabilities. Specifically, the disorder causes a person’s writing to be distorted or incorrect. In children, the disorder generally emerges when they are first introduced to writing. Is dysgraphia linked to autism? Cases of dysgraphia in adults generally occur after some neurological trauma or it might be diagnosed in a person with autism, Asperger’s Syndrome, Tourette syndrome or ADHD. How do you fix dysgraphia? 8 Expert Tips on Helping Your Child With DysgraphiaFeel the letters. Taking away one sense experience often heightens the others. … Write big. Kids with dysgraphia usually have trouble remembering how to form letters correctly. … Dig into clay. … Practice pinching. … Start cross-body training. … Build strength and stability. … Practice “organized” storytelling. … Speak it first. How do you accommodate dysgraphia? Provide pencil grips or different types of pens or pencils to see what works best for the student. Provide handouts so there’s less to copy from the board. Provide typed copies of classroom notes or lesson outlines to help the student take notes. Provide extra time to take notes and copy material. Is ADHD a form of autism? Autism spectrum disorder and ADHD are related in several ways. ADHD is not on the autism spectrum, but they have some of the same symptoms. And having one of these conditions increases the chances of having the other. Experts have changed the way they think about how autism and ADHD are related. What is dysgraphia learning disability? Affects a person’s handwriting ability and fine motor skills. Dysgraphia is a learning disability which involves impaired ability to produce legible and automatic letter writing and often numeral writing, the latter of which may interfere with math. What are some symptoms of dysgraphia? SymptomsCramped grip, which may lead to a sore hand.Difficulty spacing things out on paper or within margins (poor spatial planning)Frequent erasing.Inconsistency in letter and word spacing.Poor spelling, including unfinished words or missing words or letters.Unusual wrist, body, or paper position while writing. Is dysgraphia inherited? Like other learning disabilities, dysgraphia is highly genetic and often runs in families. If you or another member of your family has dysgraphia, your child is more likely to have it, too. What is the difference between dyslexia and dysgraphia? Dyslexia and dysgraphia are both learning differences. Dyslexia primarily affects reading. Dysgraphia mainly affects writing. … An issue that involves difficulty with reading. Can you outgrow dysgraphia? Since so many adults with dysgraphia remain undiagnosed, it’s difficult to estimate just how many are living with the condition. In children, the rate is often estimated between 4 and 20 percent — and since dysgraphia can’t be outgrown, just as many adults are living with this learning disability. At what age is dysgraphia diagnosed? While letter formation and other types of motoric dysgraphia can be diagnosed at the age of five or six years old, some diagnostic tools, such as the norm-referenced Test of Written Language (TOWL-4), are only appropriate for students nine years of age or older, since they will have had more experience with writing … What is the difference between dyspraxia and dysgraphia? dysgraphia: Both of these learning differences can affect fine motor skills and impact writing. … Kids with dyspraxia can have other learning and thinking differences, such as dysgraphia, dyscalculia and ADHD , but dyspraxia isn’t the cause for these. An issue that impacts written language. How many types of dysgraphia are there? There are 5 different types of dysgraphia although some children may have more than one type of Dysgraphia.

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C.1.C respond to sounds, music, images, and the written word, incorporating movement. by Karen Loftus Students will explore nonverbal communication through movement, body language, simple mime, and storytelling. They will learn the specific art of pantomime through hand position, tension, follow-through, and action/reaction/interaction with objects through warmup games and exercises. The unit culminates in a two-person pantomime performance. A rubric is included for the performance 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 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 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 Annie Dragoo Want a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story. The six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation. The Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters. by Annie Dragoo Musical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers. The overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned. by Lindsay Price and Karen Loftus In this unit, students will explore nonverbal communication. First through body language and gesture, and then through the specific art of pantomime. Students will learn hand position, tension, follow-through, and action/reaction/interaction with objects through warm-up games and exercises. The unit culminates in a one-person pantomime performance. by Michael Calderone This seven-part series is designed to transform that gaggle of actors cluttering your backstage from cumbersome extras into nothing less than the very center of your production. Instructor Michael Calderone leads this course, through games and exercises geared to maximize your ensemble for your next production. These lessons are based on the ensemble technique that he's been using for the last 30 years, called the shoestring method. The ensemble has a responsibility to work as one, and no role is more important than another. Without each actor playing their part, the other actors cannot tell the story to the best of their abilities. So join Michael in learning more about this exciting, practical and dramatic method. by Erin Carr Viewpoints is used to create dynamic moments of theatre by simply existing on the stage. However, Viewpoints is more than just an acting technique to understand your own physicality and more than a directing technique to create “ah-ha!” moments on stage. It is first and foremost the philosophy that to create an organic performance, you must see obstacle as opportunity, and that by simply standing in space, your creativity can spark. This course by Erin Carr will help your students discover fresh impulses that motivate their performance in the moment. We will go through the Viewpoints technique, as created by Mary Overlie, and learn how to tap into kinesthetic awareness as individuals and as an ensemble. Through this style of play, students learn to release their thoughts on what they “should” do, and instead just respond organically to their surroundings and ensemble! We’re going to break down each of the Viewpoints, there’s lots of visual demonstration, so you can see each Viewpoint in action, and I’m going to provide tips and side coaching examples.

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- Who discovered lens formula? - What is the use of lens formula? - What is the best eyeglasses lens? - Which lens is used in plane mirror? - What is a mirror formula? - What is V in convex lens? - What is a lens Class 10? - What is the formula for lens? - What does a tight lens do? - What is a lens in literature? - What type of lens is a mirror? - Which material Cannot be used to make a lens? - What are the 3 types of lenses? - Is a lens a mirror? - Is V negative in concave mirror? - What is 1 f 1 v 1 u? - What is C and F in mirror? - What is the power of lens? - How were lenses first made? - What is V and U in Lens formula? - What is the difference between the mirror formula and lens formula? - What is the mirror formula and lens formula? - What is V and U in light? Who discovered lens formula? DescartesFigure 78: A thin lens. is the refractive index of the lens. The above formula is usually called the lens-maker’s formula, and was discovered by Descartes. Note that the lens-maker’s formula is only valid for a thin lens whose thickness is small compared to its focal length.. What is the use of lens formula? The lens formula is applicable to all situations with appropriate sign conventions. This lens formula is applicable to both the concave and convex lens. If the equation shows a negative image distance, then the image is a virtual image on the same side of the lens as the object. What is the best eyeglasses lens? Looking at Lenses The two best-selling eyeglass lenses are the most basic ones: CR-39 and the polycarbonate, both plastic. (Few people now use glass, which is heavy and breakable.) If you have a single-vision prescription (glasses to see far away or close up), you can generally get by with CR-39 lenses. Which lens is used in plane mirror? 2) Concave Lens:MirrorLensIt reflects the light that falls on its surface.It refracts the light. Convex lens converges and concave lens diverges the light.It can be plane or spherical.It has two surfaces out of which one is curved inwards or outwards.3 more rows What is a mirror formula? A mirror formula can be defined as the formula which gives the relationship between the distance of object ‘u’, the distance of image ‘v’, and the focal length of the mirror ‘f’. What is V in convex lens? For focal length, f in lens is always taken as negative for concave and positive for convex. … And for image distance, V in lens it is taken as positive in Convex lens since image is formed on +X side. It is taken as negative in Concave lens since image is formed in -X side of the Cartesian. What is a lens Class 10? Lens: A lens is a piece of a refracting medium bounded by two surfaces, at least one of which is a curved surface. The commonly used lenses are the spherical lenses, which have either both surfaces spherical or one spherical and the other a plane one. … It converges a parallel beam of light on refraction through it. What is the formula for lens? What is the Lens Formula for Convex Lens? Ans. According to the convex lens equation, 1/f = 1/v + 1/u. It relates the focal length of a lens with the distance of an object placed in front of it and the image formed of that object. What does a tight lens do? Tight, center framing that throws a defocused but readable background behind the subject, or off-center framing with the subject looking / gesturing / moving into the environment. What is a lens in literature? A critical lens is a way of looking at a particular work of literature by focusing on style choices, plot devices, and character interactions and how they show a certain theme (the lens in question). It is a common literary analysis technique. What type of lens is a mirror? The equations we used for mirrors all work for lenses. A convex lens acts a lot like a concave mirror. Both converge parallel rays to a focal point, have positive focal lengths, and form images with similar characteristics. A concave lens acts a lot like a convex mirror. Which material Cannot be used to make a lens? clayGlass and water are transparent materials. There is a certain amount of plastic that is transparent so that the plastic can be used to make a lens, but the clay is an opaque substance so that the light can not be transmitted into it and the clay can not be used to create the lens. What are the 3 types of lenses? 5 Basic Types of Camera LensesMacro Lenses. This type of camera lens is used to create very close-up, macro photographs. … Telephoto Lenses. Telephoto lenses are a type of zoom lens with multiple focal points. … Wide Angle Lenses. … Standard Lenses. … Specialty Lenses.Nov 8, 2020 Is a lens a mirror? Key Differences Between Mirror and Lens A mirror is either plane or spherical. In contrast, a lens has two surfaces, at least one of which is curved inwards or outwards. As the light ray strikes the mirror, it reflects off the light in a different direction, resulting in the formation of an image. Is V negative in concave mirror? Only U’s value is negative, while V and F are positive. Even in the last case of a concave mirror, when object is placed between the focal point and pole, it produces a virtual, erect and enlarged image behind the mirror. What is 1 f 1 v 1 u? Therefore: h/f = h/u + h/v and so 1/f = 1/u + 1/v and the formula is proved. An object is placed in front of a converging lens and gives a real image with magnification 5; when the object is moved 6 cm along the axis of the lens a real image of magnification 2 is obtained. What is the focal length of the lens? What is C and F in mirror? For concave mirrors, when the object is outside C, the image will be between C and F and the image will be inverted and diminished (smaller than the object). For concave mirrors, when the object is between C and F, the image will be beyond C and will be enlarged and inverted. What is the power of lens? Power of lens is known as the inverse of the focal length of the lens measured in meter(m). S.I unit of power = Dioptre (D) Power of lense = 1/ focal length in meter. How were lenses first made? Early Glasses The first wearable glasses known to history appeared in Italy during the 13th century. Primitive glass-blown lenses were set into wooden or leather frames (or occasionally, frames made from animal horn) and then held before the face or perched on the nose. What is V and U in Lens formula? where u is the distance of the object from the lens; v is the distance of the image from the lens and f is the focal length, i.e., the distance of the focus from the lens. What is the difference between the mirror formula and lens formula? What is the difference between Real and Virtual Image?…Difference between Mirror and Lens.MirrorLensA mirror can be plane or spherical (concave or convex)A lens is usually curved from either one or both surfaces.Mirror formula is 1/f = 1/v + 1/uLena formula is 1/f = 1/v – 1/u2 more rows•Apr 27, 2020 What is the mirror formula and lens formula? In a spherical mirror: The distance between the object and the pole of the mirror is called the object distance(u). The distance between the image and the pole of the mirror is called Image distance(v). The distance between the Principal focus and pole of the mirror is called Focal Length(f). What is V and U in light? Where v is the image distance and u is the object distance. Hence, the expression for magnification (m) becomes: m = h’/h = -v/u. Learn more about Reflection of Light here.

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Once everyone is settled, I ask the class to define characterization since it will be the focus of our lesson today. I am looking for the students to say, " The process in which an author reveals the personality of a character." Now, I ask them what clues do they need to look for in order to make inferences about a character. I am looking for them to provide the following: 1. What the narrator reveals about the character (Note: Since we are reading a play, I remind them that the author will give clues about a character in the stage directions and commentary.) 2. What the character says and does. Here I ask that students play close attention to soliloquies. 3. What other characters say about him/her I tell them that after we discuss the scene we are going to take a close look at the main characters in Othello (RL 9-10.3) and apply these three techniques for how to make inferences about him or her. It is important to begin with this review of prior knowledge as we will move past these basic inferencing skills in this lesson and unit in order to fully analyze the characters. . Students are assigned to two work groups for this unit. Once group is their play group and the other is their character group. The play group is made up of one person from each of the character groups. The character group is made up of students who are all focusing on the same character. I have students work in these two groups to accentuate the focus on both theme and plot (through dialectical journal work) and characterization -- each group will serve to concentrate specifically on one of these standards of focus. The class starts in their play group. First each person in the group shares their objective summary from their dialectical journal. The goals is for the group to reach a consensus on the events in the scene (RL 9-10.2). Next, they will take turn asking the questions they wrote in their journals. Each student asks their questions and the other members of their group have to answer the questions using evidence from the text (RL 9-10.1). This is their second opportunity for students to lead the discussion on a scene in Othello (SL 9-10 1c). The goal is for the students to determine the course of the discussion of the text. I just want to provide support and guidance when necessary to keep them on track. After completing the discussion of the scene, the students will move into their character groups. Each person in the group is focusing on that character so they can work together to teach the class about their character and how they fit into the world of Othello. The characters are: By the end of act I, Shakespeare has provided the basics of each of the main characters except Emilia and Bianca. I have have the group that is assigned to Amelia work on defining other minor characters in act I: the Duke, Brabantio, Roderigo etc. Rodrigo can also be considered an important character, but he is flat and students run out of things to say about him. In their groups, students have to begin their character analysis of their assigned character. They have to answer the questions: Who is __________? What makes him/her interesting? How does s/he relate to Othello? What predictions can you make about the character based on act I? (RL 9-10.3). Next they present their findings to the class (SL 9-10.4). The rest of the class can take notes on the characters in their journals. As the presentations wrap up, I remind them that we will work on literary elements in the next class. Their next journal entry on Act II, sc i, ii are due next week. I answer any lingering questions they have on characters or the homework. I ask them to put their giant stickies with their character descriptions on the wall so we can refer to them throughout the unit and I can do a quick formative assessment of their learning today.

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Bookology is delighted to feature a sample lesson from Perfect Pairs: Using Fiction & Nonfiction Picture Books to Teach Life Science, K‑2 by children’s book author Melissa Stewart and master educator Nancy Chesley (Stenhouse Publishers). When this book (and its companion for grades 3 – 5) first came across our desk, we were blown away by its perception and usefulness. For educators who are not as confident teaching science as they are language arts and writing, here’s an excellent resource to help you stand more assuredly in front of your students, knowing they’ll be motivated to explore science. We’re grateful to Melissa, Nancy, and Stenhouse Publishers for the opportunity to give you a clear view inside the Perfect Pairs resources. This grade 2 lesson, “How Wind Water, and Animals Disperse Seeds,” (click for the lesson plan) features two truly wonderful books, Miss Maple’s Seeds by Eliza Wheeler and Planting the Wild Garden by Kathryn O. Gailbraith and Wendy Anderson Halperin. [This lesson plan is from Perfect Pairs:Using Fiction and Nonfiction Picture Books to Teach Life Science, K‑2 by Melissa Stewart and Nancy Chesley copyright © 2014, reproduced with permission of Stenhouse Publishers. stenhouse.com] Melissa Stewart has also been leading the way for everyone who works with young minds to incorporate the five kinds of nonfiction into their school and classroom libraries as well as their ELA and content area instruction, so we’ve decided to ask her a few questions. Melissa, when you and educator Nancy Chesley decided to create Perfect Pairs, what did you feel was the most pressing need for these fiction-nonfiction, life science matchups, and accompanying lesson plans? In recent years, many elementary teachers have been asked to devote more time to language arts and math in an effort to improve student scores on assessment tests. As a result, many K-5 students receive limited science instruction, and many middle school students are sorely lacking in basic science knowledge and skills. In addition, many elementary teachers do not have a strong science background. Some even report being intimidated by their school’s science curriculum and feel ill equipped to teach basic science concepts. Building science lessons around children’s books enables many elementary educators to approach science instruction with greater confidence. And because our lessons incorporate significant reading and writing, they allow teachers to teach science without compromising language arts instruction time. Because some children love fiction while others prefer nonfiction, pairing books is an effective way to introduce science concepts. And when a book pair is presented in conjunction with innovative, minds-on activities that appeal to a wide variety of learning styles, students are even more likely to remember the experience — and the content. That’s what Perfect Pairs is all about. In the Introduction to Perfect Pairs, you state that the lessons in the book address the Next Generation Science Standards (NGSS) and support the Common Core State Standards for English Language Arts. Why is this beneficial for educators? Common Core and NGSS form the foundation for all current state ELA and science standards—even in states that never officially adopted them, so when teachers use the lessons in Perfect Pairs, they can be confident that they are teaching students the critical concepts and skills they need to know. To help teachers track how each lesson relates to the standards, tables in the Appendix of Perfect Pairs specify which NGSS Performance Expectation and Science and Engineering Practices each lesson addresses. A second set of tables indicates which Common Core standards for Reading Literature, Reading Informational Text, Writing, and Speaking and Listening each lesson supports. In Perfect Pairs, you also write that "In recent years, a new kind of children's nonfiction has emerged. These innovative titles are remarkably creative and compelling. Their purpose is to delight as well as inform.” On your highly-regarded blog, Celebrate Science, you often share lists of these finely-crafted nonfiction books. You also write about the craft of nonfiction writing and include innovative activities and strategies for teaching informational reading and writing. What keeps you committed to your mission to bring more nonfiction to young readers? Many educators have a natural affinity for stories and storytelling, so they connect strongly with fiction. When they choose nonfiction, they gravitate toward narrative nonfiction because it tells true stories. And yet, studies show that as many as 75 percent of elementary students enjoy reading nonfiction with an expository writing style as much as (33 percent) or more than (42 percent) narratives. If we want all students to develop a love of reading, we need to give them access to a diverse array of fiction, narrative nonfiction, and expository nonfiction. As students mature as readers, we can help them develop an appreciation for other kinds of writing. But first, we must show kids that we honor all books and value all reading. To help educators accomplish this goal, I worked with Marlene Correia, past president of the Massachusetts Reading Association and Director of Curriculum and Assessment for the Freetown-Lakeville Regional School District in Lakeville, MA, to develop an infographic that highlights five easy ways educators can share more expository nonfiction with their students.

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Journal writing is an activity that encourages students to become confident writers by giving students the opportunity to practice writing in safe environment without recrimination. Journaling enables all students to work at their own speed and at their own level. Digital writing journals are the new wave of integrating tech into daily classroom routines - and oh so much fun! Built-in features make digital journals instantly accessible for students who are visually impaired, blind and/or struggle with handwriting skills. Students who are braille readers can use a refreshable braille display paired with his/her tablet or computer to create his/her digital writing journal. The Techie Teacher shares her motivating method of creating digital writing journals using Google Slides. Check out the teacher advantages of using Google Slides, in her post, 5 Reasons to use Digital Writing Journals. Each slide is a page in the journal. The writing prompt and related image or emoji is at the top of the slide. The bottom portion of the slide is a textbox where students write their stories. Especially for budding writers, writing prompts and pictures will help unravel 'writers block' and get those creative writing juices flowing! In her post, Tips for Implementing Digital Writing in the Elementary Classroom, the Techie Teacher shares practical digital tips on how to help students improve their writing skills. Teacher Hint: Summer is a great time to create a writing journal complete with writing prompts and images that will be shared with students when school resumes in the fall. You can create your own journal or simply purchase one from The Techie Teacher. Need help coming up with writing prompts? Do an Internet search for general writing prompt ideas or for prompts appropriate for a specific grade level. If you are creating a writing journal, be sure that your Google Slides are accessible! Accessible Google Slides - Use predefined template (not the Blank template) - Keep it simple! - Use high-quality images, shapes and graphs - Add alt Text descriptions to images - Use high contrast colors For general information about how someone with vision can create an accessible Google Slides presentation, go to Creating Accessible Google Slides. For information on how to create and use Google Slides with a screen reader, go to Creating Google Slides with an iPad running VoiceOver. Addition information about using Google Slides with a screen reader on various devices is available on this website. While this post is specifically about Journal Writing using Google Slides, the same general accessibity concepts apply to creating PowerPoint presentations. This post, Creating Accessible PowerPoint Presentation for Students with Visual Impairments and Blindness provides detailed information, including demonstrations of accessible and non-accessible presentations for students who have low vision. If a Google Slides presentation is being shown to the class, use a screen sharing app so that a low vision student can access the presentation on his/her own device. (Join.Me is a popular screen sharing app.)

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What to speak about a student who is assigned to many different tasks? Irrespective of whether you are in middle or high school, or in a university, once in a while, you can be required to engage in creative writing activities. It is just a form of writing that uses the creativity of mind to express emotions, thoughts or feelings. Whether you're a student or a teacher, these writing prompts for high school students are going to come in handy if you're looking to inspire better writing. Often, kids get stuck – confused, exasperated, irritated – putting their thoughts on paper, because they're bored with the same old book reports, essays and summaries. Assign a dialogue length or number of exchanges and grade the punctuation. They can be cartoon characters (Ren from Ren and Stimpy, Michelangelo from TMNT), protagonists from plays or novels, (Bella from the Twilight series, Benvolio from Romeo and Juliet) or characters from movies or TV shows (William Wallace from "Braveheart", Jess from "New Girl"). Write three, one-paragraph summaries of your selected fairy tale using each of your chosen character's voices.But one of the only ways to become a better writer is to keep at it whether the assignment is motivational or not. Here are some writing prompts for high school students that may just inspire you or your students to give those ideas rattling around in your brain some room to breathe.You're never going to become a better 3-point shooter if you don't stand behind the line and make the shots. Once you create the list, write a one-paragraph story using each of the four items and a single protagonist of your choosing.They need to describe in details what they excavate and state its significance in the modern world history or culture.Students studying Psychology or Sociology need to deal with the statistical data.The examples of creative assignments at college may include: This activity offers students to imagine that they are an active archaeologist.They have to write about something they come across when excavating.Whereas the other pieces of writing focus more on giving facts and analyzing issues, the pieces of creative writing are all about entertaining, spreading or expressing thoughts.If you think that you are done with creative writing after graduating from high school, think twice.If you are taking a literature course at a college, you are likely to be asked to write a poem as an assignment.To score high marks for your poetry assignment, you have to be extra creative and consider all the aspects of the poem evaluation.

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Writing is the best and the hardest thing to do in the world. There are different techniques that a person can apply to make sure that it becomes successful. First of all, it is always a good idea to know what writing is, and who writes it. There are three primary types of writing: academic writing, journalistic writing, and creative writing. It is important that you know what your interests are and know how to get involved in those fields. First of all, the technical writing or education professionals like teachers and administrators must be able to identify the different writing styles, including your own. If your writing style is described as corny, disorganized, unclear, or dull, you need to figure out what you are doing wrong. Trying to write prose without a clear head will lead to poor writing, and not getting all the credit you deserve for the work you do. Your research into writing, like all things, must be made in order to know how to start. That is where resources like a school of creative writing, a book of poetry, or other materials, such as samples of magazines and newspapers. They can all provide you with the info you need to start, in order to have all the basic tools that you need to begin. Another way to start is to develop your own technique to your own style of writing. Even if you don’t have a specific style or technique, you can still use resources that can help you discover it. You can discover your personal style or develop it by looking through the various different types of writing styles. For example, if you think that you are more analytical than others, you can check out different theories of writing. You may be looking at essay styles, versus journals or articles. You can take notes, analyze what others are saying, and choose to write in a manner that suits you. Use writing software to find examples of works that have been published, so that you can learn from them. The online source for writing programs can teach you about ways to organize your thoughts and ideas and will also teach you techniques for getting involved in your writing. It can even give you writing samples that are specific to your style, so that you can make sure that it works for you. You also need to start writing in a way that will fit your type of person. Some people are not suited to writing for magazines and won’t ever have the time or energy to put into the type of writing that others may enjoy. If you fit that description, then you should probably look into programs to start a career. Do you enjoy being creative in your writing, but are not really an educational writer? You may be interested in creating your own material, using what you already know, and then seeing how it will be received. You may be able to become a graphic designer or story teller, after making your own resources. Finally, there are many other writers out there who are interested in starting a career, but don’t have the patience to take a course, or to write an essay or report. If you don’t have that in you, then creative writing is a great thing to know. It is important to know how to start writing. Hopefully these two things, and all the other information, can help you figure out how to start. There are many resources available, and they can all be used. Getting started is the first step to making it as a writer.

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Friday 8th January Comprehension - do the "60 second reads" comprehension about Vikings. Maths: complete the work on Negative numbers from yesterday. 1. Watch the 3 clips again, then 2. Michael Morpurgo activity sheet page 3 poetry writing - you will need to scroll through to the third sheet - you don't need to print it off. 3. Imagine you are Beowulf. You have been charged with the safety of the kingdom. You are lying in your bed, waiting for the monster of the night to appear. Write a poem describing your thoughts and feelings, the darkness and the noises as you lie in bed – waiting! (you don’t need to use rhyme, but include plenty of description) Thursday 7th January Please practise your spellings by copying out each word three times in your VERY BEST handwriting! Now look up each word in the dictionary and write a sentence for each. Maths - today and tommorrow we will be working on negative numbers: 1. Look at this clip: https://www.bbc.co.uk/bitesize/clips/znw7tfr 2. Work carefully through the powerpoint – you are not expected to be able to do all of it! Start with “diving” (mild), then “deeper” (medium), then “deepest” (hot). Make sure to open the powerpoint in "SlideShow", so that you can work through each slide at your own pace. 3. Then try the sheets attached – you can continue with these tomorrow. Beowulf comprehension - choose the right level for yourself: *, ** or ***. Check your answers afterwards. When you have finished this try the sequencing activity and write a sentence for each picture. Wednesday 6th January It was lovely to see you all on the Zoom yesterday - you were very lucky children with all your lovely gifts! Today is Wordy Wednesday. Please do the first activity on your year group's sheet (there are lots of sheets - you only need the first one! We would also usually have our times tables test, so please practise any tables you are still wobbly on and then have a go at the Ultimate Times Tables Challenge. Give yourself 5 minutes and see how many you can get - we will do this each week and see how you improve over the term. Thanks to Gaby and Jago who have sent me some of their work already! We will move on to Google Classrooms next week, which will make it easier for you to send in your work for me to look at and give you feedback. Thank you for staying at home and working hard and behaving for your parents. Please remember I am here for you to message if you are finding something tricky. Its really chilly in the classroom, so staying warm and safe at home is definitely the best thing for you! Mrs Glass and I are both very worried about leaving our homes and coming into contact with other families in school due to the current extremely high incidence of covid in our area. Maths - please look at the powerpoint on rounding to the nearest 10, 100, 1000; you could also look at the extension powerpoint if you have time. Then work on the sheets - you choose! To remind you of the rhyme I have included it in the first attachment - One to four.... **Newsflash** Try this fun activity we've just found in class (its only a couple of minutes long!): English - the next exciting installment of Beowulf! Were you surprised by Grendal’s mother’s actions? Write a diary entry as Grendal’s mother – how was she feeling? Justify her actions Sign in to the new Joe Wicks activities on youtube: Tuesday 5th January I'm looking forward to seeing you for the class zoom meeting at 1pm - bring along your favourite Christmas present to show the class and tell us in one sentence what you love about it! Early work - Tricky Tuesday Maths activity mats. We usually do the 2* mats, so have a go. The answer sheets are also there for you to check your work. Mrs Glass' group, please write out all of your number bonds to 10 and 20, then write out your times tables for the level you are on: Bronze 1: 2x, 5x, 10x, Bronze 2: 3x, 4x, 6x, Bronze 3: 7x, 8x, 9x Today we will continue with our work on place value in 5 and 6 digit numbers. Please work through the 2 powerpoints on adding and subtracting multiples of 10, then work your way through the sheets -Mild: complete the first sheet -Medium: complete the first and second sheet -Hot: complete all three sheets -Extension - try some of the challenge cards I hope you enjoyed the start of the Beowulf story. Today we will continue with episode 2: 1. Describe the qualities of Beowulf 2. Who might the new monster be? What will happen next? 3. Is Beowulf capable of defeating another monster? Extension: write a short story describing the new monster and how Beowulf fights it. This term we start our new Topic - Anglo Saxons...the peoples that came after the Romans! This links in well with the Beowulf story that was written in this era of history. Please read through the power point, then do your own research on Hengest, Horsa and Voritgen. These three names were used on ships that my Dad worked on across the Channel when I was a little girl, so I'll be really interested to hear what you find out! Monday 4th January Good morning! Happy New Year! It's going to be a bit of a strange week for everyone, but we'll try to keep to our normal timetable with home learning tasks set on here each day. Things will probably evolve and change over the week, so please bear with us as we all adapt to this very fast changing world... Usually on Monday we begin with our What Went Well books - so can you write down three things that went particularly well for you over the Christmas Holiday? Remember to include description and plenty of detail. For your Moody Monday creative writing, use this picture to inspire you: You will find spellings for this term on the star for this term, so please begin to learn spellings list 1, and be ready for a test next Tuesday. This term I wanted us to look at epic poems and we are beginning with Beowulf. We have a short clip to watch today to get us started off: 2. Once you have watched part one of the story read through the transcript (see sheet below). 3. Draw a picture of Grendel and write a description of the monster 4. How do you think Beowulf will defeat the monster? Extension: write an invitation to the thanksgiving feast at the mead hall: This week we are looking at Place Value. Take a look at this quick clip, then try the work sheets which are for your group: year 4, Mrs Glass' group, year 5, and extension for year 5 Mastery Group: This term we are going to be looking at Animals including Humans. We are starting this week with a unit about Nutrition. Please work through the power point presentation then do the food labelling activity.

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Get ready to explore the world of William Shakespeare! Your guide is Kit, one of Shakespeare's oldest friends. He will show you around the famous Globe Theatre in London, and tell you the story of the man behind the plays, from his early childhood and his schooldays, to the incredible legacy of his writing. You'll also get to act out some scenes from his best-known plays, including Romeo and Juliet, A Midsummer Night's Dream and Macbeth! Read on, and you'll discover why Shakespeare is considered to be one of the greatest writers ever. The Life and Work of Shakespeare is part of the Reading Planet range of books for Stars (Lime) to Supernova (Red+) band. Children aged 7-11 will be inspired to love reading through the gripping stories and fascinating information books created by top authors. Reading Planet books have been carefully levelled to support children in becoming fluent and confident readers. Each book features useful notes and questions to support reading at home and develop comprehension skills. Reading age: 10-11 years Foreign language teaching is a flourishing area of the primary curriculum and can offer many valuable, enriching and enjoyable learning experiences for children. Written to support busy schools and teachers in planning, teaching and delivering the new primary MFL entitlement for all KS2 pupils, this book brings together a wide range of key pedagogical issues into one user-friendly handbook: teaching approaches and resource ideas using new technologies getting assessment right progressing to the secondary school. Providing snapshots of good practice as well as a bank of practical ideas to help integrate foreign language teaching into the curriculum, this book will be key reading for all current and trainee teachers involved in the successful implementation of primary MFL. Stimulating Story Writing! Inspiring Children aged 7-11 offers innovative and exciting ways to inspire children to want to create stories and develop their story writing skills. This practical guide offers comprehensive and informed support for professionals to effectively engage ‘child authors’ in stimulating story writing activity. Packed full of story ideas, resource suggestions and practical activities, the book explores various ways professionals can help children to develop the six key elements of story, these being character, setting, plot, conflict, resolution and ending. All of the ideas in the book are designed to complement and enrich existing writing provision in classrooms with strategies such as role play, the use of different technologies, and using simple open ended resources as story stimuli. Separated into two sections and with reference to the Key Stage 2 curricula, this timely new text provides professionals with tried and tested strategies and ideas that can be used with immediate effect. Chapters include: • Creating Characters • The Plot Thickens • Inspired Ideas • Resourcing the Story Stimulation This timely new text is the perfect guide for inspiring children aged 7-11 in the classroom and will be an essential resource for teachers and students on teacher training courses. Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner and Cosmas Magaya’s Mbira’s Restless Dance documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity. Mbira’s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player’s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira’s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals. Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship. Get Going With Creative Writing is a new, up to date, action packed series of five study books, that encourage children to write. They are aimed at children between the ages of 7 and 11, who have acquired some degree of reading fluency. They provide excellent writing practice for those children preparing to take 11+ examinations or S.A.T.S, but will also benefit other children with special needs, or where English is a second language. These books have a lively magazine type format: featuring short stories to read and a variety of up to date non-fiction texts that will impact young readers and provide starting points for writing. Follow up activities will inspire even the most reluctant writers to write stories, poems, play scripts, diaries, reports, persuasive leaflets, letters and more. More than this, the child will learn writing techniques including: simple, compound and complex sentences – connectives - grammar tips - harder vocabulary and punctuation from our guinea pig guide. The books are suitable for use by teachers in the classroom or parents at home. The themed books can be used in any order, though the subject matter of ‘About Me’ and ‘All About Animals’ may appeal to younger children, who start working through the series. The themed books have been written by a teacher or tutor, have been trialled by the children she teaches and comply with the National Curriculum. This is the fourth book in this excellent series from Guinea Pig Education. The Major Events of the 20th Century as Reported in the Pages of the New York Times Author: New York Times Category: Language Arts & Disciplines From the end of the Victorian age through the moon landing and the computer age, a collection of headline stories from the pages of The New York Times chronicles the great events and individuals that shaped the history of the twentieth century.

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It’s well known that jumping spiders have excellent vision, far surpassing that of other spiders and even dragonflies, whose clearness of vision ranks at the top of the insect world. In a study appearing in the January 27, 2012, issue of Science, researchers in Japan describe how jumping spiders likely use green light and image defocus — comparing a blurry image with a focused image — to enhance depth perception, enabling them to jump with great precision on prey. The Japanese study involved bathing jumping spiders in green and red light (for this study, Hasarius adansoni). Spiders in green light made very accurate jumps toward prey, while those in red light consistently jumped short of their mark. The scientists believe that the deepest layer of a jumping spider’s four-layer retina is sensitive to green light, while the next layer up is only partially so. This enables the spider to contrast imagery from the two layers and fine-tune its jumping distance. (Notice how the distance blurs when you focus on something close at hand, giving you a sense of depth.) If you peer at a jumping spider closely, you’ll see it positioning its body to watch your every move with its four sets of eyes. Evidence suggests that the big eyes in front have receptors for various colors and are very sensitive to UV light. In the diagram below, notice how the big front eyes of the spider extend deep into its cephalothorax in a tubular fashion — like telephoto lenses — focusing light onto the retina. Unlike human eyes, which can move to focus on something we want to see, a jumping spider’s eyes are fixed in place. Yet a jumping spider’s retina is different from ours; it can move to inspect something on the edge of its field of vision. If a jumping spider should ever select your living space as its preferred hunting ground, know that many people delight in their company, describing them as “friendly” and “intelligent.” Place your hand beside a jumping spider, and it will inevitably jump aboard, saving its bite for the insects it hunts by day. Bottom line: A jumping spider’s visual acuity is the sharpest of all spiders. The anterior medial eyes function as telephoto lenses, focusing light upon a four-layer retina. The retina can move to focus on objects at the edge of the spider’s field of vision. Scientists in Japan report in the January 27, 2012, issue of Science that the bottom two layers of the spider’s retina are sensitive to green light and enable the spider to use image defocus to enhance depth perception. Holly Clark Coburn is a freelance editor and writer. She studied biology and art at a liberal arts school and received an MFA in creative writing.

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Is data, design, and storytelling enough to change the world? Ask Florence Nightingale. During the Crimean War, Nightingale was a young and independently wealthy British woman who felt called to the cause of nursing. In 1852, she was caring for wounded British soldiers. Those soldiers were dying at an alarming rate in her hospital, but not from their wounds. Secondary illnesses and infections, brought on by the squalor of the underfunded and inadequate British army hospital, were claiming the soldiers. She knew the real reason behind the soldier’s deaths. She just needed a way to convince the generals and politicians. Nightingale began compiling data about the date that soldiers died in her hospital and the cause of death. She was good with numbers, good enough to later become the first female member of the Royal Statistical Society. Her data proved what she knew about the role of infection and illness in killing soldiers. But this was at a time when understanding of sanitation and infection was still quite limited. How could she tell the story of the numbers to the generals and politicians so that they would understand and change their approach to military medicine? She designed a new type of chart: the Nightingale rose diagram. Her work built on the pie chart of William Playfair but added several new dimensions. - A wedge represented a month - Each wedge was subdivided by cause of death: wounds, diseases, other. - Wedges varied in proportion according to the number of deaths that month. - The months progressed clockwise around the chart. Interestingly, there are no numbers on this chart, other than years. She didn’t need to show the number of deaths. Her point was the proportion of deaths caused by squalor in the hospital. When sanitation improved in the hospital, her graph showed, deaths dropped to near zero. She convinced the generals and politicians, who could easily see the overwhelming proportion of deaths from preventable causes. This was an early step in the career of Nightingale, whom we now consider the founder of modern nursing and the inspiration for the Red Cross. Her chart is still called the Nightingale rose diagram, although it’s also known as a polar graph. Her work in the military hospital built on work concepts and methods that were known for decades. In hindsight, it seems brilliantly concise, almost simple in the straightforward approach. You, too, can combine data and design to tell a story about your cause. Try it and see what impact you make.

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Student Character Education Building a Community of Character In the Pleasanton Unified School District we strive to create school environments that are positive, predictable, consistent and safe. What is character education? Character education is the process of helping students develop and practice the core ethical values that our diverse society shares and holds important. It is the study of the core ethical values that our society shares and holds important, including, but not limited to, respect, responsibility, trustworthiness, caring, honesty, justice and fairness, and citizenship and civic involvement. A comprehensive character education program addresses critical concerns such as discipline problems, proper respect for students and teachers, substance abuse, teen pregnancy and poor academic performance. At its best, character education permeates every aspect of the school day. Building an environment that reinforces the traits that a community values, with parents as active players in the partnership, can help improve the qualities of honesty, respect and responsibility among our youth. Building a Community of Character Pledge |I pledge to fulfill my role in our Community of Character by acting with:| August – October |Doing what I am supposed to do Always doing my best Being accountable for my choices November – December |Being kind to myself, others, and the environment Helping others in need Setting goals and working toward them Striving for personal improvement |Telling the truth No cheating or stealing March – April |Using good manners, not bad language Being considerate: honoring the feelings of others Dealing peacefully with anger, insults, and disagreements May – July |Being reliable: doing what I say I’ll do Having the courage to do the right thing Building a good reputation What is the Pleasanton Unified School District’s Mission Statement on character education? The traditional mission of our public schools has been to prepare our nation’s young people for equal and responsible citizenship and productive adulthood. Democratic citizenship and productive adulthood begin with standards of conduct and standards for achievement in our schools. Other education reforms may work; high standards of conduct and achievement do work — and nothing else can work without Character education. How does character education contribute to a student’s education? It is very difficult for a school to engage in significant educational reform when the school has adults and children that do not practice responsibility and respect. The twin goals of education have always been academic and character development. A character education program is the umbrella for the entire school program and is the shared responsibility of the school, the family and the community. Everything about a school is values laden, and a deliberately designed the approach is more effective than letting it happen by default. The social, ethical, and emotional development of young people is just as important as their academic development. As Theodore Roosevelt stated: “To educate a man in mind and not in morals is to educate a menace to society.” After all, we know that good workers, citizens, parents, and neighbors all have their roots in good character. Therefore, it is critical to create schools that simultaneously character development and promote learning. In fact, character education promotes academic excellence because it lays a foundation for all learning that takes place in school. It is clear that character education builds classrooms where students are ready to learn and where teachers are freer to teach. What are some of the objectives of a character education program? - That students and school staff have schools that are safe, orderly and drug free. - That all students and school staff learn and work in schools that have clear discipline codes with fair and consistently enforced consequences for misbehavior. - That all students and school staff learn and work in a school district that has alternative educational placements for violent or chronically disruptive students. - That all students and school staff has a right to be treated with courtesy and respect. - That all students and school staff learn and work in schools and classrooms that have clearly stated and rigorous academic standards. - That all students and school staff learn and work in schools and classrooms where high grades stand for high achievement and promotion is earned. - That all students and school staff learn and work in schools where getting a high school diploma means having the knowledge and skills essential for college or a good job. - That all students and school staff be supported by parents, the community, public officials and business in their efforts to uphold high standards of conduct and achievement. What does character education look like in a school? Inherently, each and every adult in a school is a character educator by virtue of exposure to students. All adults serve as role models. Students constantly watch as all adults in the school – teachers, administrators, counselors, coaches, secretaries, cafeteria aides – serve as models for character – whether good or bad. Beyond modeling, no matter what the academic subject or extra-curricular activity, educators are afforded the opportunity to develop good character in their students on a daily basis by intentionally selecting character-based lessons and activities and by the way they educate their students. There is no one particular look or formula, but schools of character have one thing in common: a school wide commitment to nurture the “whole” child. Schools of character develop students socially, ethically, and academically by integrating character development into every part of their curriculum and culture. Specifically, a school committed to character education explicitly names and publicly stands for specific expected behaviors and promulgates them to all members of the school community. They define the expected behaviors in terms that can be observed in the life of the school, and they model, study, and discuss them, and use them as the basis for all human relations in the school. They uphold the expected behaviors by making all school members accountable to consistent standards of conduct and they celebrate their manifestation in the school and community. The key for success is that character educators find what works in their particular school, district, and community. Direction from the State Superintendent Character education is a critical component of education which needs to be embedded in the school culture and the core curriculum throughout the school year. There are opportunities to infuse the elements of character education into all of the California curriculum frameworks. Character education is not an add-on program, but rather a fundamental building block of current program efforts.” (Memo dated August 12, 1999) Who decided what character education traits are emphasized in the schools? The Pleasanton community reached consensus on what expected behaviors should be emphasized in the schools through a city and school district sponsored community survey in 1999. Early in the district’s strategic planning process, the strategic planning team made up of parents, administrators, teachers, classified staff, students and other community representatives developed an action plan to create an “… Ad Hoc Committee that would reach consensus on three to five universally accepted behaviors, and develop a plan to communicate these behaviors to the community.” The committee met and chose to survey the community in order to identify the expected behaviors to be taught in the schools. The following six expected behaviors were chosen by the community, and adopted by the Pleasanton School Board and Pleasanton City Council: How can I help foster character education in the Pleasanton schools? Since the American workforce ultimately comes from our schools, everyone should have an interest in seeing that our youth develop into responsible, ethical people. The very qualities that today’s work force needs are character traits and skills that form the building blocks of character education. In 1991 the U.S. Department of Labor issued a report “What Work Requires of Schools,” also known as the SCANS report – which cautioned that students must develop a new set of foundation skills and competencies such as interpersonal skills, individual responsibility, self-esteem, sociability, self-management, and integrity. It is important to keep in mind that formalized character education begins when members of a school, along with broad community involvement, come together to determine the expected behaviors that they share and that form the basis for good education in their particular school and district. These values then become the foundation for all that the school does – curriculum, teaching strategies, school culture, extra-curricular activities, etc. Character education can then be infused into the broader community.

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Website highlights effects of climate change on Canada’s forests By University of Winnipeg Oct. 23, 2018 - The Prairie Climate Centre at the University of Winnipeg has launched a new section of their groundbreaking Climate Atlas of Canada that explains the effects of climate change on Canada’s forests: www.climateatlas.ca/topic/forests/. By University of Winnipeg The recent release of the IPCC Special Report Global Warming of 1.5 C underscores the fact that climate change threatens our irreplaceable forest ecosystems and economies, and that preserving Canada’s forests is an essential strategy to help fight climate change. Canada’s forests are some of the largest in the world. They have enormous economic, cultural, environmental, and recreational value for Canadians of all walks of life. And they are already showing the impact of our changing climate. Invasive insect pests, record-breaking wildfires, and drought have already taken a toll on trees across the country. Recent extreme events, including this year’s record-setting forest fire season in B.C., have many Canadians wondering: “is this the new normal?” The Climate Atlas helps answer this question, and the new Forests section highlights the risks climate change poses to Canada’s essential, iconic forests: - Climate change is a ‘triple threat’ for forest fires, leading to hotter temperatures, more frequent lightning strikes, and more dry, windy “fire weather” overall. - Canada’s warming climate is allowing invasive pests such as the mountain pine beetle and the emerald ash borer to spread farther and faster than ever before. - Climate models show that 2018’s record-breaking summer heat will become the ‘new normal’ by 2050 unless carbon emissions are drastically reduced. The Climate Atlas presents compelling video interviews with expert voices along with plain-language articles explaining the connections between forests and climate change. It also discusses the actions we can take to adapt to the new climate reality and to reduce the severity of ongoing climate change. The Climate Atlas of Canada is an interactive tool for citizens, researchers, businesses, and community and political leaders to learn about climate change in Canada. It combines climate science, mapping, and storytelling to inspire local, regional, and national action and solutions. The Atlas was produced by the Prairie Climate Centre (PCC), a team made up of climate scientists, social science researchers,filmmakers, and communication specialists at the University of Winnipeg. The funders of the Atlas include Environment and Climate Change Canada, the Province of Manitoba, Great West Life, and the Social Sciences and Humanities Research Council of Canada.

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Chimpanzees are relatively large, tremendously powerful animals that dwell in troops of 30 to 80 individuals. They're thereby relatively safe in their natural African habitat of rainforest and wet savanna. The old, young, sick and weak are vulnerable to some predators, though as can be an individual chimp caught off guard. A number of predators will make a move on a chimp if the opportunity presents in the African wilds. As with most endangered species, chimpanzees can claim mankind as their most threatening predator. Chimps are hunted as part of the "bushmeat trade," which refers to the sale of meat from African or Asian wildlife, especially animals classified as protected or endangered. Bushmeat is a major source of food in rural and urban areas in Africa, but it reaches Europe, Canada and other points around the globe. An estimated 300 or so chimps are killed annually by bushmeat hunters just in the Republic of Congo, according to the Jane Goodall Institute of Canada. Of course, man's widespread destruction of the chimpanzee's natural habitat is another significant factor in declining chimpanzee numbers, even though it isn't exactly predatory behavior by definition. Chimps spend equal time on the ground and in the trees, but they do most of their eating and sleeping up in the branches. They are vulnerable in both locations to one of the African wild's most stealthy and dangerous predators, the African leopard. These jungle cats are the most significant predators of chimpanzees after man. They live almost everywhere in Africa but thrive in the rainforests where chimpanzees are found. They are one of few species large and strong enough to prey on chimps. When a chimp wanders out onto the savanna plains, it becomes vulnerable to lions, too. These cats are fierce hunters, even larger than leopards, and they are capable of preying on chimps. Chimps are vulnerable on the ground and in the trees to attacks by African rock pythons, another significant predator. These pythons are the third-largest snake species in the world, growing 20 to 30 feet long and weighing up to 250 pounds. They share the tropical African savanna as their primary home with chimpanzees. These predators kill by constricting their prey, and they can stretch their jaws to swallow large animals whole, including chimpanzees. Crocodiles also pose a threat to chimps. These reptiles lurk under the water and grab prey in their powerful jaws when one wanders to the water's edge to drink or bathe. Are Chimps Predators? Chimps are omnivores with a diet consisting of hundreds of foods, but they aren't a predatory species. Their meals consists mostly of plant-based foods, including fruits, leaves and buds. They do pursue insects, using sticks and other items as tools to procure them from holes. Chimpanzees steal and consume eggs when they encounter them. The meat in their diet comes from scavenged carrion. Chimps are powerful enough to easily kill another animal in defense, but they aren't active hunters. chimpanzee in the forest image by Xavier MARCHANT from Fotolia.com Eric Mohrman has been a freelance writer since 2007, focusing on travel, food and lifestyle stories. His creative writing is also widely published. He lives in Orlando, Florida.

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Between the ages of three and five is an important time in your child’s emotional development. Here are some suggestions for nurturing your child’s self-esteem. The foundations for confidence and self-esteem are established during this time. The way children feel about their rapidly growing abilities and the way they deal with more complex emotions have a big influence on their ability to cope with life’s stresses. Most of your preschooler’s learning occurs through play. This will happen at home, and with other children at preschool and daycare, where children are encouraged to learn through play, art and storytelling. Your role changes during the preschooler years. Your baby is now a little person ready to take on the world and your job is to show them how. One of your most important jobs is to help your child handle emotions and develop social skills. These skills help your child to cope with emotional changes, keep going in the face of frustration, have hope, control extreme emotional impulses, and feel compassion and empathy. These are very important ingredients for success in life. Nurturing your child’s self-esteem Good self-esteem means that you have a positive view of yourself and your abilities. Children who have good self-esteem feel that they are loved and they can manage the world to some degree. If you have positive self-esteem, it affects the way you approach tasks and learning and the way you deal with life’s disappointments and problems. Positive self-esteem helps us to understand and accept failure without lasting emotional damage. Tips to help your child develop self-esteem - Teach children about who they are by explaining who’s who in the family and how they’re related. - Make photo albums and provide family treasures (past and present). This helps children have a mental picture of who they are and where they come from. - Keep your child’s drawings, letters and photos to help her build a sense of self. - Encourage your child to play with children of a similar age, so he isn’t overwhelmed by the abilities of older children. - Encourage your child to work out problems and make decisions independently, but make sure she knows you’re there to help. - When your child masters a new skill, praise him and encourage him to practise it before starting something harder. Repetition will help him build confidence and understand that things that were once hard become easy. - Be generous with praise. Say things like "Thank you", "That was helpful" and "You do that really well". - Actions can speak louder than words. Hug your child, listen, make time even when you’re busy, let your child help you, put your child’s drawings on display, and participate in preschool events. - A child’s self-esteem can be easily damaged by put-downs. Avoid at all costs saying things that put down your child. For example, "You make me tired", "You are silly/a nuisance/lazy/stupid" or "If we didn’t have you, we’d be able to take a holiday/work less". - Help your child to understand that everyone makes mistakes and that mistakes can help us to learn. It’s important that children understand that if they make a mistake in one area, they are not bad at everything. - Encourage children to be positive about themselves and their future. Negative self-talk can be associated with problems such as depression and anxiety. Encourage statements like, "It’s OK that my team didn’t win today", "I can work out this problem if I just keep trying", and "It makes me feel good to help someone, even if they don’t thank me". More information on connecting with your preschooler: © Raising Children Network Limited, reproduced with permission. Resources & Links:

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Podcasts (like “You are Not So Smart”, “99% Invisible”, or “Radiolab”) are becoming a popular way to communicate about science. Podcasts often use personal stories to connect with listeners and engage empathy, which can be a key ingredient in communicating about science effectively. Why not have your students create their own podcasts? Personal science stories can be useful to students as they try to connect abstract science concepts with real life. These kinds of stories can also help pre-service elementary or secondary teachers as they work towards understanding how to connect science concepts, real life, and literacy. Podcasts can be powerful in teaching academic language in science because through producing a podcast, the student must write, speak, and listen, and think about how science is communicated. This paper describes the personal science podcast assignment that I have been using in my methods courses, including the literature base supporting it and the steps I take to support my teacher candidates in developing, writing, and sharing their own science story podcasts. Innovations Journal articles, beyond each issue's featured article, are included with ASTE membership. If your membership is current please login at the upper right. Amicucci, A. N. (2014). How they really talk. Journal of Adolescent & Adult Literacy, 57, 483-491. Anthony, L. (2014). AntWordProfiler (Version 1.4.1) [Computer Software]. Tokyo, Japan: Waseda University. Retrieved from http://www.laurenceanthony.net/ Borgia, L. (2009). Enhanced vocabulary podcasts implementation in fifth grade classrooms. Reading Improvement, 46, 263-272. Burmark, L. (2004). Visual presentations that prompt, flash & transform. Media and Methods, 40(6), 4-5. Challinor, J., Marín, V. I., & Tur, G. (2017). The development of the reflective practitioner through digital storytelling. International Journal of Technology Enhanced Learning, 9, 186-203. Couldry, N. (2008). Mediatization or mediation? Alternative understandings of the emergent space of digital storytelling. New Media & Society, 10, 373-391. Coxhead, A. (2000). A new academic word list. TESOL Quarterly, 34, 213-238. Delpit, L. (2005). Other People’s Children: Cultural Conflict in the Classroom. 1995. New York: New Press. Derman-Sparks, L. (1989). Anti-bias curriculum: Tools for empowering young children. National Association for the Education of Young Children, 1834 Connecticut Avenue, NW, Washington, DC 20009-5786. Dillingham, B. (2001). Visual portrait of a story: Teaching storytelling. Juneau, AK: School Handout. Dip, J. M. R. B. P. (2014). Voices from the heart: the use of digital storytelling in education. Community Practitioner, 87(1), 28. Dong, Y. (2002). Integrating language and content: how three biology teachers work with non-English speaking students. International Journal of Bilingual Education and Bilingualism, 5, 40-57. Frisch, J.K., Cone, N. & Callahan, B. (2017). Using Personal Science Story Podcasts to Reflect on Language and Connections to Science. Contemporary Issues in Technology and Teacher Education, 17, 205-228. Frisch, J. K., Jackson, P. C., & Murray, M. C. Transforming undergraduate biology learning with inquiry-based instruction. Journal of Computing in Higher Education, 1-26. https://doi.org/10.1007/s12528-017-9155-z Hendry PM (2007) The future of narrative. Qualitative Inquiry, 13, 487–498. Huber, J., Caine, V., Huber, M., & Steeves, P. (2013). Narrative inquiry as pedagogy in education: The extraordinary potential of living, telling, retelling, and reliving stories of experience. Review of Research in Education, 37, 212-242. Hung, C. M., Hwang, G. J., & Huang, I. (2012). A Project-based Digital Storytelling Approach for Improving Students’ Learning Motivation, Problem-Solving Competence and Learning Achievement. Educational Technology & Society, 15, 368-379. Lambert, J. (2002). Digital storytelling: Capturing lives, creating communities. Berkeley, CA: Digital Diner. Lambert, J. (2010). Digital Storytelling Cookbook. Berkley, CA: Digital Diner. Ohler, J. B. (2013). Digital storytelling in the classroom: New media pathways to literacy, learning, and creativity. Thousand Oaks, CA: Corwin Press. Pearson, P., Moje, E., and Greenleaf, C. (2010). Literacy and science: Each in the service of the other. Science, 328, 459-463. Pegrum, M., Bartle, E., and Longnecker, N. (2015). Can creative podcasting promote deep learning? The use of podcasting for learning content in an undergraduate science unit. British Journal of Educational Technology, 46, 142-152. Putman, S. M., & Kingsley, T. (2009). The atoms family: Using podcasts to enhance the development of science vocabulary. The Reading Teacher, 63, 100-108. Roadside Theater. (2016). Imagining America: Artists and Scholars in Public Life. Case Study: Story Circles as an Evaluation Tool. Retrieved from https://roadside.org/asset/case-study-story-circles-evaluation-tool Robin, B.R. (2008). Digital storytelling: A powerful technology tool for the 21st century classroom. Theory into practice, 47, 220-228. Snow, C. E. (2010). Academic language and the challenge of reading for learning about science. Science, 328, 450-452. Silva, C., Weinburgh, M., and Smith, K.H. (2013). Not just good science teaching: Supporting academic language development. Voices from the middle, 20, 34- 42. West, M., & West, M. P. (Eds.). (1953). A general service list of English words: with semantic frequencies and a supplementary word-list for the writing of popular science and technology. Boston, MA: Addison-Wesley Longman Limited. Willox, A. C., Harper, S. L., & Edge, V. L. (2012). Storytelling in a digital age: digital storytelling as an emerging narrative method for preserving and promoting indigenous oral wisdom. Qualitative Research, 13, 127-147

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Unit 3 Summer 2 Newsletter Welcome back! We hope you have had a relaxing half-term break. Please find details of our intended learning experience for the second part of this half term. Learning Experience Rationale: The children will be immersed in outer space and will develop a knowledge and understanding of our universe. There will be a focus on the values of creativity and independence. We are keen to help the children develop a wider vocabulary as part of this Learning Experience, so we will focus on the science of the universe alongside the creative language needed for narrative writing. Learning Experience Hook and Outcome: Unit 3 will be hooked into this Learning Experience by learning about the 50th anniversary of the first time man set foot on the moon. We will use videos and images to hook them in and start a discussion about outer space. The children will then prepare for a debate in the class focussed on the question: “Should we be allowed to travel to space as tourists?” This will help to develop their language and speaking skills. We will also discuss the careers that can stem from the study of science as a discipline and inspire a curiosity and a love for learning. The children will develop a good understanding of what makes a planet suitable for life through problem solving and research. Maths: During this half term, the children will develop their understanding of decimals and money. We will be looking at the links between decimals and fractions, as well as solving word problems involving money, enabling the children to use their skills in context. We are continuing to develop a mastery approach to our teaching, where the children are required to justify the reasoning for their answers through journaling. We ask that all children practise their times tables at home as often as possible. Home Learning: All children will have weekly spellings to learn at home. Children will also need to use the online programs My Maths, Times Tables Rockstars and Read Theory to support their learning in school. Please see your child’s teacher if you require the log ins. Alongside this, please could the children: - Conduct some research into Neil Armstrong’s first landing on the moon or Tim Peake’s space voyage. - Research the different planets in our solar system. - Children can also be supported to build their own rocket or planet. Please could homework be in school the week commencing 15th July. Literacy: The children will be writing a creative diary entry, from the perspective of an astronaut who is trying to find a planet capable of supporting human life. To be able to do this, the children will first need to understand what makes a planet capable of hosting life. The children will then focus on narrative writing techniques, including speech, to create their high-quality diary entry. Reading at home: Please encourage children to read at home as much as possible. The children will return home with new library books once they have taken a quiz about the book they have read. Over time, this will help improve their reading age and fluency as part of our Accelerated Reader program. Science: This term will see the children learning about electricity. Key objectives covered include: - Identify simple appliances that run on electricity. - Recognise some common insulators and conductors. - Identify whether or not a lamp will light in a simple series circuit, based on whether or not the lamp is part of a complete loop with a battery. Computing / Spanish / PE / RE: We will continue to focus on drama in rotation starting with conveying emotions. Spanish lessons will be based around sports and hobbies. In RE this half term, we will be focusing on inspirational religious people, and in PE we will be playing cricket. Classes will swim on the following days: Sparrows – Monday AM, Starlings – Tuesday AM, Swifts – Thursday PM Thank you, Miss Pettitt, Miss Prior and Mr Kingdon

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Writing is a medium of human communication that involves the representation of a language with written symbols. Writing systems are not themselves human languages (with the debatable exception of computer languages); they are means of rendering a language into a form that can be reconstructed by other humans separated by time and/or space. While not all languages utilize a writing system, those with systems of inscriptions can complement and extend capacities of spoken language by enabling the creation of durable forms of speech that can be transmitted across space (e.g., correspondence) and stored over time (e.g., libraries or other public records). It has also been observed that the activity of writing itself can have knowledge-transforming effects, since it allows humans to externalize their thinking in forms that are easier to reflect on and potentially rework. Writing relies on many of the same semantic structures as the speech it represents, such as lexicon and syntax, with the added dependency of a system of symbols to represent that language's phonology and morphology. The result of the activity of writing is called a text, and the interpreter or activator of this text is called a reader. As human societies emerged, collective motivations for the development of writing were driven by pragmatic exigencies like keeping history, maintaining culture, codifying knowledge through curricula and lists of texts deemed to contain foundational knowledge (e.g., The Canon of Medicine) or to be artistically exceptional (e.g., a literary canon), organizing and governing societies through the formation of legal systems, census records, contracts, deeds of ownership, taxation, trade agreements, treaties, and so on. Amateur historians, including H.G. Wells, had speculated since the early 20th century on the likely correspondence between the emergence of systems of writing and the development of city-states into empires. As Charles Bazerman explains, the "marking of signs on stones, clay, paper, and now digital memories—each more portable and rapidly traveling than the previous—provided means for increasingly coordinated and extended action as well as memory across larger groups of people over time and space." For example, around the 4th millennium BC, the complexity of trade and administration in Mesopotamia outgrew human memory, and writing became a more dependable method of recording and presenting transactions in a permanent form. In both ancient Egypt and Mesoamerica, on the other hand, writing may have evolved through calendric and political necessities for recording historical and environmental events. Further innovations included more uniform, predictable, and widely dispersed legal systems, distribution and discussion of accessible versions of sacred texts, and the origins of modern practices of scientific inquiry and knowledge-consolidation, all largely reliant on portable and easily reproducible forms of inscribed language. Individual, as opposed to collective, motivations for writing include improvised additional capacity for the limitations of human memory (e.g., to-do lists, recipes, reminders, logbooks, maps, the proper sequence for a complicated task or important ritual), dissemination of ideas (as in an essay, monograph, broadside, petition, or manifesto), imaginative narratives and other forms of storytelling, personal or business correspondence, and lifewriting (e.g., a diary or journal). (Full article...) Pictured left: Blisssymbols stating "I want to go to the cinema" Blissymbolics or Blissymbols were conceived of as an ideographic writing system consisting of several hundred basic symbols, each representing a concept, which can be composed together to generate new symbols that represent new concepts. Blissymbols differ from all the world's major writing systems in that the characters do not correspond at all to the sounds of any spoken language. They were invented by Charles K. Bliss (1897-1985) after the Second World War. Bliss wanted to create an easy-to-learn international auxiliary language to allow communication between people who do not speak the same language. He was inspired by Chinese ideograms, with which Bliss became familiar while in Shanghai as a refugee from Nazi anti-semitic persecution. His system World Writing was explained in his work Semantography (1949). This work laid out the language structure and vocabulary for his utopian vision of easy communication, but it failed to gain popularity. However, since the 1960s, Blissymbols have become popular as a method of augmentative and alternative communication (AAC) for non-speaking people with cerebral palsy or other disorders, for whom it can be impossible to otherwise communicate with spoken language. (Full article...) Rudolf Koch (November 20, 1876 - April 9, 1934) was a leading German calligrapher, typographic artist and teacher, born in Nuremberg. He was primarily a calligrapher with the Gebr. Klingspor foundry. He created several fonts, both in fraktur and normal formats. Fritz Kredel studied under Koch. Koch wrote a book of 493 old-world symbols, monograms and runes entitled The Book of Signs which was published in 1955 by Dover Publications, INC. and which belongs to the Dover Pictorial Archive Series. Some of Koch's work can be seen today at the Klingspor Museum in Offenbach. Some typefaces developed by Koch include:

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Writing is powerful, but for students with language-based learning differences, it presents a daunting challenge. This is why our English classes emphasize explicit writing instruction. At Greenwood, our students learn that writing is a form of self-exploration and expression, a tool for learning and discovery, and ultimately a way to leave one’s mark on the world. Writing is also highly demanding, drawing on more simultaneous cognitive processes than any other academic activity our students face. At Greenwood, we provide our students with highly structured writing instruction that breaks down these demands into a manageable, predictable process. We teach the writing process by repeatedly working through the steps of prewriting, organizing, writing, editing, revising, and publishing. With each new writing form introduced, students analyze and deconstruct model pieces. Teachers demonstrate the process before repeating the steps collaboratively with students. Finally, students use the strategies that work best for them to complete the process on their own. Over time, our students gain stamina and develop a personal writing process that employs traditional methods along with technological strategies. We believe it is vital to teach our students how technology supports the writing process. With this instruction, our students change their minds about what writing entails. Initially, many of our students believe putting their thoughts on paper is the final product. At Greenwood, students learn that working through a set of predictable steps often results in unpredicted ideas and outcomes which necessitate extensive rewriting. For students who struggle with the demands of writing, it takes time to build a firm trust in this process. However, with this trust, students not only gain confidence in writing, but they come to see themselves as writers. While English class at Greenwood is heavily focused on diagnostic prescriptive writing instruction, academic writing is largely based on text analysis, so reading is, of course, an important part of the curriculum as well. Using a variety of literary and expository texts, teachers build theme-based units with a clear progression of skills with increasing text complexity. Teachers draw from classic works of literature as well as new material that is timely and relevant to the students’ interests and lives. Teachers are not bound to a fixed set of texts or curriculum and lessons are flexible, following organic strands of inquiry and interest. Starting with a base framework of four categories - Reading for Meaning, Writing, Speaking and Listening, and Language - teachers pursue objectives based on common core standards but also have the flexibility to adjust the amount of work spent on developing specific skills depending on the individual needs of the students in each class. This is the benefit of small classes and diagnostic prescriptive teaching. We meet students at their current level and develop specific lessons in order to close the skills gap. However, this is not accomplished at the expense of academic rigor. Our goal is to maintain a healthy balance of challenge, accommodation, and remediation in order to ultimately prepare our students for postsecondary demands in reading and writing and to foster a positive, enriching outlook on the written word. - High School English - Theme-based course examples: - HS ENGL - People and Power - HS ENGL - Finding our Voices - HS ENGL - Responses to Change - HS ENGL - World Perspectives - HS ENGL - Transformations - Creative Writing (Poetry, Playwriting, Fiction, Creative Nonfiction) - Advanced Literature examples: - Ihuman - Exploring what it means to be human through the study of science fiction. - Dramatic Literature - Survey of drama from ancient Greek comedy and tragedy to modern works for the stage and screen.

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Examine the importance and explore different types of public products that can be used in project-based learning. If a student creates a project and no one sees it, or hears it, or interacts with it, does it truly matter? Can it ever be truly authentic? There are two key elements of a public product: a public audience and an authentic product. It takes both parts to have a truly authentic project-based learning (PBL) experience. The public product is a way for students to apply what they have been learning to something beyond themselves. The product should actually matter to someone else, not just the members of the PBL group. In addition, the public product allows students to show what they have learned, demonstrate how they have answered the driving question, and share the amazing product they have created with an authentic audience. Who comprises an authentic audience? It depends on the public product, but it should always include people beyond students in the class and the teacher. If students have designed a class field trip and they are trying to get permission or funds to go on the field trip, then the principal and other teachers might be an authentic audience. However, if the public product is focused on the local water quality, then the principal and other teachers are probably not the most authentic audience. The public audience may include peers, parents/guardians, community members, business leaders, outside experts, or a global audience through the use of technology. An audience should provide some type of feedback to students. According to PBLWorks, when sharing a public product, students should be asked to “explain the reasoning behind choices they made, their inquiry process, how they worked, what they learned, etc.” If public products are released to the public, on a small scale or globally, and there is no type of questioning and feedback, the product still needs to be discussed. Students need to be able to reflect and process all of their learning. Reflecting, discussing, and receiving feedback from an authentic audience is most ideal, but when the ideal may not be feasible, do the best you can to make it as authentic as possible. Because the product is public and matters to people outside of the group who created it, students are likely to be more engaged and care more deeply about the outcome and the quality of their public product; they don’t want to look unprepared to people in the “real world.” In addition, a public product allows student work to be visible and discussed by others. Students are able to receive feedback from people who are typically not their peers or their teacher (hopefully they are also getting this feedback prior to the final public product). For example, if several groups of students submit an inclusive playground design with a model, budget, and video and/or essay explaining why their playground should be built to a school board or community organization in charge of playground construction, their work is public, their work matters, and their work is discussed by others outside their classroom and even their school. In short, their work is authentic. Creating relationships with outside organizations to work with students is a key component of PBL. Students, especially older students, are able to seek out and make connections to experts who may be able to help them. However, it is much easier and may be essential for younger students to have these connections created, or at least initiated, by the teacher, the school, or the district. Many districts already have partnerships with organizations and businesses, and it is just a matter of reaching out to them. In other cases, it may be up to you to take the first step in creating and building those relationships. Remember that it is okay to start small and continue to build as time goes on and more projects are undertaken. When gathering an authentic audience and stakeholders, consider having them be available throughout the project as a resource, or at least consider having them available at some point to provide feedback prior to the final public product being completed. If students will be creating an application, a game, or a YouTube video for their final product and using the World Wide Web as their audience, they can still connect to stakeholders who have careers creating similar products, and students can see how many people have downloaded or used their product, which is another form of feedback. Lastly, public products can and should be made public long before they are finished. Students should be constantly reflecting on their work and creation, giving and receiving critiques, and revising their product throughout the PBL unit. The product is not a one-and-done event. To learn more about the importance of reflection, critique, and revision, consider reading the AVID Open Access article, Support Student Reflection, Critique, and Revision in Project-Based Learning. Types of Public Products A public product does not mean that you have to put on a huge exhibition for students. In some cases, it may be that, but it absolutely does not need to be a huge event. Remember to start small! Maybe the first time that you and your students engage in PBL, their public product is for another class of students or just their families. Maybe it is for a small panel of community members. Maybe it is the creation of a website, game, or video that is posted to a larger global community using the Internet. Maybe students are creating a submission for an authentic contest or engaging in some type of authentic competition. There are truly endless possibilities, both small and big. Backwards planning is important when designing and planning projects for your students. Keeping the public product in mind will help you in your PBL design and planning, and it will force you to think about the types of choices that students will be able to make around their final product. You will also be able to think about and create a rubric, which can always be modified, to help students in the creation of their public product. When thinking about what type of public product students will be able to create, it is important to ask yourself, and even have students think about, the following things: - Is the product authentic? - Is the product attainable in the amount of time that students have available? - Do students have access to the supplies and resources needed to complete the product? - What components of the product should be done by individuals, and which components should be done by the group? - Will all groups be creating similar products, or will/can all products be different? - Will the product show evidence of students meeting standards and learning targets/goals? Once these questions have been considered, you can narrow down public product options. Public products can vary widely, and there are probably many products and ideas that your students will come up with that you have never thought of…and that’s okay. Many public products often, and really should, include more than one component. For example, if students create a play, they may have also created a script, costumes, set, brochures, advertisements, a budget, promotions for social media, or posters―all of which may be presented to the public. To get you thinking, here is a list of 100 + Final Product Ideas for Project-Based Learning from Experiential Learning Depot and A Collection of Project Based Learning End Products from Learning in Hand. You might also consider visiting PBLWorks’ Project Designer to explore more product options. Lastly, there are a lot of ideas of types of public products in the following two AVID Open Access articles, Design Summative Assessments for a Live Virtual Classroom and Design Summative Assessments for a Self-Paced Virtual Classroom. If you are planning to include some type of writing, animation, picture, audio, and/or video element as part your students’ public products, consider having them use some of the resources highlighted in the following AVID Open Access Articles: - Writing: Think It, Write It: Creative Writing Across the Curriculum - Animation: Enter the Magical World of Animation - Picture: Picture This: The Power of Images in Student Creation - Audio: Hear It, Say It, Play It: The Power of Audio in Student Creation - Video: Imagine, Record, Create: The Power of Video in Student Creation Extend Your Learning - PBL vs Product-Based Learning (PBLWorks) - The Keys to High Quality PBL: Public Products and Presentations of Work (Getting Smart) - The Power of Professional Presentations (PBLWorks) - How to Prepare Students for Explaining Their Work in Public (PBLWorks) - How to Engage Reluctant (and Even Refusing) Presenters in PBL (PBLWorks)

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Right from Key Stage 1 we are beginning to investigate simple algorithms and to investigate computer programs. In reception and EYFS then, giving children the chance to experience activities and objects which encourage the correct use of technology- (experience the world around them) – is important. Think useful, colourful and fun!! Often overlooked! Or tucked away in a cupboard somewhere without charge… For that reason I recommend this set of rechargeable and self contained Bee Bots! Use with maps on the floor to link with topics – e.g Desert Island Treasure or Road. - Great for linking to topic maps and stories. - Versatile – link to instruction writing or leave as play Remote Control Cars Sounds simple, but these will encourage pupils to think in terms of instruction following, and develop direction, motor skills and control. - Can be linked to topics and stories in a similar way to Bee Bots. - Encourage group working and talking whilst play. Make use of the whiteboard! The 2 Simple City is a great environment for simulation and play. However it could be as simple as leaving your smart board software up there so they can play. However a quick search will find many online games aimed at this age group that can be linked to topics. Try Poisson Rouge or looking at the TES iBoard – some of which are free. - Use a rota for the children who are allowed on the whiteboard, maybe with a timer so that other children get the chance. - Many of these activities can also be left on the classroom computers. I’ve really begun to like the wide variety of classroom props around that let you (or the pupils) record their own message. My favourite are the recordable pegs which let children record explanations and ideas linked to classroom work, or in storytelling corners. Gives a lovely personal touch to the classroom. You can also get little push buttons which allow you to leave oral instructions for activities, or children to practice their talk before writing. Laptops / Tablet Computers Discussions around ‘what’s best’ for younger hands / eyes / experiences aside try and think what would fit best within you school environment. I always recommend a mixture are available for the children to use – and for computers you can get some lovely smaller mice and colourful keyboards. On Android and ipad there are plenty of apps that can be used, and some very safe covers to protect from water / dropping etc. Plenty of the apps I’ve looked at here fit in well with early users, too. Links – note there is a wide variety of shops / sites which sell this equipment! Recommended just to get started: Please leave a comment if you can recommend any other equipment / programmes for the early years environment!

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If a computer can correctly identify an object (an apple, a tricycle) or an animal such as a zebra, can it produce a drawing of that object or animal? This is something most people can do, even if their drawing skills are minimal. After all, almost anyone can play Pictionary. This 8-minute video shows us what happened when a programmer-artist reversed the process of an AI that recognizes objects and animals in digital images. I really admire the deft storytelling here. Object recognition has improved amazingly in the past 10 years, but that does not mean these AI systems see the same way as a human does. In some cases, that might not matter at all. In other cases, it can mean the difference between life and death. In yesterday’s post I mentioned the way a convolutional neural network (part of a machine learning system) processes an image through many stacked layers of detection units (sometimes called neurons), identifying edges and shapes that eventually lead to a conclusion that the image is likely to contain such-and-such an object, animal, or person. Today’s video shows a bit more about the training process that an AI goes through before it can perform these identifications. Training is necessary in the type of machine learning called supervised learning. The training data (in this case, digital images of objects and animals) must be labeled in advance. That is, the system receives thousands of images labeled “tiger” before it is able to recognize a tiger in a random photo or video. If a system can identify 20 different animals, that system was trained on thousands of images of each animal. If the system was never trained on tigers, it cannot recognize a tiger. So today’s video gives us a nice glimpse into how and why that training works, and what its limitations are. What’s really fascinating to me, though, are the images produced by programmer-artist Tom White‘s system. “I have created a drawing system that allows neural networks to produce abstract ink prints that reveal their visual concepts. Surprisingly, these prints are recognized not only by the neural networks that created them, but also universally across most AI systems which have been trained to recognize the same objects.”—Tom White In the video, you’ll see that humans cannot recognize what the AI drew. The rendering is too abstract, too unlike what we see and what we would draw ourselves. Note what White says, though, about other AI systems: they can recognize the object in these AI-produced drawings. This is, I think, related to what is called adversarial AI, which I’ll discuss in a future post. AI in Media and Society by Mindy McAdams is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Include the author’s name (Mindy McAdams) and a link to the original post in any reuse of this content.

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Good songs follow certain structures and contain certain parts. One very important part of a song is the chorus. In this lesson, we’ll talk about this aspect of song structure and see how it’s used. Imagine that you’re listening to an online music channel or the radio, and you hear a new song. As you start to listen to the new song, you already have some expectations about its structure. Why? Well, the vast majority of popular songs adhere to a consistent structure that goes something like this: verse-chorus-verse-chorus-bridge-chorus. Each part of the song contains different bits of information, and by structuring songs along this pattern, listeners know what to expect. Which part of the song is the most important? What does the artist really want to you take away from it?If you go back to the verse-chorus-verse-chorus-bridge-chorus structure, you’ll notice that one word really stands out: the chorus. In a song composed of both music and lyrics, the chorus is not only the most repeated section but also the one where you can find the real meaning of a song. Through repetition and the use of catchy melodies, this section makes sure that you remember a song. The chorus of a song is meant to be the most memorable part, containing the ultimate message of the piece. In order to do this, choruses generally rely on a series of techniques. The first has to do with the lyrics, the spoken or sung words. While the lyrics in verses convey the background information needed to understand the emotional or narrative structure of the song, the lyrics in the chorus provide listeners with the real message. For this reason, chorus lyrics tend to be simpler and more direct than the lyrics of verses. To really drive home the point, the chorus lyrics tend to be based on a theme of repetition to ensure maximum retention. Frequently, the words of a chorus are identical after every single verse. This makes the chorus easy to memorize, and subsequently, easy to sing along with. Occasionally, however, parts of the lyrics will change between each chorus while maintaining the same overall structure. When done well, this can also make the chorus more memorable by drawing the listener’s attention to the differences. Turn on the radio and listen to the first song that comes on – you’ll probably be able to identify the chorus by the repetitive lyrics. Of course, if a chorus consisted of only repetitive lyrics, it wouldn’t really be a song, it would be a poem. Songs are defined by music. Since the chorus is so important, we can expect the music to reinforce it. While the lyrics of a chorus are defined by repetition, the music of a chorus is defined by its uniqueness. Even without the lyrics, you could probably identify the chorus of a song simply by listening for changes in the patterns of chords used to construct it.A verse tends to follow one, repetitive set of chords, but a chorus uses a different pattern of chords, which accomplishes two things. First, it helps the chorus stand out from the verses, making it audibly more noticeable. It ensures that the music resolution occurs at the same time as the lyrical resolution. All music has direction, created by changes between chords that create and resolve musical tension. If you want the lyrics of your chorus to communicate the main message of a song, then it helps to resolve this tension in the most important lyrics.The music of the chorus comes largely from the instruments, but the lyrics almost always compose the melody, or the main musical theme of a song. So, while the chords in the background, or the harmony, tend to resolve during the chorus, the melody reinforces them. Think of a song that you like, but only sort of know the words to. If asked to sing the first section of the song that came to mind, you’d probably sing the chorus: it’s memorable, it’s catchy, and it’s fun to sing. It’s also an effective way to drive home a message. Most of our popular songs are based on a similar song structure, used to organize the information in the most useful and usable way. The focus of this structure is the chorus, a lyrically repetitive section containing the main message of a song. The lyrics of a chorus tend to be more direct and simpler than the verse and feature a significant amount of repetition. Musically, the chorus also carries the main melody and features a different chord progression than the verses, where musical tension is resolved. By using all of these techniques, musicians make sure that the chorus stands out and that the audience retains the message. The result is one of the catchiest forms of communication in our world.

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Engagement is the key to effective instruction. A direct path to engagement is simply to tell a good story. Documentary film, done well, can engage and instruct through storytelling. Consider Ken Burns’ The Civil War. Presented to the Public Broadcasting Service audience as a niche product – a miniseries exploring at length an era most people may have had their fill of in grade school – the film surprised Burns and PBS when it became a national phenomenon. The Civil War also found its way into the classroom. Used as a means to engage students in the topic, it provides a jumping-off point for discussion, interpretation, and further study. Burns says in his introduction to the PBS site devoted to educational use of the film, “The series can’t replace the teacher or the classroom, but in conjunction with what you as the teacher do, it can make the era come alive in a way never before possible. In many ways, the series asks as many questions as it answers and should serve as a starting point for active learning and classroom discussion.” Even when excellent course materials are available, the addition of documentary film to teaching brings a number of enhancements. - Flexibility for the instructor: A course will be structured in specific ways, and generally must be presented in its entirety and in sequence. A film can be viewed at any time and excerpted as needed. - Lower cognitive load for the learner: Viewing a film demands less of the audience than reading text or clicking through a course. The learner follows along with the story without conscious effort. - Easy sell: “Watch this” (at home, in class, on a phone) is an easy task to assign and to complete. Much easier than “read pages 148-207” or “complete Module 5.” - Potentially high engagement: Despite the apparent passivity of watching, visual media can lead to greater engagement with the material, which leads to high retention. Ask yourself how many good movie scenes you can recall? Now–how many good textbook passages? In an instructional context, these factors – especially the combination of an easy sell and a high level of engagement – are very valuable. But a film can’t stand alone as an instructional method. As noted above, watching the documentary should only be part of the process. Discussion questions and related readings need to be included in the mix to prompt reflection and to illustrate the topic more completely. The de Beaumont Foundation’s film “Public Health and Politics: Examining the Surgeon General” is seeing similar application. The short documentary explores the interplay of politics with the Office of the Surgeon General throughout the Surgeon General’s history. It is built around interviews with public health officials relating the challenges of balancing science and politics through a focus on the July, 2007 Congressional hearing on improving the effectiveness of government. Since making the film available online and presenting it at screenings and film festivals, we’ve spoken with educators who have shared their ideas for using it in public health policy, ethics, and law classes. The film was developed alongside our free learning course of the same name. We designed the course using archival footage and interviews coupled with selected readings and discussion questions – not dissimilar to the lesson plans and learning activities you can find at the PBS Civil War site and other resource links below. The film can serve as an introduction to the complex relationship between politics and public health, and as a supplement to our course and others. Let me offer one word of caution. Take the same care when selecting a film for your classroom that you would when assigning a book. Be aware that documentary films can be made to promote a specific viewpoint, sometimes to the detriment of accuracy. While this can raise questions about the appropriateness of using a particular film in the classroom, a documentary that takes sides – even a propaganda piece – can still be of value. In these cases, watching the film and then examining the history and context behind it can provide valuable insight on the issues the film addresses. An instructor might ask students to compare the film’s position with opposing views held by other sources – and with their own. In other instances, using “Public Health and Politics” as an example, the documentary may present varying positions on an issue. This is an opportunity for students to work with the complexity of the topic. A discussion can be prompted by asking students to explain where the individuals presented have differing views and where they agree. The best films, especially for training and education, are the ones that carry us along with them to new places, the ones that have us see things with new eyes, and – without our even realizing it – the ones that enable us to think about things in new ways. Interested in using documentaries as teaching tools? Lesson plans, sample discussion questions, and other resources are available at the following links: - PBS provides clips, lesson plans, and learning activities using Ken Burns’ The Civil War: The Civil War in the Classroom. - PBS’s POV has free resources for educators, including online film clips connected to discussion questions and lesson plans. - Jessie Daniels, PhD, of Hunter College and The Graduate Center – CUNY, has set up a wiki of films and resources for her Teaching Sociology through Documentary project. - Dr. Daniels discusses her approach to using film and other media in her courses at CUNY, “Teaching and Learning with Documentaries in the Digital Era.“ - The New York Times Learning Network Film Club offers short NYT documentaries with related discussion questions. - Teach With Movies offers guides and lesson plans for films that have life lessons and positive moral messages, to help make these messages meaningful for young audiences.

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- 1 What are the characteristics of realism in American literature? - 2 What does realism mean in literature? - 3 Why did realism develop in American literature? - 4 What are characteristics of realism in literature? - 5 What are two characteristics of realism? - 6 What is the concept of realism? - 7 How does realism affect literature? - 8 What is the importance of realism? - 9 What is the history of realism? - 10 Who is the father of American realism? - 11 What were the values of American realism? - 12 What is realism and naturalism in American literature? - 13 Who started realism in literature? - 14 What are the examples of realism? What are the characteristics of realism in American literature? Realism renders reality closely and in comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, Character is more important than action and plot; and complex ethical choices are often the subject. What does realism mean in literature? Literary realism is a literary movement that represents reality by portraying mundane, everyday experiences as they are in real life. It depicts familiar people, places, and stories, primarily about the middle and lower classes of society. Why did realism develop in American literature? American Realism began as a reaction to and a rejection of Romanticism, with its emphasis on emotion, imagination, and the individual. The movement began as early as the 1830’s but reached prominence and held sway from the end of the Civil War to around the end of the nineteenth century. What are characteristics of realism in literature? Realism, in the arts, the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favour of a close observation of outward appearances. As such, realism in its broad sense has comprised many artistic currents in different civilizations. What are two characteristics of realism? Elements of Literary Realism Realistic characters and setting. Comprehensive detail about everyday occurrences. Plausible plot (a story that could happen in your town) Real dialects of the area. Character development important. Importance in depicting social class. What is the concept of realism? Realism is a theory that claims to explain the reality of international politics. For realists, the highest goal is the survival of the state, which explains why states’ actions are judged according to the ethics of responsibility rather than by moral principles. How does realism affect literature? Examples of Novels in Literary Realism Literacy grew and written works were more accessible. Realism also enhanced the prevalence of novels since their subject matter often focused on characters and themes important and relatable to the working class, middle class, and social mobility. What is the importance of realism? Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. What is the history of realism? Realism was an artistic movement that began in France in the 1850s, following the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century, revolting against the exotic subject matter and exaggerated emotionalism of the movement. Who is the father of American realism? ” Father of American Realism” Born Samuel Langhorne on November 30, 1835, in the backwoods settlement of Florida Missouri, Mark Twain is the most celebrated humorist in American history. What were the values of American realism? American authors embraced Realism, particularly between 1860 – 1890, with a focus on the economic reality of middle-class life, the ordinary, the “here and now.” Character was more important than action and plot, complex ethical choices were emphasized rather than morality. What is realism and naturalism in American literature? Between 1870 and 1910, there were two main movements that took place in American literature: realism and naturalism. Realism was a literary movement that focused on ordinary characters ordinary, everyday life situations. Naturalism often included themes of survival, determinism, and violence. Who started realism in literature? The French writer who started the realism movement is Honoré de Balzac. Honoré de Balzac was a French novelist in the 19th-century known for writing about an unfiltered view of society and a founder of the realism movement. What are the examples of realism? Realism is a representation of how things really are, or being practical and facing facts. An example of realism is the rejection of mythical beings. A tendency to face facts and be practical rather than imaginative or visionary. A concern for fact or reality and rejection of the impractical and visionary.

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Children begin telling stories as young as age two or three. And they continue to develop storytelling skills in their interaction with parents and others who provide guidance and feedback. The ability to tell a coherent and well-developed narrative may be important for children’s literacy development. However, most of the studies on children’s storytelling and reading skills have been conducted with samples of middle-class white children. To address this gap in the research, my colleague Iheoma Iruka and I studied data of children from different socioeconomic and racial/ethnic groups from across the United States. What we found surprised us. Storytelling among African-American children For our research, we used national data from the Early Childhood Longitudinal Study, a study of about 14,000 children born in the United States in 2001, that examined their development, school readiness, and early school experiences. We focused on 6,150 children who were identified as African-American, Asian-American, Latino, and European American. To understand the role that storytelling skills play in the link between language and early literacy, we used data from when children were two years old until they were five years old. When the children were two years old, parents were asked to describe their children’s language abilities. Later, when children were four years old, their storytelling skills were measured by asking them to retell stories they had just heard a researcher tell them. At five years old, children were given an assessment of their early literacy. For most racial/ethnic and socioeconomic groups of children, we found that children who had better language skills as toddlers did better on the literacy assessment when they were five years old. But when we looked at how storytelling plays a role between early language and early literacy, we found that when it came to African-American children, it made a big difference. For these children, the higher their storytelling scores, the better they did on the early literacy assessment. Interestingly, it didn’t make a difference for the other groups. What this study tells us Storytelling skills may be less important for the early literacy skills of most children. But for African-American children, these skills seem to be important for early literacy in a way that may not be true of other children. We also know from other research that, from early on, African-American children tell stories that are vivid, elaborate, and rich in imagery. The quality of stories produced by African-American children has been found to be on par with or exceed that of stories told by their white peers. Other studies find that African-American children have a wide repertoire of storytelling styles, which they use flexibly depending on the context. The strong storytelling skills of African-American children may stem from the cultural and historic influences that have fostered a preference for orality among African Americans. All this should lead us to believe that African-American kids, with their strong storytelling skills, should do better with their reading skills. However, we know that African-American children are failing to learn basic reading skills. A nationwide test of reading achievement showed that four out of five African-American fourth graders failed to achieve competency in reading in 2013. So, why are African-American children not performing better in reading? More research is needed, but possible explanations suggest that the low-quality schools many of these kids go to end up having a negative impact on their reading skills. In addition, many of these kids may have language skills that differ from those expected at school. Why does storytelling matter? For most other kids, studies suggest that storytelling skills may show their influence when children are older. And that could be because storytelling uses “decontextualized” language. Decontextualized language differs from conversational or contextualized language in that decontextualized language functions independently from the immediate context or shared knowledge between listeners and the storyteller. As children tell stories, they gain practice in using the same type of language that is used in written text, which can help them as they learn to read. While teachers and parents have been told to read books to children to support their language and literacy development, encouraging children to tell stories as a way to support language and literacy has received less attention. So, what can teachers and parents do? Many schools have a “show-and-tell” time that can allow children a chance to practice storytelling skills as they share information about a valued object. As teachers and peers ask questions, they can facilitate children’s storytelling skills. Parents and teachers can also model storytelling for children by sharing their own experiences, in the form of a story that has a clear beginning, middle, and end, and addresses the questions of who, what, where, when, and why. Using props like wordless books, puppets, dolls, and photographs may also help children in developing stories. While learning to tell stories can be useful for all children, this skill may be most needed for those at risk of achieving reading competency.

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Join us on Facebook: www.fb.com/unitedhumanists Neuroscientists create atlas showing how words are organised in the brain. Scientists have created an “atlas of the brain” that reveals how the meanings of words are arranged across different regions of the organ. Like a colourful quilt laid over the cortex, the atlas displays in rainbow hues how individual words and the concepts they convey can be grouped together in clumps of white matter. “Our goal was to build a giant atlas that shows how one specific aspect of language is represented in the brain, in this case semantics, or the meanings of words,” said Jack Gallant, a neuroscientist at the University of California, Berkeley. Described as a “tour de force” by one researcher who was not involved in the study, the atlas demonstrates how modern imaging can transform our knowledge of how the brain performs some of its most important tasks. With further advances, the technology could have a profound impact on medicine and other fields. “It is possible that this approach could be used to decode information about what words a person is hearing, reading, or possibly even thinking,” said Alexander Huth, the first author on the study. One potential use would be a language decoder that could allow people silenced by motor neurone disease or locked-in syndrome to speak through a computer. To create the atlas, the scientists recorded people’s brain activity while they listened to stories read out on The Moth Radio Hour, a US radio show. They then matched the transcripts of the stories with the brain activity data to show how groups of related words triggered neural responses in 50,000 to 80,000 pea-sized spots all over the cerebral cortex. Huth used stories from The Moth Radio Hour because they are short and compelling. The more enthralling the stories, the more confident the scientists could be that the people being scanned were focusing on the words and not drifting off. Seven people listened to two hours of stories each. Per person, that amounted to hearing roughly 25,000 words- and more than 3,000 different words – as they lay in the scanner. The atlas shows how words and related terms exercise the same regions of the brain. For example, on the left-hand side of the brain, above the ear, is one of the tiny regions that represents the word “victim”. The same region responds to “killed”, “convicted”, “murdered” and “confessed”. On the brain’s right-hand side, near the top of the head, is one of the brain spots activated by family terms: “wife”, “husband”, “children”, “parents”. Each word is represented by more than one spot because words tend to have several meanings. One part of the brain, for example, reliably responds to the word “top”, along with other words that describe clothing. But the word “top” activates many other regions. One of them responds to numbers and measurements, another to buildings and places. The scientists have created an interactive website where the public can explore the brain atlas. Strikingly, the brain atlases were similar for all the participants, suggesting that their brains organised the meanings of words in the same way. The scientists only scanned five men and two women, however. All are native English speakers, and two are authors of the study published in Nature. It is highly possible that people from different backgrounds and cultures will have different semantic brain atlases. Armed with the atlas, researchers can now piece together the brain networks that represent wildly different concepts, from numbers to murder and religion. “The idea of murder is represented a lot in the brain,” Gallant said. Using the same haul of data, the group has begun work on new atlases that show how the brain holds information on other aspects of language, from phonemes to syntax. A brain atlas for narrative structure has so far proved elusive, however. “Every time we come up with a set of narrative features, we get told they aren’t the right set of narrative features,” said Gallant. Uri Hasson, a neuroscientist at Princeton University, praised the work. Unlike many studies that looked at brain activity when an isolated word or sentence was spoken, Gallant’s team had shed light on how the brain worked in a real-world scenario, he said. The next step, he said, was to create a more comprehensive and precise semantic brain atlas. Ultimately, Hasson believes it will be possible to reconstruct the words a person is thinking from their brain activity. The ethical implications are enormous. One more benign use would see brain activity used to assess whether political messages have been effectively communicated to the public. “There are so many implications, and we are barely touching the surface,” he said. Lorraine Tyler, a cognitive neuroscientist and head of the Centre for Speech, Language and the Brain at Cambridge University said the research was a “tour de force in its scope and methods”. But the brain atlas in its current form does not capture fine differences in word meanings. Take the word “table”. It can be a member of many different groups, says Tyler. “It can be something to eat off, things made of wood, things that are heavy, things having four legs, non-animate objects, and so on. This kind of detailed semantic information that enables words to be used flexibly is lost in the analysis,” she said. “While this research is path-breaking in its scope, there is still a lot to learn about how semantics is represented in the brain.”

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In general, education is the process of acquiring skills, values, beliefs, and habits as knowledge or way of life. The methods to acquire education includes teaching through storytelling, training, practising, discussion and the textbooks. Education frequently takes place under the guidance of the instructors. At the first place in Somali history during and after the independence education was considered as one of the top priority in any governments’ key strategic policies to produce human capital but unfortunately progress was a bit slow since the newly elected government after the unity did not have the capacity to reform and expand the education system due to the integration of two education systems developed by very different colonial powers (Britain and Italy) with different languages of instruction, syllabuses, and management styles. That was an obstacle and daunting task. A military coup led by General Mohamed Siyad Barre in 1969 initiated the reform and marked as the beginning of a period with significant progress in the provision of education in the country. The regime introduced a number of revolutionary social and economic programs under the banner of ‘scientific socialism’ – a mixture of Marxist-Leninist socialism and Islamic principles which some historians believe that it was productive while others disagree. Somalia adopted the Latin alphabet as the official script in Somalia in 1973, which paved the way for a more cohesive education system in the country. Breakthrough found in 1970 when the Somali National University established in Mogadishu with dedicated to offering faculties of journalism, education, medicine and among others. The civil war and the subsequent collapse of the Somali state didn’t spare the education system. In fact, it completely destroyed the education infrastructure of the country and also the damages are not yet repaired The outbreak of civil war in Somalia in the early 1990s directly damaged and took its toll on the formal education system in the country. Schools were turned into accommodation for the internally displaced people fleeing from the war, no stable environment to seek education and many educated people left the country as refugees as well as denying a large number of Somalis the opportunity to access education, this relocation of educated people delayed the process of reviving the education system after the war. Access to education remains limited. Despite the fact that many schools and training Centre’s have been established, teachers and instructors have been trained, curricula developed and textbooks provided, the current demand for education far outstrips its availability. Factors that contribute to academic challenges in Somalia Security threats: Somalia has been unstable for more than 3 decades and it affects the movement of the students from place to another and day to day school activities. Closed roads, explosions and violence are common factors that hinder the free movement of students and these causes families to send children to nearby schools regardless of the quality and most of the parents applied safety first. Incompetent teachers: without qualified teachers, goals of high standard education cannot be achieved. A teacher occupies a central position in the pupils’ success. This is partially due to low salary given to teachers which caused more qualified ones to opt for other occupation and the incompetent ones take advantage of the vacancy. Immigration: Throughout the years’ Somali families have moved from one district to another, from one town to another and this caused children to change schools frequently which comes along with new teachers, atmosphere and colleagues. This can lead to education disinterest of the pupils. Dysfunctional system: Over 20 years the education program, exam and certificates were authorized by private sectors and lacked quality assurance, accountability and reliability. Currently, the central government tried to take back the full control of the system but it still looks shambolic despite the efforts done in the past 5 years. Lack of parental guide: Majority of Somali parents are not educated and thus they don’t have direct control of their children’s school duties, another factor is that the parents have failed to regulate children’s activities outside school, social media being the biggest factor that diverts pupils from studies. Language barrier: Majority of Somali students are not good at English and this hinders them from acquiring knowledge written in English textbooks. Greater number of schools with less or no quality: Almost every district in Somalia has several schools but only a few of them are capable to offer trustable and quality education, while the rest are phantom schools owned by businessmen and their main target, is to make more money. Students are half baked: We all know that any curriculum should have both practical and theory but the case of Somali is different, there is no practical part in Somalia education system which makes the students, have baked which causes inadequate learning on particular subjects. Umbrella chaos: With the existence of several educational umbrellas operating in the country over the past two decades without a unified national syllabus to guide primary and secondary school instruction indicates the magnitude of education perplexity in Somalia. However, the umbrellas have recently agreed to set a blueprint for a unified syllabus as a measure of standardizing the education system at the primary and secondary grades. Academic dishonesty: Bribing teachers or other education officials to get promoted, falsifying of academic documents such as certificates, nepotism in scholarships are all common examples of academic dishonesty in Somalia. Financial burden: Many families especially IDPs who lives out strike comps, cannot afford to pay school/tuition fee, transport, uniform and books. Majority of the less privileged are left unattended Recommendation to overcome challenges facing Somalia’s education The government should control schools, universities or any other educational institute to avoid large number of students attending unqualified schools and wasting time and money on the hands of academic shenanigans. Every school should have parents – Teachers association (PTA) then both parents and teachers have direct communication channel and will be easier to control of the pupils both at home or at schools. The ministry of education should implement sophisticated teacher training programs. This will provide teachers with knowledge, attitudes, behaviors, and skills they require to perform their tasks effectively in the classroom, school, and wider community. Age restrictions should be mandatory to certain places. To avoid pupils diverting from school, it’s must that we have certain age restrictions in some places such as hotels and other luxurious places. Example can be ‘’ No high school student should be seen in Liido from 8pm ‘’. Tightening security: Security is very important to propagate the advancement of the education sector. Ensuring tight security is both the function of the government and that of the tertiary institutions. This will make the students have confidence in their studies. Through security, the academic facilities will be protected. Adequate government funding. The fund can be used in the installation of many equipment’s that students need to cement their studies. With the installation, practical will be carried out more, rather than theories. When the learning environment is well funded, students will be in a good atmosphere for their studies. Adequate governmental funding will enhance the building of more lecture halls and classrooms for students. In conclusion, Teachers’ incentive is very important, Somali Teachers are not well paid, they feel less appreciated, more stressed, less supported and unmotivated to do the job. It is important to rethink about the teacher’s salary since the high pay rate attracts the most qualified teachers. Dr Abdifatah Abdiaziz Dahie

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Josephina Awa March 22, 2021 Worksheets kindergarten 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. 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Free Printable Preschool Worksheets Letter Tracing Worksheets Number Tracing Worksheets Shape Tracing Worksheets Picture Tracing Worksheets Line Tracing Worksheets Pre Writing Worksheets Spiral Tracing Worksheet Cut and Paste Letters Cut and Paste Numbers Cut and Paste Shapes… Our new selection of printable Kindergarten Worksheets Pdf Free Download is the perfect tool to hone preschool or kindergarten’s fine motor skills. See how long it takes for them to finish one of these worksheets then you’ll know what to revisit. Get these free kindergarten worksheets and easily print, download, and use the kindergarten worksheets online. Printable Art Worksheets. Spark your students’ creativity with our selection of printable art worksheets! With activities to challenge and inspire children of all ages, these printable art worksheets help your students discover new talents in drawing, music, creative writing, and more. Young learners will love tracing and coloring pictures and. 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We recommend downloading the PDF file. 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.

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Students will demonstrate their abilities to create a cohesive story and definite characters while thinking quickly on their feet through the creation of a short fairytale improvisation in groups. • “Little Red Riding Hood” written up on the white board • The following bulleted list written up on the white board beneath the title of Little Red Riding Hood: o Mother gives Little Red the errand to go to sick Grandmother’s home to deliver goodies and medicine o Mother tells Little Red to not talk to strangers or stray from the path o Little Red sets off through the woods to Grandmother’s home o Little Red meets Wolf o Wolf gains Little Red’s trust and asks where she is going; Little Red tells him o Wolf beats Little Red to Grandmother’s home and eats Grandmother, then dresses in Grandmother’s clothing o Little Red gets to Grandmother’s home and is eaten by Wolf o Wolf falls asleep and Woodcutter hears his snore o Woodcutter enters home and finds sleeping Wolf o Woodcutter cuts the Wolf’s belly open and saves Grandmother and Little Red • At least four different colors of whiteboard markers • Timer Divide the students into three groups and have them play a round of “Pop-Up Story Book” in each group. This is a game learned when teaching storytelling elements. Ask the students to remember to keep in mind CROW and storytelling. After the students return to their seats, ask them if the fairy tale presented in this story had a definite plot. Were the characters and their relationships clear? How important was it to the audience (if there was one) to see these elements of storytelling through CROW? How much of the tale was the storyteller’s? (The answer to this is the entire thing–they are just given a title to work with.) Does this mean the storyteller was a type of director? Bring the students’ attention to the whiteboard and the story points written on it. Ask them if this story is familiar. Are the points open enough for interpretation if the storyteller in “Pop-Up Story Book” had to follow these? Yes, it should be! That’s where imagination comes in! Inform the students that this type of listing of a plot is called a plot point. They will be creating a plot point to a well-known fairy tale or fable (they can do Disney if they want, but try to have them steer clear of it, as they are not the actual fairy tales) in groups. The style of the performance will not be in “Pop-Up Story Book” style, however–it will be more like an open scene. Step 1 (Instruction): Count off the students into four different groups and have them go to their own area of the room. Instruct the students, once they are in their groups and in the area they need to be in, that they are to have a scribe write the plot points of a fairy tale or fable on the board that they will perform for the class at the end of the period. Urge them to stick to a short one, as their performances will only be allowed to be three minutes long. This is one of the reasons that Disney movies are not good things to go off of. Let them know that duplicate stories will not be allowed, so the titles of the stories must be listed on the board (each group using a different color to help differentiate). The group who writes the story up on the board first is the one that will perform that story. Their performances will be worth ten points, and the only way to receive those points are to make sure that everyone is fully involved and participating. Step 2 (Group Work): Give the teams time to discuss what story they will perform and write it on the board, and then have them discuss plot points. When they have figured them out, the scribe must write the plot points in on the white board beneath the name of their story. All groups should have their plot points on the board for the class to observe. This should not be more than ten minutes. Enter conversations with each group as necessary as you go around and listen to their discussions and ideas. Step 3 (Instruction): Ask the students to cast their stories. Each member of each group must have a large role in the skit, though that can mean that one person is all of the props. Ask the groups to please be aware of who would like to play what role and that everyone must feel that he or she is able to fully contribute to the creation of this story. When they have cast their stories, they are to rehearse their outline with one another. Remind them that this will be done in a proscenium style, so be aware of where the audience is and what they are able to see. Step 4 (Group Practice): The groups should be given about fifteen to twenty minutes to practice their outlined stories. Remind the students that they are only allowed to perform for three minutes, so they must all be on the same page of what is most important to get the story told. Go around to each group, helping as necessary. Make sure that each student is engaged in the creation of the piece, reminding them that they will not be receiving their points if they are not an obvious help/participant in this story. Keep notes of what students are slacking off (minus one point for each time this happens). Step 5/Assessment: Let the groups perform their stories for the class in the style of a proscenium stage. Help them as they perform to realize if they are blocking one another or if they are too far upstage. Keep them to the time limit by giving a 30-second warning. Award the ten points (which are participation based, as mentioned) to the individual students accordingly in the grade book. Make sure to ask after each performance what the strengths and weaknesses were. Were all of the elements of storytelling and CROW observed? How much improvisation was still allowed even with the plot points?

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Teaching philosophy in schools has shown amazing results for children’s cognitive and social skills. When one thinks of philosophy, children do not usually come to mind. After all, it’s a field of study that requires deep thinking and understanding of life. However, a “large, well-designed study” conducted by the Education Endowment Foundation has suggested positively amazing results amongst children who were taught just an hour of philosophy a week. The study shows that nine and ten-year-old children who participated over the course of one year greatly improved their literacy and math skills. What’s more, the students who benefitted the most were, in fact, disadvantaged ones. The P4C (“Philosophy for Children”) teaching program was developed by professor Matthew Lipman in New Jersey in the 1970s to teach thinking skills through philosophical dialogue. It has successfully been adopted by schools in 60 countries, with documents supporting the impact it has on children’s cognitive, social and emotional development. But how exactly does the program work? The hour involves a structured session which begins with a stimulus. The children create their own philosophical questions based on the topic and then collectively choose one as their focus to discuss and debate on. The teacher encourages them to draw on their imagination and supports them on their reasoning and thinking, as well as listening to them when they share their thoughts. So how can teaching philosophy to children benefit their development? - The inquiry-based approach opens up children’s learning by exploring ideas - It gives children the confidence that their ideas (as well as other’s) have value - They gain confidence to openly ask questions - It gives them a chance to speak and be heard without fear - Intelligence and general knowledge improvement - For the children who are academically shy, this gives them a chance to grow - For the children who are academically gifted, a chance to think outside the box There are even more benefits that simply cannot be gained from traditional schooling. The outcomes for this program teach to think before they speak and to give reasons for what they say, as well as to value other’s views. It teaches to respect other’s and also their own views without being fearful. Most children have no grasp on any of these aspects of communication well into their teens and in some cases, even into their twenties. Are there any advantages that carry beyond teaching philosophy in school into other aspects of a child’s life? As stated in the above-mentioned study, the impact on other areas of the curriculum was proven to be positive. This is because it creates an enquiring classroom atmosphere that extends outside of the philosophy class. The development of listening and reasoning skills builds a sense of independence, and many children nurture a talent and ability for creative writing. A little philosophy for a lot of benefits – evidently it goes a long way. Perhaps, adults too should dedicate an hour a week for this cause. There is a child in all of us who could greatly benefit from it. - Solar Plexus Chakra Healing: How to Know When You Need It and How to Do It - February 19, 2019 - Signs and Causes of Compulsive Lying and How to Stop This Habit - February 13, 2019 - 7 Motivational Success Stories That Demonstrate the Power of Introverts - February 10, 2019 Copyright © 2012-2021 Learning Mind. All rights reserved. For permission to reprint, contact us.

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Timelines allow topics to be examined visually by graphically organizing and showcasing events. They allow for storytelling through a chronological narrative. Additionally, creating timelines requires students to determine the purpose and criteria for ordering, and can help students analyze the steps in a procedure according to cause-and-effect relationships. Creating a timeline can help students to accomplish Bloom’s applying level learning activities, aiding them in any implementation and execution of a plan. Even in the simplest form, putting events in sequence falls into the lower order understanding or remembering levels, but timelines can help learners hit those higher order thinking skills, as well. They can analyze by determining relationships, evaluate by establishing why certain events unfolded the way they did, and consider what, if anything, could have been done differently. Learners can synthesize by exploring how an outcome would be different if the events had happened in a different order, or extrapolate what might happen next in the sequence, creating new outcomes. There are many tools QM members use to help their learners build timelines. Here’s a look at some of the most recommended ones: - TimelineJS: This popular tool from Northwestern University Knight Lab allows you to create your own timeline in just four easy steps. Plus, it’s available in over sixty languages! - Sutori: Create timelines in just minutes with this free, easy-to-use resource that also makes sharing your timelines a snap. - myHistro: Combine maps and timelines to create unique presentations that tell your story. Or, choose to view one of hundreds of professional historical timelines in the archives. - OurStory: Capture life’s memories and moments with this tool that acts as an internet time machine. - SmartDraw: Dozens of templates to choose from, SmartDraw makes creating timelines simple. - TimeGlider: Start creating history with this tool that allows you to create and publish interactive timeline. - TimeToast: Creating timelines is as easy as making toast with this tool that allows you to create beautiful, interactive timelines. - Read Write Think Interactive Timeline: Designed with students in mind, this timeline maker allows students to organize and present events and process in a variety of ways. - Use what you already have: Applications like Google Drawing and Microsoft PowerPoint have built-in tools that allow you to create colorful, professional timelines in minutes. Do you have a go-to source for creating timelines? Help build up our list of resources by sharing. Share it on Twitter, Facebook or LinkedIn. Be sure to tag us at @QMProgram so we can pass your resource along!

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Throughout February, we are offering Frederick Douglass and abolitionist-themed tours in honor of his birthday and Black History Month. These tours happen twice daily at 12:30 and 3:00 pm, and tour-goers will explore the whole museum while also gaining insight into Douglass and other abolitionists. Tours are included with museum admission, so there’s no extra cost. Read on to take a glimpse at some of the stops you’ll make along the tour. Birth and Beginnings Our tour starts, well, at the beginning. Frederick Douglass was born into slavery in February of 1818 in Talbot County, Maryland. His exact date of birth is unknown, as there is no record of it, but he later chose to celebrate it on February 14. Explore our Hometown Authors kiosk to learn about Douglass’s early life and the Frederick Douglass National Historic Site, one of our Author Home Affiliates. Douglass in Chicago Since we are in Chicago after all, the next stop on the tour is our Chicago Gallery. Frederick Douglass’s connection to Chicago rests mainly with fellow activist Ida B. Wells and the World’s Columbian Exposition of 1893. Douglass and Wells protested the lack of black representation at the World’s Fair, which failed to include any exhibitions featuring people of color. The two, along with other contributors, wrote and distributed The Reason Why, a pamphlet of essays detailing the historic evils of slavery, and also demonstrating the incredible progress people of color made in the brief time between the abolition of slavery and the World’s Fair, a mere 28 years. A facsimile of The Reason Why is on display in our special exhibit Frederick Douglass: Agitator, and pamphlets to take home with you are available in our gift shop. Narrative of the Life of Frederick Douglass Douglass published his autobiography in 1845 and it quickly became a bestseller and was critical in turning public opinion against slavery. In our Featured Works interactive table, you can explore this seminal work in-depth, learn about the persuasive writing techniques he employs, and even listen to the text read aloud. Due to its historic and cultural significance, we give free copies of this book to middle and high school students who visit on field trips as part of our education initiative Write In, which provides schools the opportunity to visit the museum free of charge. Frederick Douglass: Agitator Our special exhibit celebrates the breadth of Douglass’s activism. Not only did he fight for the abolition of slavery, but he also advocated for women’s rights, fair voting laws, equal education, and many more causes. Frederick Douglass was a true champion of civil rights, social equality and economic freedom of all forms as he understood the how closely these issues relate to one another. No matter the issue, Douglass was there to “Agitate! Agitate! Agitate!” Throughout the tour, you’ll learn about the many American writers who were influenced by Douglass. From poet Paul Laurence Dunbar, who befriended Douglass through their activism, to President Abraham Lincoln, who met with Douglass to discuss the rights of black soldiers fighting in the Civil War, Douglass was well-respected among his peers. And now, his legacy lives on in activists who use their words and platforms to fight similar battles Douglass dealt with in his time, such as Black Lives Matter, the #MeToo Movement, and beyond. As Douglass famously said, “If there is no struggle, there is no progress. Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground.” Douglass planted the seeds of agitation, and the writers of today continue plowing up the ground toward progress. Frederick Douglass Goes On a World Tour Interested in learning more about the life of Frederick Douglass? Join us March 13 at 6:30 p.m. as we welcome author and historian Tom Chaffin to the museum to discuss his book Giant’s Causeway: Frederick Douglass’s Irish Odyssey and the Making of an American Visionary, which tells the story of Douglass’s 1845-47 lecture tour of the British Isles. This trip would prove pivotal in Douglass’s life and development as a worldwide celebrity and moral visionary. Learn more about the special program here.

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If you're wondering how to get creative and write a short story, know this. Specificity is paramount. Read on to walk through the steps that'll help you turn your imagination into a well-crafted story. Writing short stories can be a fun and creative way for children to express their ideas. Unfortunately, some students feel overwhelmed by the process and turn away from writing completely. Make. How to Write a Fiction Story for 6th Graders. of literary elements, learn to engage an audience and use language creatively through description. Sixth-graders can write effective short fiction by learning brainstorming techniques, creating interesting characters and plots, and using specific descriptive language. Writer's Notebook. Sixth-grade teacher Judith Eggemeier says that keeping a. A short story unit is the perfect way to begin a school year. Short stories are quick and applicable to so many learning standards. Yet, they are versatile, so you can really incorporate them whenever and however you want. People often debate which short stories should be taught at which grade levels. There is no clear right or wrong answer for that question. This Writing Short Stories: The Fun Way Lesson Plan is suitable for 7th - 9th Grade. Do your young authors suffer from writer's block when they try to write short stories? Access their natural creativity with C-Gor, the writing monster! The instructional activity takes aspiring authors through a new writing process called C-Gor (Character, Goals, Obstacles, Results), in which they list ten of. This is a historical fiction short story about a Jew who has been trapped in a Nazi concentration camp during the Holocaust. Not for young children. This was a writing assignment I did when I was in 11th grade. The writing prompt was, “If anybody asks us, tell them we’re fine,” and this is what I c. This Write a Short Story Lesson Plan is suitable for 7th - 9th Grade. Students compare two paintings, depicting urban life in America in the 1940's, answering a series of questions, then create a short story about the paintings' characters. They compare 'Nighthawks' and 'Nightlife.'. Plot Generator. Create a short story. Want to write a customised short story really quickly? Choose a style, opening and type of ending, name your character, choose a few adjectives and we write a story for you. Use the form below for your tailer-made tale. Tweet. Share. Share. Tumblr. Google. Reddit. Please keep your input family friendly. Need a prompt? Go random! Title. Opening. Conflict. Short Stories For 6th Grade. Showing top 8 worksheets in the category - Short Stories For 6th Grade. Some of the worksheets displayed are Using short stories in the english classroom, Book of short stories, Short storiesshort stories english i english i, Literary passages close reading, Name the gift of the magi, The fir tree, Grade 6 english language arts practice test, Sports time collection. Now ask student to write a short, yet complete summary of the short story here is a sample: “Seventh Grade,” by Gary Soto tells a story about how Victor, a young boy who wishes to make Teresa his girl, struggles to overcome his shyness and nerves to make a good impression. Initially, he is encouraged when he finds that he and Teresa share several classes including English and French. In. Seventh Grade Creative Writing Worksheets Seventh Grade Creative Writing Worksheets. Let your seventh-grade students show you how imaginative they can be, with our most popular creative writing printables. We have plenty of poetry and short-story activities for them to enjoy, plus many other types of lessons! We have holiday-themed worksheets, daily writing prompts, rubrics for grading work. How to write a story In this set of reading and writing worksheets, your children will first read two short stories for mechanics, then draw and label a diagram about those stories, answer prompts to create their own story, and finish by writing a complete story! SHORT STORY AND NOVEL ASSIGNMENTS (DIGITAL) FOR GOOGLE DRIVE: Gone are the days of boring book reports and reading responses! This multi-faceted paperless resource provides fun ready-to-use assignments that will work for any novel or short story that your students are reading. Here is a list of 101 narrative essay topics, prompts, and short story ideas to give students the practice that they need to become better writers: Everybody gets afraid sometimes. If there were no fear, there would be no opportunity for bravery. File: Writing a Short Story Worksheet. Rosalyn Forbes Central Aroostook Jr-sr High School Mars Hill, ME 2315 Views. 361 Downloads. 11 Favorites High School English Summer School 10th Grade World Literature AP English 12 English 8 Cultural Literature High School English Summer School Second Session- Story Writing First Session- Opinion Essay Second Session- Story Writing Writing a Short Story.This page features 20 of my favorite short stories with questions. These reading activities are perfect for classroom use. Written by some of the greatest authors in history, these stories are short enough to cover in a single class period, and rich enough to warrant study. I tried to select stories that students would find highly interesting.How to Write a Suspense Story Before we can become professionals at writing suspenseful tales, we need to break down the parts to learn how each literary element works together to create the story.

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In order to depict in a short space of time, a conflict that will hold the attention of the audience or reader, and evoke a progressively strong emotional response, a dramatist (or novelist) must plan the structure and the dialogue of his or her play (or novel) with great care. Every conversation, aside, soliloquy, action, and piece of narration must have a definite purpose in the story that unfolds. This purpose is termed ‘dramatic or narrative significance’ (depending upon whether one is analyzing a play, novel, or short story). Below is a list of the various types of dramatic significance (in no particular order) that can be identified in a speech, conversation, incident, or entire scene in a play, or through the narration and dialogue in prose fiction. NOTE: Often, a combination of a few or even several of these types of literary elements are present in a single passage: - To establish conflict: i.e. to introduce key elements of conflict that will need to be resolved such as: person vs person, person vs society, person vs nature, or person vs himself or herself - To forward the plot: i.e. to depict the victories and the defeats of the protagonist; to depict some incident or decision that will precipitate further events in the conflict - To give information: i.e. to give background facts that the audience needs to know in order to understand the conflict; or, to give information about events that, during the play, were supposed to have occurred off-stage - To develop character or to characterize: i.e. to reveal the nature or character traits of a character; or to show development in a character - To create suspense - To create atmosphere or to impart mood - To provide dramatic relief: i.e. a scene or passage included after a tense scene or incident that is designed to break the tension (without going so far as to provoke laughter) - To provide comic relief: i.e. a scene or passage included after a serious scene or incident that is designed to provoke laughter from the audience - To arouse pathos in the audience: i.e. to make the audience’s sympathies lie where the dramatist wants them to lie - To create irony (dramatic, verbal, or situational) - To foreshadow later events - To create dramatic contrast in characters or mood - To emphasize or link to a theme - To create imagery: i.e. the use of description, including metaphors, similes, personification, etc., to help support characterization, atmosphere, theme, etc. - To establish setting: i.e. to create a sense of time and place Help Us Fix his Smile with Your Old Essays, It Takes Seconds! -We are looking for previous essays, labs and assignments that you aced!-We will review and post them on our website. -Ad revenue is used to support children in developing nations. -We help pay for cleft palate repair surgeries through Operation Smile and Smile Train.

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You knew difficult times were ahead, but no one was prepared for a disaster that would see extended social isolation. It causes undue stress on your mental health. If you are a person with sensory sensitivities, like autism, concussion, PTSD, hearing loss, or have another injury, illness, disease, or disability, the effects of social isolation can be even greater. Illnesses and crises are not inherently sensory-friendly times. How does social isolation affect mental health? “Social distancing” is a term we have all just learned, but it has quickly become a daily reality for many of us. We all need to remind ourselves that social distancing and social isolation can be hard at times and it can significantly influence our mental health. These helpful tips are for everyone including families, neighbors, seniors, friends and relatives. Ultimately, taking care of our mental health is a priority for us all. Take care of the basics Take a moment to reflect on your current state and think about how your basic needs are being met. This includes paying attention to all eight senses. Are you hungry? Thirsty? Tired? Need a bathroom break? When in isolation with your family, continue to ask yourself these questions as they are important. Taking care of your body’s basic needs is an important tool to manage stressful events. Remember: eat, drink and rest. Take a shower and yes, use the bathroom on time too (and don’t forget to wash your hands)! Do what is meaningful, even during social isolation The basics as mentioned above are the foundation of maintaining your mental well-being. After that, it is important to do the things that give meaning to your life every day. Essentially think about what makes you, you? What things or activities bring you joy? Try to keep engaging in those activities, even just a little bit each day, especially when your daily life is disrupted. Re-establish routines as soon as possible This is especially important around sleep. Try your best to get back to doing certain activities at the same time of day, even if you are not in the same place. Your whole daily schedule, everything you do from the time you get up until the time you go to bed, might be upset due to pandemic-related changes. While you may not be able to follow all of your normal activities within your daily routines, even bringing back parts of them while you live your new normal is helpful. What are your daily habits? You may be living in a different place. This may include eating different food, sleeping in a different bed, being away from work or school, or having to be separated from family. Connecting with something that is known to you can dramatically reduce your stress. Find the familiar. It brings great comfort. Ask for help when you need it Let family, friends, and new health providers know exactly what you need. Whether that being something like a missing medication or helping to manage your mobility. Take care of your medical and health needs and inform professionals and loved ones what they are. Ensure you are stocked up on prescriptions and other medication to avoid having to go out to get them during this period of social isolation. Balance giving and receiving Accept the help and offer what you can, when you can. Something simple as a kind word at the right time goes a long way and makes all the difference in the world. Also, know that if you deplete your reserves you cannot help yourself or others. Try to focus on doing what is best and right for you. Keep refilling your cup Resiliency endures when your reserves are not entirely depleted. Think about what helps you the best. It might indeed be a 10-minute nap or reading a book. Perhaps it is playing a game or having a social chat with a friend about something entirely frivolous and fun. During times upheaval, it can be easy to feel guilty about taking care of yourself. Be a role model for others through demonstrating the importance of “self-care”. Tell the story Share your story. Then tell it again. Record it. Journal and write about it. Draw about it. Make a collage. Sketch a cartoon strip. Paint it. Photograph it. Just share it. Disaster brings many shared experiences. Processing the events, dealing with the moments that are scary, the stressors that are challenging, as well as the ones that bring tears of gratitude, are helped by storytelling. Find the peace in quiet times during periods of social isolation During these challenging times, there can be moments of quiet and at the same time overwhelming moments. Sigh. Take a breath. And then another. And another. Keep going. Re-connect with your body and your mind during times of social isolation. Try using meditation or yoga. Thoughts may race and emotions may over-spill. However, let them be and take as many moments of stillness you can find in the hustle and bustle around you and within you to re-calibrate. You may not have your typical space of solitude or silence. Reclaim what you can, when you can. Make room for sadness You have permission to grieve. To be mad. To grit your teeth in frustration. And to shake your head in dismay. To wonder, why? You also have permission to be happy Find fun and funny moments. Humor, light-heartedness, and laughter are incredibly healing. It is perfectly normal to feel happy and sad at the same time. To laugh and cry at the same moment. Give someone else something to smile about. Share a laugh. Social Isolation isn’t all bad all the time, but it can feel like it. The small moments of niceties are what see us through. Recognize them, and relish them. When the years pass and the memories fade, the kernels of good amongst the hardships will be what we want to shine through. Subscribe to our newsletter Receive a periodic newsletter about sensory friendly solutions for people. You can unsubscribe at any time.

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What Activities Can We Use to Teach Children About Noise Pollution? Noise is any “unwanted or disturbing sound,” according to the Environmental Protection Agency, and while sounds often surround us, certain noises can annoy and even cause adverse health effects. Identifying sounds that can affect your ability to hear well and learning how to protect your ears are valuable lessons for children. Consider your students' age groups when planning your lessons; while naming and discussing sounds is appropriate for elementary students, using mobile devices to measure decibel levels would better suit the middle school grades. Show students pictures of different objects or living things that cause noise. Ask them what sounds these things make, if they believe these sounds are good or bad, and why they think so. Do they feel all people would agree which sounds are nice? You will likely find not all students agree; some might love music while they do homework, while others need silence in order to concentrate. Play a collection of sounds through speakers -- for example, chainsaws, traffic, cats purring, dogs barking, alarm clocks or rocket launches -- and ask students to identify each noise. Ask which sounds they think would cause hearing problems and why. Inside the Ear If you ask students to draw an ear, you will likely see only the outer part of the ear. Teach students there are mechanisms inside their bodies that work together so they can hear sounds. Show students the different parts of the ear with a diagram, and explain how sound travels through the ear canal to the eardrum. Gently tap a toy drum and let them feel it vibrate. Explain that the same thing happens in the middle ear: The eardrum vibrates and causes bones called the hammer, anvil and stirrup to move. The vibrations from these bones go to the inner ear, called the cochlea. Very tiny hairs in the cochlea move up and down and send signals from the cochlea to the brain. Now bang hard on the drum and let the students feel the difference in the vibration. Tell them that when they're exposed to noise pollution, those hairs in the cochlea become damaged or die -- and they don't grow back. Teach students that we measure sound levels in decibels. According to the Department of the Environment, you can start to hear sounds around five to 10 decibels, and 150 decibels is loud enough to cause pain and instant damage. Show students pictures of different noise-causing objects, and have them guess the decibel range of each one. Libraries, for example, are notoriously thought to be quiet places, but according to the Department of the Environment, they can hover around 34 to 40 decibels. Lawnmowers are around 90 decibels, and police sirens are around 120 decibels. The Environmental Protection Agency reports that anything above 85 decibels is considered harmful to hearing. Use a sound level meter, which takes in sound information and reports a decibel level, to test noise levels with your students. Ask them if the decibel reading from the device was similar to their predictions. Protection From Noise Ask students what happens when they hear unwanted or disturbing sounds. Do their ears hurt, or do they get headaches? Do they have trouble hearing their friends talk or difficulty concentrating on a task? Noise pollution can increase stress, inhibit sleep or damage hearing, according to the Environmental Protection Agency. Ask them what they think they can do to prevent noise pollution. Teach students about the use of earplugs to protect their ears when they can’t get away from loud noises. Conduct an experiment to see if earplugs are more effective at protecting from noise than covering their ears with their hands or doing nothing at all. Explain how turning down the volume on headphones can help prevent hearing loss. - Environmental Protection Agency: Noise Pollution - Environmental Protection Agency: Listen UP! Play It Safe With Your Ears. Play It Safe With Your Health - Department of the Environment: Bothered By Noise? - Teach Engineering: Measuring Noise Pollution - National Institute on Deafness and Other Communication Disorders: Noise-Induced Hearing Loss 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.

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1. Doing Homework The first thing that you should check after school is whether your child has bring some assignment home. If he or she has some homework the first thing is to complete it before engaging in any other activity. Homework given in school helps the child to practice what he or she has learned in school. Ice-skating is a game for both adults and children. It helps in improving balance, Posture, flexibility, and coordination. It also helps in enhancing muscle strength. Skating improves child’s mental capability since it involves mental and physical coordination. Swimming among all other games has a unique feature that of life-saving. It is very important that your child knows how to swim as a preventive measure to drowning which is a very common accident among children. Besides the safety benefit, swimming also helps in maintaining your heart rate, reduces stress, builds and strengthens muscles, exercises lungs, burns calories. It is the only physical activity that helps to tone the whole body. 4. Visiting Museum Museums are community centers set up to educate the public. Museums take care of history and when you take your child to a museum he or she will have a great insight about the history and will be able to compare and contrast what is important to them hence building on their critical thinking. 5. Watching Cartoon/comic strips Children always want to have fun and enjoy every bit of their lives. Cartoons are always correlated with fun and humor. Therefore, get your child cartoons for entertainment or comic strips on Lol Hit. They give practical experience or a real-life example that makes your child develops super understanding skill. They can also help to develop public speaking skills and also improve on vocabulary. 6. Creative Writing Creative writing is one of the most important activities or skill that your child can engage in as a way of development. It is scientifically proven that writing help to develop cognitive growth, organizational capability and ability to influence others through persuasion. Creative writing will help to improve your Childs’ imagination, self-expression, self-confidence, and communication and persuasion skills. Giving children materials to read will help to keep them busy and at the same time expounds on their knowledge, exposes them to new things and boosts their imagination and creativity. There are a lot of materials that children can read during their free time e.g. novels, newspapers, magazines, articles, diaries, motivational books, and the list is endless. Keeping children busy is important, as the saying goes idle mind is a devils workshop. If they remain idle they might get involved in the bad company and as you all know bad company ruins good morals.

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While there are many studies that debate whether or not listening to classical music improves test scores or helps students learn, one undisputed fact remains: classical music is here to stay! We find classical music in movies, on television, and it even lends itself to today’s popular music. It has a variety of classroom applications from art to math. Creative Writing: Have students work in pairs or small groups and provide the students with the beginning of a story. For instance: “The carriage began to sway in the high winds and rain, and with a violent crack of lightning, the horses cried out and the rickety carriage was flung onto its side and slid down the muddy embankment. Ten year old Charlie was tossed into the darkness and found himself tangled in the branches of the giant oak that had just fallen….” The more aggressive and dark your story begins, the better for this exercise. Next, divide the class and play a relaxing piece of classical music for half of the groups, and a darker more sinister piece of music for the remaining groups. Ask all of the students to finish the short story with their own words. When finished, have the groups read each of the stories, and then discuss the turns the plot takes. Focus on the music to see whether or not students were influenced by “happy” or “angry” pieces. Art: Play a piece of classical music and have students draw the images that they “see” when they listen to the piece. Have a class discussion about the use of bright colors versus darks, and have students explain what each drawing represents. For an addition project, have students gather in groups and write a composition that combines the images from the drawing of each member of the group. Recognition: Make a game of classical music by playing songs from movies and cartoons. Divide up into teams and keep score of who correctly matches each piece. Math: A short lesson in rhythm and the way music is composed on a piece of paper gives way to a lesson in fractions. Ask your school music teacher to help explain things like “3/4 time,” then listen to different selections and ask students to conduct a few phrases based on the rhythm of the music. To get you started with some composers and selections, John Clare, announcer and producer at KMUW, Wichita’s public radio station, offers this “Top 10” classical music list: 1. Beethoven: Symphony #5 2. Pachelbel: Canon in D 3. Mozart: Eine Kleine Nachtmusik 4. Bach: Jesu, Joy of Man’s Desire 5. Brahms: Piano Concerto #1 6. Mendelssohn: Symphony #4 7. Beethoven: Fur Elise 8. Mozart: Violin Concerto #3 9. Tchaikovsky: Waltz of the Flowers 10. Schubert: Trout Quintet For those of you in the Portland listening area, KBPS 89.9FM offers a unique broadcast Tuesday and Thursday at 10:30 a.m. for teachers to use in the classroom. Another program, Kid Rhythm Classics, airs Saturday mornings from 7 to 9 a.m. KBPS also suggests the following ideas: * Use classical music as a “soundtrack” to students’ readings of poetry or other creative writing * Have students listen for rhythmic patterns * Play classical music from the time period being studied, giving historical events a musical and cultural context * Discuss overlapping scientific and artistic developments that occurred in the time period of various classical music compositions * Discuss the diversity of ethnic/cultural groups as expressed through music “I had a great chuckle one day when a struggling reader came up to ask me if we could listen to Joanne Barch (Johann Bach) again,” writes Terri, a regular contributor to the Teachnet.com T2T forum. For her class she chooses a Composer of the Month. “I don’t do anything elaborate, just simply write the name on the board and help them to pronounce it. Then we play music of that composer throughout the month, during our silent reading times. By the end of the month, the kids are usually able to hum along. I have copied pictures of each composer from encyclopedias, etc. so they know what each one looks like.” Terri points out that this concept works well for arts appreciation; she also features an Artist of the Month. Happy listening with your class!

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Grade Levels: 5/6 Subject Area: Social Studies, Geography This lesson plan is inspired by the article “Protecting the Past,” in the April 2017 Happy Birthday Canada issue of Kayak: Canada’s History Magazine for Kids. Students develop an understanding of the importance of the process in which unique and historically significant national sites, people and events in Canada are determined and the potential consequences of not recognizing and preserving them. Eight 60-minute periods Historical Thinking Concept(s) This lesson plan uses the following historical thinking concepts: establish historical significance, use primary source evidence, and analyze cause and consequence. - Identify and gather information about a National Historic Site of interest - Construct a multimedia display (infographic, slideshow, that can be uploaded to a collaborative class digital map such as Google My Maps) - Develop an understanding of historical significance - Use persuasive writing techniques - Reflect on the importance of Parks Canada’s National Historic program National Historic People: People can be selected as someone of national historic significance 25 years after death. Molly Brant (1736 to 1796) was an indigenous woman of Mohawk descent who exercised considerable political influence, built up over a lifetime, among the Six Nations of the Iroquois. The plaque can be found in Kingston, Ontario, at 175 Rideau Street. This plaque was dedicated in November of 1994. Parks Canada uses the following areas of contribution to categorize the national historic importance of people, places and events: Peopling the Land, Developing Economies, Governing Canada, Building Social and Community Life and Expressing Intellectual and Cultural Life. The Lesson Activity Part 1 – National Historic Sites Using a variety of images from a variety of National Historic Sites, have students work in small groups to examine the photos and discuss what they see in the image, what they think the purpose of the image is, and record any questions or wonderings they have in regards to the images (Use a See-Think-Wonder graphic organizer to record). Debrief with students. (20-30 minutes) Read first section of article “Protecting the Past”. After the reading, have the students in partners or small groups discuss the following question: “What might the possible consequences be for Canadians if we did not have National Historic Sites?” (20-30 minutes) Students select one heritage site to explore in more detail, gathering information about the historical significance of the site, how it contributes to Canadian identity and what the consequences might be if this site had not been designated as a National Historic Site. They share their findings in digital multimedia form which can be uploaded to a class digital map using Google My Maps. (Two 60-minute periods) Part 2 – National Historic People Display the image of the plaque recognizing the contributions of Molly Brant on screen. Ask students if they have seen plaques similar to this elsewhere in Canada. Have students do a “turn & talk” to an elbow partner to share what they think the significance of these plaques are. Read the plaque and discuss the role that Molly Brant played in Canadian history. (20-30 minutes) Read the second section (People) of the article “Protecting the Past”. Ask students: “Why do you think that there is a waiting period of 25 years after death to be named as a person of national historic significance?” Working in pairs or small groups have students brainstorm on chart paper what they feel the criteria would need to be to be considered for designation as a person of national historic significance. Have the groups share their ideas to create a collaborative list of criteria as a class. Based on these criteria have students brainstorm a list of contemporary people that they feel should receive a designation of national historic significance. (60 minutes) Students will select one individual from the list that they brainstormed in the acquiring phase that they wish to advocate for as a person of national historic significance. Have them write a persuasive letter that outlines the contributions of the individual they selected and explain why they feel that these contributions should be considered as historically significant. (60 minutes) Part 3 – National Historic Events Watch the Heritage Minutes: Underground Railroad to introduce students to the Underground Railroad in Canada. Explain that the Underground Railroad is considered a National Historic Event. Read the Events portion of the article “Protecting the Past.” (30 minutes) Have students break into pairs and provide each pair with an outline of a different National Historic Event. Have students become familiar with this event. Ask them to think about why they believe that this event is important to Canada’s history. Have pairs place their event on a class timeline, sharing a brief summary of the event with their peers. Use the National Historic Site List to support student research. (60 minutes) Pose the following question to the students: “What has happened in your lifetime that you think should be a National Historic Event?” In small groups have students brainstorm events that they feel are significant to Canada. Have students choose an event to add to the class timeline. Students share their reasoning as to why they feel this event is historically significant. (60 minutes) Final Reflection: Students will write a reflection on their learning based on the following prompt: “Why might it be important for Canadian identity for Parks Canada to recognize historic sites, people and events?” - Heritage Minutes: Underground railroad. Historica Canada. Published 1991. Web. 27 Feb. 2017. - Parks Canada Agency, Government of Canada. "Parks Canada - Home." Parks Canada - Home. N.p., 15 Feb. 2017. Web. 25 Feb. 2017. Assessment for Learning (Formative) During small group discussion in Part 1 of lesson, teacher could use an observational tracking form to record conversations between students related to their understanding of consequences of not having National Historic Sites. Assessment for Learning (Summative) For both the digital multi-media and persuasive letter rubrics could be created for use with evaluation.

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Emory B. asks, “What are tenses in English grammar?” Here’s a surprising answer from Thomas and some creative writing activities for exploring tenses in English. Komal V. asks, “How do we develop writing skills in young people?” Here Thomas explores 3 ways to make writing more playful and fun writing activities for kids. Cozy Grammar recently offered a workshop for teachers on how to teach transitive and intransitive verbs in creative and playful ways. Hosted by Digi Phonics in India, this complete workshop explores the hidden power of intransitive verbs and answers questions from teachers. When we start learning grammar, certain terms can feel intimidating. What is a principal clause? What is a compound sentence? Ideas like these can be confusing and can make students anxious. Yet knowing grammatical terms like these can help open the doors to excellence in writing and greater appreciation of beauty. Whether you or your students are in school, homeschooling, unschooling, or just learning on your own, at some point you’re bound to face the question, “What is an essay?” Here’s Marie’s simple definition and a surprising second definition from Thomas. What is an essay? The powerful possibility of calmness. A student recently asked, “How do we rewrite a sentence without changing the meaning?” Here Thomas shares three simple tips for how to rewrite a sentence without changing the meaning but making it stronger at the same time. Taranindya asks, “What writing exercise can we use for practicing English grammar with a 9-year-old at home?” Here are some tips from Thomas. Here’s a wonderful question from a reader: How do we grow our children’s writing habits, especially for students who might be in the elementary level and who might be learning English as a second or as a foreign language? How do we encourage students to love writing? Here are five things that occurred to me. This month we wanted to take another look at the difference between transitive and intransitive verbs. Marie gives us a special memory trick that no one else that I know of has used. We also have an exciting announcement about some new features and an upcoming release. Take a peek at this month’s free videos! Just as it may seem strange at first to talk about grammar and gratitude, it may also seem strange to talk about grammar and beauty. But as Marie and Thomas explain in Lesson 14 of The Basic Cozy Grammar Course, beauty and grammar go together. What could be more surprising and helpful than talking about grammar and gratitude? We tend to think of grammar as dry and even lifeless, but properly taught, grammar can be an extraordinary and powerful tool for increasing awareness, unleashing creativity, and fostering true success. Take a peek at this month’s free videos to learn more! Despite their humble appearance, pronouns are one of a writer’s most useful tools and can even unleash great comedy. To show you what I mean—and to prepare you for a fun activity with language—take a peek at this month’s free excerpts. Just so you know, you may find yourself laughing! As the year draws to a close, we wanted to offer two video excerpts on adjectives. How to describe the delights of the season vividly and memorably? That’s what both of our videos address. We also have a creative writing exercise and a holiday gift to share. Read on to learn more! This month we wanted to offer two video excerpts on adverbs and a writing activity. The topic of adverbs can sometimes seem confusing, but as Marie points out, adverbs are simply words that describe verbs, adjectives, and other adverbs. And of these uses, the most important by far is describing verbs. You can see it in the word itself: ad-VERB! This month we wanted to share a video excerpt from Marie about conjunctions, as well as a companion video from Thomas about clauses. Both videos are set on Marie’s favorite Eagle Rock and give a sense for how the sea and the natural world around Marie’s Cozy Beach Cottage form an important part of Marie’s lessons. This month we wanted to share two video excerpts about verbs from Lesson 7 of The Basic Cozy Grammar Course. In this first video excerpt, Marie introduces three things that verbs express—action, possession, and existence—and gives us four examples of verbs of action.

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The Higgs boson is a result of the quantum excitation of the Higgs field, which, by interacting with the W and Z bosons (elementary particles carrying the weak force), gives them their mass . This is called the Higgs mechanism. It was first proposed when, over half a century ago, three different research teams were trying to fix an issue relating to the unified theory of two out of the four fundamental forces: the weak force responsible for the interaction between subatomic particles and electromagnetism responsible for the electric and magnetic fields. In this unified theory, gauge bosons (force-carrying particles) emerged without mass. This is true for photons, which carry electromagnetism, and gluons, which carry the strong force (the force binding quarks together), however, the W and Z bosons do have mass. This is why it was necessary to experimentally prove the existence of the Higgs mechanism. If it did not exist, then there must have been something wrong with the Standard Model of particle physics . The Standard Model is essentially a classification of all known elementary particles while including the weak, strong, and electromagnetic forces. Searches at the European Organization for Nuclear Research (CERN) began in the late 1980s with a particle accelerator known as the Large Electron-Positron Collider . It was dismantled in 2001 to build a new particle accelerator: the Large Hadron Collider (LHC). On the 4th of July 2012, two different collaborations at the LHC (ATLAS and CMS) announced they observed a new particle with a mass of around 125 gigaelectronvolts . Further investigation showed that the newly discovered particle and the Higgs boson had matching properties. Now, the 4th of July is known as Higgs day. The confirmation of the Higgs mechanism has opened up new ideas for research questions in particle physics and cosmology. Physicists are looking into the role the Higgs field and Higgs boson may play in baryon asymmetry, the search for dark matter, the fate of the universe, and the theory of supersymmetry [3, 4]. “The Higgs Boson”. 2020. Home.Cern. Accessed July 1. https://home.cern/science/physics/higgs-boson. “CERN And The Higgs Boson”. 2020. Home.Cern. Accessed July 1. https://home.cern/resources/faqs/cern-and-higgs-boson. Wolchover, Natalie. 2019. “The Physics Still Hiding In The Higgs Boson”. Quantamagazine.Org. https://www.quantamagazine.org/the-physics-still-hiding-in-the-higgs-boson-20190304/. Gray, Heather, and Bruno Mansoulié. 2018. “The Higgs Boson: The Hunt, The Discovery, The Study And Some Future Perspectives | ATLAS Experiment At CERN”. Atlas.Cern. https://atlas.cern/updates/atlas-feature/higgs-boson. Figure 1: Wolchover, Natalie. 2019. “The Physics Still Hiding In The Higgs Boson”. Quantamagazine.Org. https://www.quantamagazine.org/the-physics-still-hiding-in-the-higgs-boson-20190304/. Figure 2: McCullough, Matthew. 2017. “Happy 5Th Anniversary, Higgs Boson!”. Home.Cern. https://home.cern/news/news/experiments/happy-5th-anniversary-higgs-boson. About the Author Hazal Kara is a rising junior at Hisar School in Istanbul, Turkey, and a physics, math, and astrophysics editor at the Young Scientists Journal. She is passionate about science communication and literature. Her hobbies include game development, solving (or trying to solve) math problems, and creative writing. She hopes to become a physicist and writer in the future.

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If you have selected a storybook to share with your class and you’re looking for some help on how to do so, then this article is for you! Earlier, we’ve written about how to pick good storybooks for classroom and why we think storybooks are critical in language class. What’s Your Objective? While planning your sessions, it’s important to keep your objective(s) in mind – Why are you introducing these storybooks in classroom? Is it for fun or is it a teaching tool – to introduce a particular theme and/or for language improvement. Your objective may be tied to your audience – is it tiny tots, primary kids or middle-grade ones? Or a mixed bag? Whatever your reasons for selecting the book, we will assume that your first primary objective is to get the children to read the book by themselves. Before you distribute copies of the book to your children, you will have to “introduce the book” and get them to want to read it. Ways of Introducing There are many ways of introducing a storybook in classroom: - Read aloud – Just read from the book. This works particularly well for books written in rhyme and rhythm like Gruffalo or our very own Ramu and Ramya series. If you know how to do it well, read aloud can work for any book. Mem Fox goes in-depth into read aloud in her book Reading Magic. - Read along – Get your children to read with you. - Read in turn – Ask your children to read the storybook out in turns, one paragraph at a time. - Using AV: - Audiobooks/podcasts – You could use an audio clip to hook your children onto your book. Karadi Tales has a lovely collection of audiobooks, and there’s always the internet. - Videos / Movies – Youtube is a rich source of material you can use in the classroom to introduce a book. For example, watch this lovely video of author BJ Novak reading out his book in a school. - Creative Ideas: - Context-setting – You could start a conversation around the book by introducing them to the theme or the story via writing / art-based activities, or a game, or a discussion, etc. - Picture walk – With very young kids, you could take your children on a journey by showing them each illustration and talking to them about each item. For more information check out this pdf on picture walks. - Roleplay – One way of getting all the children engaged with a book is to ask some (maybe all) children to act out a few scenes from a book. This gets everyone off their desks and works great for some books, like those of Roald Dahl. - Songs / Rhymes – Tell the story as a song, and your class will never forget it. I still remember the ‘Sa sing the Sunflower’ rhyme I learnt in preschool! - Narrative storytelling – At the Book Lovers’ Program, we believe that there’s nothing more effective in getting children excited about a book than good old storytelling. With no book in hand, no digital distractions – just the storyteller and a bunch of kids. Oral storytelling can be incredibly powerful. I’m sure you fondly remember the times your parents or grandparents or teachers told stories to you. What did you like about those sessions? Was it the story or the way it was told? The first thing to learn about narrative storytelling is “The Hook” – the first two minutes. You have to have a great opening in order to pique your class’ interest and keep them invested for the rest of the session. It could be a weird question, an unusual sound, a funny expression, an exaggerated action, etc. After the hook, comes the hold. This is the long middle of the story, where emotions go up and down, where events that change the plot, and also the section which is the hardest to tell. Pro tip: Make sure you remember the sequence of events in the story. Don’t mess it up! Very few people are born storytellers. Most people have to learn it. Like any other art form, there’s no substitute for practice! It gets easier if you break it down into individual techniques and practice each one separately – Modulating your voice as per changes in the mood in the story is a very basic storytelling technique. You could even try different voices for the characters – an old woman could have a warbly voice while a 5-year-old kid could have a squeaky high-pitched voice. Listen to how Craig Jenkins uses his voice, for example. The most common use of body language is to differentiate between characters. A simple change in posture can denote who’s talking. For an 80-year-old man, you could hunch down and pretend to hold a walking stick! If you’re a child talking to an adult, you could look up. Because of the association with bedtime storytelling and grandmother tales, a lot of people imagine that storytelling must be done sitting down. No! You could use all the space available to you. Jump, run, or move. Walk to the back of the class and notice how the children crane their heads to follow you (It’s fun to make them work for it!). Props (Puppets, Masks, Costumes) Storytellers who are good with arts and craft often use puppets, masks and even costumes. Check out this lovely stick-puppet rendition of one of our favourite stories, Gajapati Kulapathi! You could also improvise and be minimal. Perhaps you could use a dupatta for a superhero cape? Kids love funny faces. They love it when an adult bawls like a baby or screams in frustration (while acting, of course). Push past your comfort zone and magnify your actions as much as possible. “Show Don’t Tell” If your character has just entered the jungle, then take a moment to describe the jungle – possibly the air is still, the earth smells musty, and there is a gentle sound of rustling leaves. Involve your audience! Ask them questions. Get them to repeat a phrase or an action. Make the storytelling come alive, like how Janaki Sabesh does. Mime / Non-verbal This is a tricky technique to master, but a very effective one. While you may or may not choose to paint your face white, you could always establish imaginary objects in your space like how a mime does. Your Unique Strengths It’s not easy to master all of these skills. It’s easier to pick one or two that you think you’ll be comfortable with and hone those to perfection. I grew up dancing, so movements and body language came naturally to me, while I struggled with voice modulation. I started using more and more actions to my storytelling, which worked for me. Your journey to becoming a great storyteller could start with a workshop. Some of the country’s best storytelling workshops are conducted by the Book Lovers’ Program (BLPS)team (500+ workshops since 2012). There’s also Kathalaya (100+ workshops since 1998) and Your Story Bag (20+ workshops since 2016). All of these workshops are good – the main difference is that the BLPS workshop is meant for school teachers for using storybooks in classroom. The other two are general – could be for storytellers or parents or teachers or lawyers or doctors, etc. The Actual Reading Now that you have introduced the storybook to your class, the next step is to get the children to read the book themselves. You might want to consider a few points here: Are the children reading the book at home? Or in class? Is someone helping them while reading? Are they reading alone or in pairs or small groups? Some of these decisions might be affected by how many copies of the chosen title you have and what the school policy for book borrowing is. At BLPS, we recommend that you have 1 copy per child at all times. There are many ways to introduce storybooks to children. Narrative storytelling is the most powerful of those techniques. Storytelling can be hard but can be learnt by practice. Oh, and the point of introducing storybooks to children is to get them to read it by themselves. Only then is the objective actually achieved. A productive screen time app for ages 3 to 12, that focuses on improving English Language skills. Online English classes for ages 5 to 12. Proven methods for children to improve academic performance and confidence.

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6 Ways to Teach the Art of Storytelling to KidsMon, 22 Mar by Kunal Storytelling is an essential part of learning for kids from a young age. Stories help children develop creative and critical thinking that is instrumental for better learning all through life. And not just that, research has revealed that learning the art of storytelling from a young age has various advantages. Storytelling activities help kids to develop social, communication, and people skills. It is also helpful to enhance creative thinking skills in kids. There are multiple ways to get children excited about storytelling and storytelling games. Here we have listed down six ways to teach the art of storytelling to your children, and try them out today! 1. Get Excited About Storytelling Nothing gets children excited about something as seeing their parents enthusiastic about it. Learn how to be a captivating storyteller yourself and make storytelling a part of your daily routine. Listening to your stories encourages children to tell stories themselves. You can use your daily storytelling sessions to introduce voice modulation and other storytelling activities for their benefit. 2. Attend Storytelling Events Together Malls, communities, and libraries often conduct storytelling events for children. Taking your children to storytelling events introduces them to storytelling. These events usually have experienced storytellers who use facial expressions, voice modulation, and intonations to enrapture their audience. 3. Teach Children the Power of Body Language and Expressions Storytelling is more than narration; it calls for a whole-hearted effort from the storyteller. Good storytellers use body language, facial expressions, and voice modulation. Every time you attend a storytelling event or have a storytelling session at home, talk to your kids about body language and expression. Ask them how they would use this to tell the story better. 4. Practice Practice Practice! Developing any skill requires constant practice and repetition. Have a daily storytelling activity with your children. Continuous storytelling will develop public speaking skills, and as they slowly lose their stage fear, your children will begin to enjoy storytelling more and more. 5. Hobby Classes To enhance your children’s storytelling skills, enroll them in a hobby class that focuses on reading, writing, and speaking. This will provide children with a safe environment wherein they can practice their storytelling skills without the fear of judgment. Hobby classes conduct various storytelling activities to get children interested and encourage the participation of every child. 6. Play Storytelling Games Games are the best way to catch a child’s interest. Various storytelling games help children get accustomed to the activity and keep their attention on stories. These games promote imagination and creative and critical thinking among children. Prepare an outline of a story beforehand. Preparing an overview enhances your understanding of the story and helps you remember the details. Then, present the story in front of an audience and ask for their feedback.

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Simple Rule: ENGAGE YOUR CLASS! Why should you engage your learners instead of just standing before them, lecturing? An old Chinese proverb sums it up best... How do you engage a class? The attention span of an adult learner is short. Some suggest that most adults can only stay focused for 10-15 minutes at a time. Combine this with the idea that we only retain 20% of what we hear, and what you have as an instructor–if you are only lecturing to your class–is a room full of blank stares within 10-15 minutes after you begin. Here are a few suggestions for ENGAGING your class: - Use a variety of media. Media types should be varied at least once every 10 minutes. For example, you could start with lecturing and writing on the board, then migrate to a PowerPoint presentation, video clip, or having students work on a computer. This provides a nice mixture of media types that will keep your class engaged. - Ask questions that promote discussion. This is a great way to keep your class alert and will provide feedback on their understanding of the concepts. - Provide exercises and activities that provide group interaction, an opportunity to move, or be engaged in discovery. How do you present your content in a way that ENGAGES? - Relevance– is your content relevant to what your class needs to know or do? - Are you telling a story?– teaching is really about storytelling. Think of your content in this way. Does it tell a story? If not, structure the content into smaller chunks that are linked together in a logical flow. - Your physical position– Do not block the learners’ view of your visuals and try to move around the room as you present. - Establish rapport– comfortable learners are more likely to learn. Call learners by name when you can and never compromise anyone’s self-esteem (e.g., never criticize in public). - Be a good conversationalist– look your participants in the eye and talk with them, rather than at them. - PowerPoint– more slides are not necessarily better. When preparing PowerPoint presentations, consider the 6x6 rule: never more than 6 bullet points per slide, 6 lines per slide, or 6 text-only slides in a row. Also, ensure your text is readable from the back of the room. - Self-evaluate yourself at the end of the class to determine what went well or could be improved. This will benefit your lesson on its next offering.

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Aboriginal EMPATHIC Program Age group: Late childhood (7-11) Gender: Mixed (male and female) Population served: Aboriginal/Indigenous Location: Nova Scotia Number of completed Canadian outcome evaluation studies: 1 Continuum of intervention: Secondary crime prevention The Aboriginal Emotional Maturity Problem-Solving & Awareness Targeting Higher Impulse Control (EMPATHIC) Program is a school-based curriculum. It is based upon the Promoting Alternative Thinking Strategies (PATHS) programFootnote1 which is widely recognized in the United States as a proven program to prevent or reduce levels of violence, crime, or drug use. The program was modified to reflect Aboriginal cultural values and teachings and is centered on emotional awareness, impulse control, techniques to handle emotions, and increasing levels of self-esteem and pride in the Aboriginal culture. The main goal of the Aboriginal EMPATHIC Program is to: - Develop emotional awareness and impulse control among Aboriginal children. The expected outcomes for the Aboriginal EMPATHIC Program include: - Reduction of aggressive or violent incidents at school; - Reduction of antisocial behaviour requiring intervention; and - Increased self-control. The appropriate clientele for the Aboriginal EMPATHIC Program is all Aboriginal children in grades one to five (approximately aged from 6 to 11 years old), including those with aggressive and disruptive behaviours. The Aboriginal EMPATHIC Program consists of 40 lessons for each of the five grade levels, with some lessons overlapping from previous years for reinforcement. Classroom teachers are responsible for the administration of the program. There are a total of 129 different lessons over the five grades. Lesson techniques include role-playing, storytelling, journal writing, drawing, picture-based scenarios, and sharing of personal stories. Each week in each class, one child is chosen to be PATH Kid of the Week. Home visits occur each week. Out of all the PATH Kids of the Week, five homes are visited by a program representative to create a positive focus on the child. The homes that are selected are those homes where the situation may be less than desirable and a positive school visit would provide much needed positive attention. Some of the critical elements for the implementation of this program or initiative include the following: - Organizational requirements: Limited information on this topic. - Partnerships: Organizations should collaborate with school staff and administrators. The program promotes community ownership through the involvement of diverse community representatives throughout various stages of program development and implementation. - Training and technical assistance: All teachers should attend a standard PATHS training workshop. - Risk assessment tools: Limited information on this topic. - Materials & resources: The Aboriginal EMPATHIC Program curriculum documents. The most recognized classification systems of evidence-based crime prevention programs have classified this program or initiative as follows: - Blueprints for Healthy Youth Development: Not applicable. - Crime Solutions/OJJDP Model Program Guide: Not applicable. - SAMHSA's National Registry of Evidence-based Programs and Practices: Not applicable. - Coalition for Evidence-Based Policy: Not applicable. Gathering Canadian Knowledge Canadian Implementation Sites Public Safety Canada’s National Crime Prevention Strategy provided funding to implement the Aboriginal EMPATHIC Program in the Eskasoni Elementary and Middle School in Cape Breton, Nova Scotia between 2003 and 2006. The program was implemented by the Eskasoni School Board in conjunction with school administration, teachers, parents, community members and program personnel. Main Findings from Canadian Outcome Evaluation Studies As part of Public Safety Canada’s funding, an outcome evaluation studyFootnote2 of the Aboriginal EMPATHIC program was conducted in 2006 by Chaytor Consulting Services Ltd. The one-year evaluation of the Aboriginal EMPATHIC Program in Cape Breton, Nova Scotia was based on a quasi-experimental design – a two-group, before and after design. Results from this evaluation showed the following: - Changes in student behaviour were beginning to emerge as a result of the implementation of the Aboriginal EMPATHIC Program. Improvements were reported in the students’ ability to understand and express emotions, students were also beginning to show signs of improved impulse control. For more information, refer to the National Crime Prevention Centre’s (2013) publication. The cost per youth involved in the Aboriginal EMPATHIC Program is based on the size of the school(s) involved in implementation. In 2006, the cost of implementing the program without assistance in a small school was $10 (CAD) per student (based on 100 students: 5 classes x 20 students per class). The cost of implementing the program in a medium sized school with part time support was $144 (CAD) per student (based on 200 students: 10 classes x 20 students per class). The cost of implementing the program in a large sized school with full support was $143 (CAD) per student (based on 400 students: 20 classes x 20 students per class) (Chaytor Consulting Services, Ltd., 2006). Chaytor Consulting Services, Ltd. (2006). Evaluation of the EMPATHIC Program: Final Report. Submitted to the Eskasoni School Board & the National Crime Prevention Centre, Public Safety Canada (Unpublished report). National Crime Prevention Centre. (2013). The Aboriginal EMPATHIC Program. Evaluation Summary. Ottawa, ON: Public Safety Canada. Available from: http://www.publicsafety.gc.ca/cnt/rsrcs/pblctns/2009-se-20/index-eng.aspx For more information on this program, contact: Record Entry Date - 2018-02-19 - Date modified:

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Resources to help your digital natives leave a positive digital footprint. Just as we teach our students how to do algebra, analyze historical documents, and write persuasive essays, we must also teach them how to be good digital citizens. Oftentimes, we assume that digital natives will already understand many of these concepts, when in reality, our students need guidance on leaving positive digital footprints that will not hinder them later in life. Given that October is Digital Citizenship Month, it's the perfect opportunity to take some time to introduce these important lessons to your students. Check out these five resources to kick-start digital citizenship in your classroom! BrainPop (grades K–12), BrainPop Jr. (grades K–3) BrainPop is primarily a paid, online resource that teaches students through animated videos, learning games, interactive quizzes, and more. Within the paid version, BrainPop offers an extensive collection of resources on digital citizenship. However, BrainPop also offers some resources for free, including one on digital etiquette. Within this resource, BrainPop's animated characters Tim and Moby review digital etiquette concepts, including netiquette, flaming, trolls, and how to differentiate between communications with friends and communications with teachers and other adults. Educator resources are available so the content can quickly and easily be presented in class. Common Sense Education (grades K-12) Common Sense Education has long been a big name in digital citizenship. However, for those of you who are not aware of the scope of these resources, I wanted to include them. What makes Common Sense Education amazing is that they have full units that are specifically targeted toward different grades and include lesson plans for teachers, interactive simulations for students, assessments, and communications and activities for families. Lessons can be downloaded as PDFs, iBooks, and Nearpod lessons. Even those of us who are not quite as tech-savvy will be able to find something here! Digizen (grades K–12) Digizen is a branch of Childnet International and focuses mainly on social networking and cyberbullying. Within the Digizen site, content that is appropriate for teachers, students, and parents is offered. Social networking, including its benefits and risks, is explored in-depth, and a great deal of background information is provided for teachers as well as some activities to use with students. In Social Networking Detective, students are given a student named Chloe's "Friendbook" page. Based on the page, students are tasked with answering a variety of questions and determining mistakes Chloe made with her digital footprint. The ability to apply Digital Citizenship knowledge to real-world situations makes Digizen an especially valuable resource. Oftentimes, we assume that digital natives will already understand many of these concepts, when in reality, our students need guidance leaving positive digital footprints. EverFi Ignition (grades 6–9) EverFi is an organization founded in 2008 primarily to provide free financial-literacy resources to schools. During the past five years, EverFi has branched out to include other courses, including STEM readiness, positive character development and social-emotional learning, and real-world application to basic computer science. Students work through a simulation of bringing a concert to their schools. Throughout the simulation, they learn about valuable concepts such as their digital footprints, internet safety, and cyberbullying. I love EverFi because it is an amazing, standards-based resource that provides simulation and choice-based learning with an easy-to-use teacher dashboard to track student progress. lol…OMG! (grades 6-12 and university) Matt Ivester, a technology entrepreneur and founder of the college gossip site, JuicyCampus.com, wrote the book lol… OMG! (2012). In this book, he utilizes real-life case studies to teach students about cleaning up an existing digital footprint and then beginning to maintain a positive digital footprint. Mary Beth Hertz, a technology instructor in Pennsylvania, wrote about utilizing Ivester's book to teach digital citizenship in an article for Edutopia. In her 1:1 school, students are issued laptops they may take home with them. However, ninth-graders do not receive their laptops until after they have worked through lol…OMG!, various current events articles on digital citizenship, a project, and class discussions. Teaching our digital native students how to be safe on the digital playground is a process, and I hope that you have found at least one way that you can easily commit to recess duty!

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- What is an example of literacy? - What is new literacy? - What are the basic literacy skills? - What is literacy in the classroom? - What are the three kinds of literacy? - What are literacy activities? - How do you teach literacy skills? - How do you support literacy for all students? - How can you support literacy in the classroom? - What are the four types of literacy? - What are the 7 literacies? - What are the 6 skills of early literacy? What is an example of literacy? Literacy is defined as being able to read and write, or to having knowledge about a specific subject. When you can read, this is an example of literacy. When you are familiar with math, this is an example of literacy in mathematics. The ability to read.. 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 the basic literacy skills? The generally agreed building blocks of reading include phonemic awareness, phonics, fluency, vocabulary, and comprehension. What is literacy in the classroom? Literacy has traditionally been thought of as reading and writing. … Alberta Education defines literacy as the ability, confidence and willingness to engage with language to acquire, construct and communicate meaning in all aspects of daily living. What are the three kinds of literacy? Since adults use different kinds of printed and written materials in their daily lives, NAAL measures three types of literacy—prose, document, and quantitative—and reports a separate scale score for each of these three areas. What are literacy activities? About literacy activities Talking, singing, playing sound and word games, reading, writing and drawing with your child are great ways to set up a good literacy foundation. The great news is that everyday activities, like going to the local shops or library, all offer lots of fun opportunities for literacy development. How do you teach literacy skills? 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.More items…• How do you support literacy for all students? 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.More items…• How can you support literacy in the classroom? Read aloud frequently. Include children’s primary language in print around the classroom. Allow children to make mistakes when attempting to use a second language. Encourage children to read the same books repeatedly to become familiar with the text. 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 are the 7 literacies? Seven Literacies: HomeHome.Basic Literacy.Early Literacy.Civic/Social Literacy.Digital Literacy.Financial Literacy.Health Literacy.Legal Literacy. What are the 6 skills of early literacy? 6 Early Literacy SkillsPrint Motivation.Print Awareness.Letter Knowledge.Vocabulary.Narrative Skills.Phonological Awareness.

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How to Write Up an Elementary Volcano Science Project After creating a volcano science project, it's important to write a clear presentation. This should include an introduction, hypothesis, materials list, procedure description, results, and conclusion. 10 Hot Facts About Volcanoes - Listverse The short-term effects of volcanoes—rains of fire, rivers of magma, panic and screaming—are terrifying enough, but they pale in comparison to the long-term effects. In fact, it is thought that natural processes such as volcanic eruptions could very well be a leading influence on climate change . Erupting Volcanoes! - Science NetLinks Intentional landscapes: inadvertent results. With the best of intentions, our land and landscape interventions do and say things we didn't anticipate. It's nature, not us. The best books on volcanoes, as recommended by volcanologist Daivd Pyle, Professor of Earth Sciences at Oxford University. (PDF) Volcanic Matters: Magmatic Cinema, Ecocriticism, and… As objects of study for millennia (Aristotle wrote about Vulcano, and Strabo and Pliny the Elder about Stromboli, for ex- ample), these particular volcanoes have long had a role in storytelling about planetary pro- cesses. All the Lives He Led by Frederick Pohl - Read Online Read All the Lives He Led by Frederick Pohl for free with a 30 day free trial. Read unlimited* books and audiobooks on the web, iPad, iPhone and Android. Lucy by Jamaica Kincaid Volcanic Eruptions Essay Sample. Deep inside the Earth, magma rises upwards, gathers in pools within or below the crust and tries to get to the surface. Cracks provide escape routes and the magma erupts as a volcano. Effects Of Volcanoes - Earth Facts and Information The effects of volcanoes on cities and towns after an eruption could vary from no effects at all to a catastrophe of immeasurable magnitude. A lot of the effects that a city will feel depend on the size of the explosion or eruption and the atmospheric conditions. Shield Volcano: Interesting Facts, Examples, And Diagrams ... The largest volcano in the entire world, Mauna Loa in Hawaii, is a shield volcano. Shield volcanoes like Mauna Loa are impressive to look at and study, because their eruptions are not usually violent, meaning they can be approached much more safely than other volcanoes. Yet how does a shield volcano work, and how does it differ from other ... Cause and Effect of Volcano Eruption - Sample Essays 📚 Cause and Effect of Volcano Eruption - essay example for free Newyorkessays - database with more than 65000 college essays for studying 】 This means that due to the short warning time, it is very difficult for an area to mitigate the effects of a volcanic hazard as there may not be enough time to plan and prepare for the impacts of an eruption therefore maximising the hazards posed by this type of eruption. In 1924, however, the volcano had an explosive eruption and from then to 1955 there was a period of short eruptions. Current Eruption. Impressively enough, the current eruption of the Kilauea Volcano, named Pu'u O'o started 30 years ago! Use volcano in a sentence | volcano sentence examples of the new, was completely destroyed by .an eruption of the volcano in 1814 (about 1200 people being killed), and the new town was almost entirely destroyed by the insurgents in February 1900, an ancient stone church of much beauty (in what was formerly Daraga) being left standing on an elevated site commanding a view of the surrounding country. Impact of Volcanic Eruptions on Iceland - Get Free Essays There are three different types of volcanic eruptions based on the lava texture. These are; Effusive: eruptions in which lava with low viscosity and settles on the side of the volcano forming gentle slopes. In this type of eruption, gases escape easily and thus there is no explosions due to the build-up of pressure (The Geological Society, 2014). Volcano - Six types of eruptions | Britannica.com Short Essay on Volcanoes Article shared by A volcano is an opening, in the planet's surface which allows hot, molten rock, ash and gases to escape from below the surface. Mayon Volcano The 1984 eruption of Mayon Volcano, Luzon, Philippines. C.G. Newhall/U.S. Geological Survey; Popular with climbers and campers, the volcano is the centre of Mayon Volcano National Park (21 square miles [55 square km]). There are large abaca plantations on its lower slopes. There have been more than 30 eruptions recorded since 1616. FREE Hawaiian Volcanoes Essay - ExampleEssays The active Hawaiian volcanoes have received special attention worldwide because of their frequent spectacular eruptions, which can be viewed and studied with a relative ease and safety. . The island of Hawaii is composed of five volcanoes, three of which have been active within the past two hundred years. Nevado Del Ruiz Volcano Eruption - UK Essays Thousands of years ago, fallout from volcanic activity may have sounded a death knell for a centuries-old Egyptian dynasty, according to a new study. In Ptolemaic Egypt (305 B.C. to 30 B.C.), the ... Chapter 3 Essay Questions Flashcards | Quizlet A composite volcanoes aren't like volcanoes on Venus because Venus' volcanoes are shield volcanoes with long, riverlike lava flows. Lava or a combination of ash, cinders and bombs are likely to erupt next because alternating layers of lava and ash, cinders, and bombs build up composite volcanoes.

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1. Environmental Theme Days and Weeks The following environmental days/weeks are celebrated annually: - World Wetlands Week in February - World Water Week in March - Biodiversity Week in May - World Environmental Week in June - Arbor Week in September - Mandela Day in July Celebrating Environmental Theme Days is a very important part of environmental education as keeping schools and communities involved helps the environment. Due to many environmental issues, environmental theme days assist in bringing attention to particular environmental issues affecting local, national and international communities through having annual themes, as well as focused efforts towards dealing with a particular issue are pulled together. The celebrations of environmental theme days take the form of lessons facilitated in the Garden as well as small events in schools and in the communities. They involve relevant partnership organisations, stakeholders and they aim to develop meaningful awareness and learning as well as leading participants into taking some form of environmental action. 2. Holiday Programmes Special lessons are offered during the school holidays which include fun learning experiences for learners of all ages. In addition, two art workshops (one suitable for Foundation Phase and the other for Intermediate Phase learners) are facilitated during three school holiday periods (end of term 1, term 2 and term 3). - Biodiversity and Waste Art workshop – Learners will learn about Biodiversity and how waste is impacting on it. They will enjoy a guided walk in the Garden and go into the forest, fynbos and useful plants areas. They will learn how valuable biodiversity is to us. At the end of the walk, they will construct a stationery holder for their desks or a frame out of “waste” materials or anything they desire. These will be decorated with other recycled items or dried plants. Appropriate age group: Grade 4 – 6 (approximately 9 – 13 years). - Natures Treasure Hunt Box – Learners will take part in fun games, storytelling, and an exploratory walk in our magical Garden. Learners will be given the opportunity to discover the special treasures which nature provides. Back at the Gold Fields Centre, they will create and decorate their own treasure box, into which they will put the items they collect from nature. Appropriate age group: Grade R– 3 (approximately 6 – 9 years). Look out for the notices for these programmes on the SANBI website events page or SANBI social media pages. 3. Combating Biodiversity Crimes The Combating Biodiversity Crimes Programme is done to raise awareness and understanding of biodiversity crimes and its impacts on people and the natural environment. Furthermore, to explore personal responses – encouraging personal responsibility to mitigate and report biodiversity crimes. This programme is aimed for youth and adults with more attention given to the communities around protected areas. The programme is done in collaboration with Table Mountain National Park since 2020. The programme focuses on bark stripping and other illegal activities taking place in the Newlands Forest. Learners are made aware of the illegal activities taking place in and outside protected areas. 4. Communicating the NBA Findings The National Biodiversity Assessment (NBA) Report is a primary tool for monitoring and reporting on the state of biodiversity in South Africa. It is used to inform policies, strategies and actions in a range of sectors for managing and conserving biodiversity more effectively. The findings of the NBA are included in our Kids in Gardens Programmes, Awareness-Raising programmes and Capacity Development programmes to ensure that the message, which is the findings of the NBA, reach the wider community. Gold Fields Education Centre Tel: 021 799 8670 E-mail Address: O.Khutsoane@sanbi.org.za

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At the core of Project Based Learning - is the philosophy to teach "an inch wide and a mile deep." Our students engage in meaningful learning through project work. At our campuses in Bonita Springs and Clewiston, Florida, children are exposed to the learning process in a stimulating environment that fosters deep knowledge, critical thinking, creativity, collaboration, and communication - resulting in the ability to transfer knowledge and solve problems. Character development and civic responsibility are the cornerstones of our school family. Equally important are the arts, athletics, and technological literacy. Early Learning School Even the youngest students are innately problem solvers. Our Early Learning School encompasses toddler and Pre-K programs that encourage children's abilities in a caring and supportive environment. A hands-on approach allows our teachers to model and coach children through the learning process. We spark the imagination to create a love of learning, and we provide an environment that allows for "light bulb moments." Children are given meaningful learning experiences in a play-based environment. Toddler Program Overview Our toddlers are transitioning to a flexible group schedule. Large classrooms and limited enrollment ensure a calming environment. Toddlers also require sight and sound supervision. The focal point of our learning environments are center spaces, provisioned for meaningful project work. Children are exposed to projects that build upon their background knowledge, from families to fur versus feathers. Early literacy skills, mathematics, scientific concepts, and the developmental domains are central to our curriculum's design. Learning is delivered through the exploration of educational materials, sensory experiences, collaborative construction, oral language opportunities, read alouds, music, and finger plays. Our outdoor environment was designed with the safety of our youngest learners in mind. It is rich with science opportunities, as children observe various species of birds, squirrels, butterflies, and investigate the natural environment. Opportunities for active physical play are provided daily. Pre-K Program Overview Curriculum is taught through "The Discovery Method", our project- and scientific-based educational model; teaching the learning process, rather than solely skills and facts. A solid foundation in traditional literacy instruction, coupled with innovative approaches, ensures a developmentally appropriate, yet globally competitive, program. Immersion in the fine arts aims at providing a balanced approach to the foundation of each child's education. Students are immersed in quality literacy instruction. Picture books are central to each project study. - Picture Books: Children engage in traditional read-alouds and digital stories. They act out and re-tell stories using flannel characters, puppets, and props. This builds a love for reading, concepts of print, understanding of story structure, and rich vocabulary knowledge. - Reading and Writing Skills: Children also acquire letter/sound recognition, phonological and phonemic awareness, and emergent writing skills. - Critical Thinking: Reading comprehension and critical thinking skills are developed through picture book philosophy. A rich oral language vocabulary is the primary predictor of future reading success. Therefore, our teachers consistently engage in rich conversation with our students. - Center-Based Learning: Teachers scaffold children's language through play-based opportunities. - Project-Based Learning: Vocabulary throughout a broad range of academic domains provides opportunities for widening student's lexicons. Our approach to mathematics involves the manipulation of objects and the investigation of problems from multiple angles. Children learn to think mathematically, rather than develop route skills. Mathematical objectives are as follows. - Numercy: One-to-One Correspondence, Oral Counting Ability, Number Recognition - Concepts of Size and Measurement: Sorting Skills, Positional words - Geometry: Shape Recogntion, Shape Orientation - Algebraic Thinking: Estimation, Patterns and Graphing Skills - Mathematical Vocabulary Each project allows children to explore scientific approaches. Children formulate questions and hypotheses, investigate, explore, discover, record, and document. Our science curriculum includes the following. - Physical Science: Simple Machines, and fundamental physics concepts. - Earth Science: Weather and the natural world - Life Science: Living and non-living things, dinosaurs and fossils, life cycles, and the human body. - Scientific Vocabulary Our approach to visual arts focuses on free design and unique creations. Artistic techniques are taught through an Artist of the Month program, which serves to inspire our budding artists. Music and simple instruments are central to classroom instruction. Children are exposed to a variety of musical genres and historical compositions. The Ramps and Pathways program allows for the investigation of physics through our block centers. Lego Labs explore simple machines and basic concepts of engineering, through the use of Legos and 2D/3D modeling. Our primary school educates children in grades K through 5th grades. Project Based Learning is implemented in these grades. Interdisciplinary learning is based on an authentic question, in correlation with our community partners. This approach ensures that learning is deep and meaningful, with a focus on the application of knowledge. As an inquiry-based learning environment, all lessons begin with a driving-question. Students ask further questions, hypothesize, conduct experiments, engage in research, document findings, revisit ideas and complete capstone work. Each child's contributions are highlighted in an environment that shares their work through an exploration of communication skills and constructivism. Our reading and literacy program are anchored in the Five Pillars of Reading Instruction. Fluency and Comprehension Fine Motor Skills: Handwriting, pencil grip, cutting, tracing, and drawing Speaking and Listening Writing: Informative, Opinion, and Narative, Conventions of Grammar Mathematics domains covered within our program include: Counting and Cardinality Measurement and Data Number and Operations in Base Ten Reasoning and Problem Solving Science domains include: Earth and Space Science The Scientific Process and Scientific Vocabulary Social science domains include: Civics and Government Historical Periods of World Cultures 21st Century Skills Creativity, Collaboration, Communication and Critical Thinking Our core academic programs are enhanced through traditional enrichment activities, including physical education, fine arts, and music. Focus is also placed on foreign language, cultural studies, engineering, philosophy for children, and technology.

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Photo credit: The National Archives Teens and Tweens! In honor of the Fourth of July, this post is for you! Whether you’re a history buff or just someone who loves a challenge, here’s a holiday contest that will stump most adults in the U.S.! See entry details and rules after the questions to enter! How many of us think about why we celebrate July 4 (also known as “Independence Day”)? We may think of barbecues, picnics, sparklers, fireworks, or family trips. But how often do we remember the document which marked the start of a new nation? Here are 10 Questions to test your knowledge of U.S. history and events connected with the signing of the Declaration of Independence. How many answers do you (and your family and friends) know? Adults may help students find resources, but students should read information and write an original story, poem, or journal entry/entries in their own words. **Creative writing pieces must include specific answers to at least FOUR of the 10 questions, listing the source(s) where information/answers were found. Entries without sources will not be accepted. - In what year was the Declaration of Independence written and signed? - Who wrote the Declaration of Independence? - Was the original version of the Declaration the one that was signed? - How many men signed the Declaration? - What was the name of the group/meeting where the Declaration was discussed and signed? In what city did the meeting take place? - Was this a publicly announced meeting? Why or why not? - How many colonies were represented? - What were their main reasons for wanting independence? What country had authority over the colonies at this time? What was the name of the king? - Name the first battle which preceded the Declaration and the war which resulted from the decision to declare independence. - Was the Constitution of the United States, which was completed and signed September 17, 1787, the original document governing the newly established country? Answers to these questions, as well as many other facts related to July 4/Revolutionary War history can be found at the following online sources: https://www.archives.gov/founding-docs/downloads and other pages of the National Archives Original creative writing entries received by July 25 will be entered in a drawing to win a Teen Track scholarship to Write2Ignite Conference September 20-21, 2019! You must be a rising 6th through 12th grader or have just completed 12th grade this year to enter. Three ways to submit your answers on the attached entry/submission form at https://write2ignite.com/category/2019-conference-updates/ - Email your entry to firstname.lastname@example.org by July 25,2019 - Mail your entry to Mrs. Cathy Biggerstaff, 410 Aydlotte Rd., Rutherfordton, NC 28139 - Bring your completed entry (on paper or saved on a digital device) to Art SLAM! Live /Write2Ignite Conference event July 20 from 2 to 5 pm at Haywood Mall, Greenville, SC https://www.simon.com/mall/haywood-mall/map/#/ Include complete name and contact information on the entry form with your submission! Drawing results [and answers to “10 Questions”] will be posted by July 27, 2019.

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Mix up the months and hand the stack of pages to your child. Click the Cougar Paw to share ideas and strategies. This is the grass, all brown and dead, that needed the rain from the cloud overhead-- Group 1: What is an acacia tree. Please consider this work a starting point from which you can extend and generate additional stimulus items as you and your students interact with these wonderful stories. The ultimate goal is to fade the use of visual cues so that the students are able to perform the tasks strictly auditorily. The signs of a drought are apparent during the opening pages of Come On, Rain. Explain what the Internet is. Is it okay to pretend in this story. The big, black cloud, all heavy with rain, that shadowed the ground on Kapiti Plain. Personal Response Questions Use the following questions to help your students make personal connections to the story: She regularly incorporates these skills in her therapy sessions with preschool and elementary-aged students. For older children, you can create more blank sequence squares on the sheet. The hot, lazy moments are expressed in longer sentences, while Hesse also uses shorter sentences to express the bursts of excitement and hope that Tessie feels. When they say "No," ask the children if they know where Africa is. The average temperature is 80 degrees all year long. Encyclopedia classifies the clouds and gives position in the atmosphere. This is the eagle who dropped a feather, a feather that helped to change the weather. In addition, many answers are provided for your convenience, either in parentheses following the item or by underlining the target item in a list. Which month is last. Invite volunteers to choose a day and collect and record the data through observation and by listening to local radio and TV weather reports. The majority of the people live here. The majority of the people live here. For instance, just one of the activities after reading Bringing the Rain to Kapiti Plain by Verna Aardema, children make cloud bottles and make it rain inside of a 2-liter bottle. This relationship allows further connections between phonological awareness skills and outcomes related to science or social studies. The activities included in Sounds Abound Storybook Activities can be used in a variety of ways by classroom teachers, special education teachers, reading specialists, and speech-language pathologists. To aid in this task, visual representations e. Sounds Abound Storybook Activities includes phonological awareness activities for 43 children's literature books. These activities take advantage of the rich vocabulary from these well-known stories to reinforce and apply skills in word awareness, syllable awareness, rhyming, and sound awareness. Bringing the rain to Kapiti Plain pictures. Activity. doc, 31 KB. Bringing the rain to Kapiti Plain story retell. Bringing the rain to Kapiti Plain story retell. Report a problem. Categories & Grades. English language arts / Fiction 30 Christmas GCSE English Language Paper 1 Q5 Style Descriptive & Narrative Writing Questions + Pics $ 6 /5(6). Bringing The Rain To Kapiti Plain Concepts: Economic Wants, Natural Resources, Capital Resources, Scarcity This book tells the story of how a young boy, Ki-pat, brings the much needed rain to the dry Kapiti Plain. Other Books About Rain Bringing the Rain to Kapiti Plain: A Nandi Tale rhyming African folktale relates how the very clever Ki-pat brings rain to the dry Kapiti Plain. Mushroom in the Rain by Mirra Ginsburg While seeking refuge under a mushroom during a rainstorm, a little ant learns how his shelter can Early Reading, Early Writing. Inspired by favorite children's stories, this book is a complete guide to an innovative science education approach that helps teachers and parents capitalize on children's natural curiosity about the world around them to teach physical science/5(1). Pre-Visit Teacher’s Guide Grades 1 and 2 A Program of the Education Department this activity with an art project or creative writing activity about a rainstorm. Rain Sound Effects: Have children generate these sounds in order of a rainstorm: Aardema, Verna. Bringing the Rain to Kapiti Plain.Bringing the rain to kapiti plain writing activities

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Mocha w/ Monique [2/18/2020] with Alexandria Osei-Amoako Culturally relevant teaching includes - Anti-bias awareness - Understanding identity - Celebrating diversity - Adopting curriculum to meet individual learners Identity of an individual, ties with their race, ethnicity, ability/skills , culture, and socio economic background. Below is a working definition of race, ethnicity and culture. Race: A social grouping of people based off perceived physical traits. These traits include skin tone, hair texture, eye color, and eye shape. It is a social category and there is no biological basis for racial category. Ethnicity: A social group that shares a common and distinctive culture often established through nationality, ancestry, regional culture and language. Culture: The outlook, values, morals and customs shared by a group of people. Example of Visible Culture– the arts, language and dialect, storytelling, music, food. Example of Invisible culture– believes, values, perspective, assumptions and opinions. Identity Spectrum Activity What part of your identity do you think people notice first about you? What part of your identity are you most proud of? What part of your identity are you most comfortable sharing with other people? What part of your identity did you struggle with growing up? What part of your identity are you least comfortable sharing with other people? - Half of U.S. schools do not have a single teacher of color on staff. - 80-93% of all current teacher education students are white, and they 88% of their instructors are also white. - As of 2015, 17% of teachers in the U.S. were teachers of color. Therefore many students, regardless of their own race will graduate high school having been taught only by white teachers. - 83% of the teaching force in the U.S. is white and middle class. Link to the list of relevant books available to HTeM Community Below are some Quotes from Students… “You’re food smells so gross. Eww!” “Mr. Michael, why do you sound like that? Your accent?” “It’s because I’m African, I’m different.” “Why do you have an accent?” “I don’t have an accent. Everyone sounds like me. You sound like Black Panther. That’s what I’m going to call you. Black Panther.” “You’re my slave. You have to do whatever I say!” “My mom has straight hair and I have curly hair. I hate my hair. I wish it were straight like hers.” “You play with the peach family and I’ll play with the brown family because you’re peach and I’m brown.” “Your hair is so curly! I’ve never seen hair like that before. Can I touch it?” Culturally Responsive Do’s and Dont’s - Mimic the students’ own cultural learning tools (include storytelling, music, dance/movement, etc.) - Organize learning so that students rely on each other to build community - Acknowledge and validate students’ diverse backgrounds - Use games to instruct-they employ strategies such as repetition, problem solving, making connections and active processing - Ask students for feedback about your teaching - Assume that students have similar cultures and histories because of their race. - Lower expectations for students - Always be the teacher - Appropriate cultures - Normalize western white culture

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Understanding Figurative Language Figurative language refers to applying words in a way that drifts away from the conventional format and meaning to depict creative writing style, evocative comparison, and clarity. It uses an ordinary sentence while referring to certain excerpts without stating it upfront. However, merely knowing the figurative language isn’t enough if you fail to explore the bigger picture and apply it. Now that you are eager to look at the flipside of the coin and explore the different types of figurative languages with individual examples, invest some time reading this blog. It shall guide you through the nitty-gritty of the language type and help you discover the lesser-known facts associated with it. Here’s everything you need to know. What does Figurative Language Mean? The Wider Aspects Figurative language generally deals with the use of a word or phrase that does not carry its literal meaning in a way it is supposed to carry. It mainly takes an interest in the usage of a particular word, phrase or sentence structure to depict the meaning in an indirect manner. There are different ways of how one can use figurative language. These include the usage of metaphors, similes, hyperbole and personification. So, we shall now delve deeper and try to discover the meaning and application of each of the figurative language types, as mentioned above. Different Types of Figurative Language There are six different types of figurative languages, each carrying different meanings and applications altogether. So, take a look at these points as mentioned below and explore their individual meanings with a clear definition. Simile is nothing but a figure of speech that draws a comparison between two unlikely things by using words such as “like” or “as”. This is mainly used in order to spark an interestingly attractive connection between the words with an intention to add up to the awe and wonders in the readers’ mind. - The army officer is as brave as a lion in the jungle. - I was as busy as a bee, the last day. - The new employee is as curious as a cat. A metaphor is basically a statement that draws comparisons between two things that are not alike in nature. Contrary to similes, metaphors do not deal with words such as “like” or “as”. Take note of the fact that statements carrying metaphors should make sense to the readers. In addition, they should get the hang of the two unlikely things being compared in the sentence. - It is raining cats and dogs since last night. - Her long hair is like a flowing golden river. - The calm lake looks like a mirror. - The super talented kid is no less than a shining star. Personification is nothing but the attribution of human characteristics to non-living objects. The use of personification brings impact on the ways how readers imagine things. In addition, it sparks an attraction among readers, which compels them to take further interest in reading that particular piece of text. - Lightning danced across the sky. - The car complained as the fuel meter displayed hazard. - Sarah heard the last piece of cake calling her name. - The wintry wind howled during the night. This is yet another notable figurative language, which has its application and literary usages spread across a wide domain. This is a language that names something or action by imitating the sound related to the object or the phenomenon. Writers mainly use this to add originality to the context of the discussion or the particular excerpt being discussed. - Ticktock ticktock …. the sound of the clock was all that I could hear, far away from the hostel corridor. - I ordered online assignment writing help service with just a click of the mouse button. - I was suddenly awakened by a cock-a-doodle-do of the pet rooster at the farmhouse. - The door banged so hard and loud that I was almost traumatised by the sound. - “Woof woof!”, the dog barked at the neighbour as he tried to break the fence and enter its premise. Talking of the different types of figurative languages, Synecdoche certainly gets a special mention. This language uses one part to refer to the bigger part, or the entire part to refer to the part. For example, the word “Bread” can be used both in order to refer to food and money at the same time. - The word “sails” is often used in order to refer to the whole ship. - The phrase “hired hands”, can be used to refer to labours or outsourced workers. - The word “head” can be used to refer to both people and cattle. Hyperbole is said to be one of the most-used figurative languages across different sentence structures, as and when required. It is basically an exaggeration that is created to emphasise a particular point or express a sense of humour. The most interesting thing about Hyperbole is the fact that it is often used in regular conversation, without the speaker noticing it often. At times, the hyperbole exaggeration ends up being so outrageous that no one believes it to be real. - I have told you a million times to leave your shoes outside while entering the house. - You are so slick and slender that even a light breeze can sweep you away. - I hate it when you snore like a faulty train engine in the middle of the night. Now that you are aware of the figurative language examples and how to implement each type across varied sentence structures, refer this blog often and enrich your assignment quality like never before. Still Stuck with the Essentials of Figurative Language? Hire a Nerd for Comprehensive Academic Assistance Are you still wondering how to modify your assignment with the right use of figurative language? Do you aim to improve your paper quality and present something better than what you did last year? Simply get in touch with us right, and go bid farewell to your academic woes, once and for all. All you need to do is nothing but connect with us at any convenient hour of the day and place your academic queries. We shall back you up with the right academic assistance in the following manner. - Our team of academic experts has extensive knowledge across the different essentialities and applications of figurative languages. - In addition to it, we know how to guide you through the conceptual nitty-gritty of different types of figurative parts of speech. - Also, we shall back you up with an updated figurative language chart for easy references on the go. - You are entitled to getting in touch with us any time and receiving customised academic assistance within the preferred deadline. - We have got the best online tutors. You can get in touch with them to know how to use figurative language in poetry and other works of literature. So, connect with us now, place your query and allow us to help you stay ahead of the academic rat race with flawlessly delivered assignment support, every single time.

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The history of the ancient world is a rich source of material for study. Combine all the areas and time periods with the various possibilities in project formats and you have the potential for some very good academic investigations. Use the most famous of the ancient civilizations as sources for your students' projects. Sumer was the first known civilization, more ancient even than Egypt. One literary tale has survived from that time and place -- the Epic of Gilgamesh, a Sumerian king. Students could illustrate the story of Gilgamesh against a background of ziggurats learned about in history class. Or they might use the interactions between Gilgamesh, Enkidu and the gods Ishtar and Enlil as sources for writing and performing role-playing dramas about this ancient society. Egypt is most famous for its pyramids. Students can build scale models of the pyramids and/or the Sphinx. Besides making pyramid simulacrums, students could present factual information about the qualities of the stone used, and scholarly speculations about exactly how these massive edifices were erected. Greece presented not only famous architecture and mythology to the world, but also people such as Demosthenes, Pericles and Alexander the Great, and concepts such as democracy and the philosophies of Plato and Aristotle. To cover such a broad spectrum of people and ideas, students can create PowerPoint presentations that can display pictures of people and places and also show the words and ideas of some of these historical figures. Rome was not built in a day, and one way to demonstrate that might be with a time-line project. Depending on students' access to technology, they could draw out a time line on paper with colored markers or do it with a computer program. The timeline could show the long history of Rome, starting with its founding in 753 B.C. and going all the way to its fall in A.D. 476. For extra credit, kids can upload a copy of the time line onto a school website. China has been home to civilizations for thousands of years. It is a perfect source for research papers. Advanced students who have already explored other topics in history can use China as an opportunity to do some academic reading about this ancient culture and write a research paper for their class project. 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.

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Exploring Indigenous Language Vitality with Google Earth As a companion to the Google Earth audio collection Celebrating Indigenous Languages, this curriculum provides ways for students to explore the linguistic diversity and vitality of Indigenous languages from speakers around the world. Students will discover how Indigenous languages are interconnected through identity, cultural heritage, and traditional ecological knowledge and how Indigenous peoples and communities are a vital part of the fabric and story of humanity. It is essential for our global culture to value and protect Indigenous voices and perspectives. Tania Haerekiterā Tapueluelu Wolfgramm, a Māori and Tongan activist and educator who helped create the tour said, “Hundreds of languages are a few days from never being spoken or heard again. By putting Indigenous languages on the global stage, we reclaim our right to talk about our lives in our own words. It means everything to us.” - What is the importance of language? How is language connected to culture? - What are Indigenous languages? How do Indigenous languages preserve traditional cultural, social, and environmental knowledge? - What is Indigenous language revitalization? Why is it important to the world’s cultural heritage? - Celebrate the diversity and vitality of the world’s Indigenous languages - Explore the world’s Indigenous linguistic and cultural heritage - Illustrate how language is an integral element of culture - Recognize people in society whose language and cultural heritage are at risk - Identify the causes of language loss - Understand the importance of Indigenous language revitalization and preservation - Online access to the Google Earth tour Celebrating Indigenous Languages - How-to Guide: Google Earth & Voyager - Handout: Vocabulary sheet - The World’s Indigenous Languages in Context - Handouts: 4 Question Sheets (1 per Theme): - Handout: Note-taking sheet Using the Google Earth tour Celebrating Indigenous Languages, students will explore Indigenous languages around the world, some of which are at risk of disappearing. Students will learn about the importance of language revitalization from the unique stories and perspectives of those who speak the world’s Indigenous languages. In this lesson, students will make connections between language and culture, discovering the ways in which Indigenous peoples and communities are dedicated to preserving and revitalizing their languages. Students will engage in activities to learn how Indigenous language vitality is interconnected with a speaker’s identity, family, community, and relationship to the land. By learning more about Indigenous peoples and communities, students will be encouraged to broaden their perspectives about the world’s diverse cultural heritage and to consider how we are all a part of the global story. Tell students that they will learn about Indigenous language speakers and communities around the world with the Google Earth tour Celebrating Indigenous Languages. Explain that the tour celebrates the diversity and vitality of the world’s Indigenous languages. Through audio clips, Indigenous individuals share their favorite greetings, phrases, and songs. Tell students that short descriptions are included in the tour. These provide details and facts about each language. Explain to students that they will need to pay attention to these components. Play the introductory video “Meet Indigenous Speakers and Learn How They’re Keeping Their Languages Alive.” (Under 3 minutes.) The video is also available on YouTube. Ask students to share their initial thoughts. In what ways do they think language and culture are connected? Read The World’s Indigenous Languages in Context. This provides an overview of Indigenous languages, causes of language loss, and language revitalization efforts. Divide students into pairs or small groups. Organize groups evenly among the following four themes for a well-rounded dialogue. Explain that each group will explore the Google Earth tour, Celebrating Indigenous Languages. Visit the How-To Guide to go over how to use Google Earth and Voyager. Explain to students that they will respond to questions based on the following four themes. Introduce and explain each theme. - Identity, Family, and Community. Identity can be defined as the various ways individuals and groups define themselves by their beliefs, ethnicity, and culture, among other characteristics. Indigenous peoples may identify themselves through their tribe or tribal nation, and the Indigenous language they speak. Students will explore the connections and relationships between language, identity, family, and community. - Songs. Songs, or oral storytelling, often reflect cultural values, ethics, and beliefs. In Indigenous cultures, songs are passed down from generation to generation and many are under threat of disappearing. Songs can be stories that honor ancestors and the living world. Many Indigenous songs do not translate directly into another language, a reflection of how the messages are unique and specific to people and place. Students will explore the connections between songs, culture, and language vitality. - Language and Landscape. Indigenous languages reflect and express interconnection with land. Indigenous communities around the planet have developed traditional ecological knowledge (TEK) and ways of knowing through generations of intimate contact with their homelands. These bodies of knowledge express the relationships of living beings with the environment. Students will explore how language and landscape are intertwined. - Language Revitalization. Language revitalization can be defined as learning activities, including language immersion schools and programs, to cultivate new speakers, especially where intergenerational transmission of the language has been disrupted. Students will explore the various ways in which each Indigenous speaker is keeping his/her language alive. Access and distribute the question sheets for each theme: Ask students to use this note-taking sheet. Students will explore the questions and record their observations, responses, and reflections, using evidence from the Google Earth tour Celebrating Indigenous Languages. After groups complete the questions and reflections, ask students to share their responses as a class. About Google Earth’s tour Celebrating Indigenous Languages Read this article, “Indigenous speakers share their languages on Google Earth” by Google Earth Project Manager, Raleigh Seamster, to learn more about the making of the project as well as ongoing efforts to record more Indigenous languages. This initial collection, 55 audio recordings from Indigenous speakers around the world, is just scratching the surface. To share and contribute your Indigenous language in Google Earth get in contact and share your information.

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Essay The English Bills Of Rights. English bills of rights were written in 1689 after King James II was replaced by Mary, the king’s daughter, and her husband William of Orange. According to the article “English Bill of Rights 1689,” the English Bill of Rights of 1689 was basically British law, passed by the parliament of Great Britain. The Bill of Rights 1689, also known as the Bill of Rights 1688, is a landmark Act in the constitutional law of England that sets out certain basic civil rights and clarifies who would be next to inherit the Crown.It received the Royal Assent on 16 December 1689 and is a restatement in statutory form of the Declaration of Right presented by the Convention Parliament to William III and Mary II. English Bill of Rights 1689 BILL OF RIGHTS (1689) An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown Whereas the Lords Spiritual and Temporal and Commons assembled at Westminster, lawfully, fully and freely representing all the estates of the people of this realm, did upon the thirteenth day of February in the year of our Lord one thousand six.Bill Of Rights 1689 England Analysis. The Bill of Rights of 1689 By Christos Stamelos The Bill of Rights of 1689 The Bills of Rights of 1689 is a legal document encompassing the basic rights and liberties of the English people. It was compiled as the title states in December 1689 with the title An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown.The English Bill of Rights and its use in Modern day. The English Bill of Rights is constantly used in legal proceedings in the Commonwealth. Even so, it is constantly changed to suit the proceedings of the day. The Bill’s protections today can be compared to the protections in the U.S Constitution including the 1 st, 2 nd, 4 th, 5 th, 6 th. The English Bill of Rights is an act that the Parliament of England passed on December 16, 1689. The Bill creates separation of powers, limits the powers of the king and queen, enhances the.Read More The Bill Of Rights Essay, Research Paper. The Bill of Rights. Bill of Rights. The first 10 amendments to the US fundamental law are called the Bill of. Rights because they provide basic legal protection for single rights. The. footings besides applied to the English Bill of Rights of 1689 and the Canadian Bill.Read More X1 The Bill of Rights is assigned to the year 1688 on legislation.gov.uk (as it was previously in successive official editions of the revised statutes from which the online version is derived) although the Act received Royal Assent on 16th December 1689. This follows the practice adopted in The Statutes of the Realm, Vol. VI (1819), in the Chronological Table in that volume and all subsequent.Read More BILL OF RIGHTS (1689) An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown. Whereas the Lords Spiritual and Temporal and Commons assembled at Westminster, lawfully, fully and freely representing all the estates of the people of this realm, did upon the thirteenth day of February in the year of our Lord one thousand six hundred eighty-eight (old.Read More Bill of Rights, formally An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown (1689), one of the basic instruments of the British constitution, the result of the long 17th-century struggle between the Stuart kings and the English people and Parliament.It incorporated the provisions of the Declaration of Rights, acceptance of which had been the.Read More The Declaration and Bill stated that it was illegal for the Crown to suspend or dispense with the law, to levy money without parliamentary assent, or to raise an army in peacetime, and insisted on due process in criminal trials. This vigorous assertion of the rights of the subject meant that the Bill of Rights is often seen as parallel in importance with Magna Carta itself.Read More English Bill of Rights: An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown The English Bill of Rights grew out of the Glorious Revolution of 1688. During the revolution King James II abdicated and fled from England. He was succeeded by his daughter, Mary, and her husband, William of Orange, a.Read More The Bill of Rights 1689 established the doctrine of Parliamentary supremacy, meaning that Parliament became the supreme source of law-making over the monarch and the courts. It declared illegal the practice of prosecuting anyone in the courts for causes unless it was by the authority of Parliament. This Bill contained the following major Articles.Read More English bill of rights 1689 essay. Top 5 college essays for you must know, education - k-12 funding,. Assignment online tool help you write my charges. Websites to rank well in the commonwealth human rights and academic research essay. research paper on shakespeare Essay introduction essays for diy paper for essays in digital format thesis. Emerson essay on literary elements had only thwritmy.Read More The English Bill of Rights. Source. Stuarts and Parliament. In the 1640s and 1680s members of Parliament struggled with the ruling monarchs, the Stuarts, over the relative powers of Parliament and monarch and the king ’ s subjection to the laws of the land. The first struggle ended with the English Civil War, won by a Puritan-dominated Parliament which executed Charles I for treason in 1649.Read More

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How To Boost Executive Functioning Skills In Toddlers Executive functioning skills comprise abilities as basic as self-control, memory, self-awareness, reasoning, problem solving and more. In earlier articles in this series, we’ve explored in more depth what executive function is, and stressed how it can predict academic success and play a large role in how well a child will understand and perform in math, reading, writing, science — and life. Executive function in toddlers (18 to 36 months) While between months 6 and 18, skills such as working memory, and impulse control are being developed, in the following months, as babies age into toddlers, i.e., between 18 to 36 months, they refine these abilities while also developing new executive function-related skills as well as. Notably, they: - expand their language skills — while language is not an executive function, it strongly supports the building of executive functioning like self-regulation, by enabling toddlers to identify their thoughts and actions, think and reflect on them, and make plans. - understand rules — expanded language skills also help toddlers understand rules, both those that apply to games and those that regulate behavior. For instance, within this age range, children will develop the ability to understand they should wear shoes outside, but not inside. - play physically and gain more control over body movement — while motor control isn’t an executive function, there is evidence that physical activity exercises and reinforces executive functioning in toddlers. Hence, per Harvard University’s Center on the Developing Child, and developmental pediatrician Dr Mausam Shahpurwala, there are executive functioning activities for toddlers that will exercise the cognitive abilities they are developing and help boost their executive functioning. These include: Physical games and challenges Physical games and challenges for toddlers teach teach them how to focus, and help them realize they may not always succeed, but that practice and developing new strategies are very important. For instance, start with giving toddlers options they can choose from in order to try new skills — such as throwing and catching balls, balancing on beams, jumping. Simple rules around each kind of physical activity, such as taking turns running to a ‘finish line’ and back, will enhance their working memory. You could also include games that require self-control or inhibition, like Statue or Freeze games that require children to stop upon a certain word, hold the pose, then return to moving or dancing upon the next signal. And songs like “Ring Around the Rosie” that have dance movements specific to the words exercise children’s bodies as well as their attention, working memory and self-control by requiring them to wait until certain parts of the song to do the dance. Fingerplays that include songs and rhymes with hand gestures to match, are also a good way to engage with children at this age, because they challenge children’s attention, working memory, and inhibitory control. Conversations that involve lots of questions “It’s the best way to develop language skills,” says Dr Shahpurwala. “Encourage them to tell stories — by asking them how their day was, what they want to do, what they did with their friends.” Answering will require kids to reflect on their experiences, helping to enhance their working memory as they will try and hold these experiences in their mind. Talking about feelings will also encourage storytelling and support their language development. At this age, it’s all about the questions — for instance, asking a toddler “Are you happy?” “Are you angry?” will help them have a conversation — and understand their own feelings. It is also in this age group that kids are trying to imitate adult actions and can often be seen indulging in imaginary play like, for instance, Kitchen Kitchen, Teacher Teacher. These actions are not simply imitative, but rather they are signs of simple, imaginary play plots that should be encouraged and sustained. For example, after “cooking” in the pot, the child might put the pot on the table and pretend to eat. When they are doing this, adults can ask children questions about what they are doing, what they are eating, and why they are doing it the way they are. “It’s important that you play along, and let the child take the lead because it will help them regulate others’ behaviors and that will also help regulate their self-regulation skills,” says Dr Shahpurwala. This is part of a series on building executive functioning skills in children. The next installment will explore executive functioning activities for toddlers between ages 3 to 5 years.

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Throughout history, Indigenous peoples have played, gamed and created their own games. Games and gaming are in fact an integral part of Sámi culture, but there are, nevertheless, only a handful of digital games around. In her dissertation Outi Laiti, BE, MEd, explores the possibilities offered by game development events for the cultural self-expression of Sámi people. What kind of a picture of Sámi culture, then, do digital games convey – who draws it, for whom and on whose terms? Historically, Indigenous peoples have mostly been objects of the gaming industry: Mystical shamans and witch doctors who help the white heroes of the games. Today, also members of Indigenous peoples work in the gaming industry, but because of the demand for games combined with lacking resources, Indigenous people mainly end up as cultural consultants. Thereby a lot more than the mere mechanical implementation of a game is outsourced, because working as a cultural consultant leaves especially game development skills outside the realm of culture. Indigenous game design model In Sámi culture, games and plays are an essential part of education through which for instance intangible cultural heritage is passed on from generation to generation. Games and plays have also had their role in increasing the mental resilience of the Sámi – an attribute that is not to be underrated when it comes to an Indigenous people that has been the target of an assimilation policy. Laiti’s research addresses Sámi agency, particularly their right of self-determination in digital games. She notes that game creation is a cultural trait that emerges, grows and flourishes when given space. – “Elizabeth LaPensée, an Indigenous games researcher, has encapsulated the salient idea well in the phrase ‘Nothing about us without us’. By this she refers to active agency as well as the right of self-determination in Indigenous game development,” Laiti says. The Indigenous Game Design Model designed by Laiti depicts the process of game creation. Using the model, Indigenous game design can be examined particularly in terms of how it enables empowerment. Empowerment may occur through storytelling, contemporary experiences, teachings, language, sharing and developing. – “The model sheds light on the cultural meaning of game design to Indigenous peoples. Sámi culture is often thought to live in a mythical past. The intangible Sámi cultural heritage should rather be seen as a vivacious cradle of creativity that feeds the diverse Sámi way of life we witness today.” Cultural self-expression in game development events Laiti collected the research material in two game development events (a programming course for adolescents and Sami Game Jam) that were organised in Utsjoki during 2017 and 2018. Altogether 16 games were created, reflecting the features of contemporary Sámi game and play tradition. The events gathered together 57 participants from all over the world, some of whom were Sámi. Information on the public examination With the permission of the Faculty of Education at the University of Lapland, Outi Laiti’s dissertation ”Old ways of knowing, new ways of playing - The potential of collaborative game design to empower Indigenous Sámi” will be publically examined in Lecture Hall 3 on Saturday 6 February 2021 starting 12 noon. The opponent is Professor Tuomas Harviainen from the University of Tampere and the custos is Professor Satu Uusiautti from the University of Lapland. The defence can be followed online at http://blogi.eoppimispalvelut.fi/ulapland Information on the doctoral candidate Outi Laiti graduated as an engineer (ICT) in 2008 and as a master of education (media education) in 2016. In addition, she has completed pedagogical studies for teachers in 2019 and the workshops on e-sports coaching and mental coaching of the Finnish Esports Federation. Laiti has conducted her doctoral research while working for the Municipality of Utsjoki as a project coordinator, for the Finnish Pensioners’ Federation as a project manager and for the Davvenásti cinema in Utsjoki as a theatre manager. Laiti has been one of the main organisers of the successful Sami Game Jam event that was one of the three events that made it to the finals in the 2018 Pelikasvattaja game education competition. In 2020 Laiti was selected on the Gamesindustry.biz GI100 list that contains the world’s most prominent actors in the games industry. The nomination was based on her accomplishments in promoting the game culture of the Sámi and the aged. Information on the publication Outi Laiti: ”Old ways of knowing, new ways of playing - The potential of collaborative game design to empower Indigenous Sámi”. Acta Electronica Universitatis Lapponiensis 302, ISBN 978-952-337-249-8, ISSN 1796-6310. University of Lapland, Rovaniemi 2020. Permanent link to the electronic publication: http://urn.fi/URN:ISBN:978-952-337-249-8

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Learning how to write their names can help children familiarize with letters in their name and the sounds it makes. This is one of the first tasks that they will learn in the Pre-kindergarten Curriculum. Additionally, they will also have a grasp on the proper way of holding a pencil and the correct format of writing. Language Arts is an integral part of our Pre-kindergarten Curriculum. Here, we reinforce identifying letters and their matching sound (phonics) by using known words as representation. These are sight words or words that children easily recognize, as it often appears in books, media, or everyday life. We also engage children in reading and writing activities, such as storytelling, in their own words. Consequently, they learn how to formulate answers when asked questions about the topic. The mathematics curriculum involves basic mathematical concepts that children can quickly grasp. Constructive play develops children’s skills in recognizing and creating patterns, which is a building block in mathematics learning. It also includes sorting and organizing objects by various attributes such as color, shape, and size. Furthermore, they will learn basic addition and subtraction and recognize numbers up to 30. Our Pre-kindergarten Curriculum also hones children’s skills in other preparatory subjects. What they will learn are essential foundations as they progress in their education. - Arts and Music: We provide a space for children to express themselves through art tools and music. These activities teach them different elements of visual arts that benefit their development. - Health and Physical Education: We will introduce the topic of health to children through songs, illustrated books, and animated videos. They will also engage in free and guided play that will introduce them to sports and physical education. - Social Studies: This includes identifying different family members, learning about the community, and recognizing different jobs. Here, they will also learn about different cultural practices and holidays, etc. - Science: Children are natural observers; they ask a lot of questions and are curious about many things. By performing simple experiments and activities, they will learn how to explore and discover cause and effect. - Furthermore, they will also engage with practical life activities such as gardening, recycling, and nature walks. These activities allow them to use their senses and understand their role in the world. It stimulates the imagination and enhances their observation skills. Preparing For the Next Step Our Pre-kindergarten Curriculum prepares your child for the next step—Kindergarten. Children will develop an enhanced sense of independence and responsibility in doing tasks and play while enrolled in the program.

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Waldorf education is based on the views of Rudolf Steiner (1861-1925), a prominent Austrian educator. It’s thus sometimes referred to as “Steiner education.” But, what is Waldorf (or Steiner) education? Our guide covers the Waldorf school philosophy. It also covers common classroom practices and curricular approaches. Finally, it discusses important research. It should help you make an informed decision about whether a Waldorf school is right for your child. Here, we start with an introduction to the core principles of the Waldorf philosophy. Keep in mind, not every school follows all these principles, and different schools apply them in different ways. - Flexible curriculum - Educating the whole child - Formal academics begins later - Focus on creativity and the arts - Imaginative learning - Practical learning - Focus on nature Working with the teacher, students have some leeway to work in a broad range of areas and pursue their own interests. They aren’t forced to fit into a one-size-fits-all curriculum. On the other hand, Waldorf schools do have a curriculum. They also have core standards that must be met. A common misconception is to think otherwise. Jennifer Deathe, admissions manager of the Waldorf Academy, in Toronto, Ontario, sets the record straight. "There is a set curriculum starting as early as kindergarten. The curriculum covers benchmarks and how children can achieve those benchmarks." It’s just that students achieve benchmarks at their own pace. There’s also some flexibility in how benchmarks are reached. "Different children can demonstrate knowledge in different ways," says Deathe. Many students find this approach rewarding. When given freedom, they often choose tasks that challenge and excite them. This can spark their natural curiosity and inspire a love of learning. Educating the whole child The focus is not just on core academics. The aim is to educate the whole child: “head, heart, and hands.” Teachers nurture the intellectual, practical, and artistic sides of students. They also instill important values in them. Focusing on the whole child isn’t just a goal. It’s a cornerstone. Jack Petrash, a long-time Waldorf teacher, describes how teachers approach it (Understanding Waldorf Education, 2002): “Rather than focus the educational work solely around the objective of acquiring knowledge, creating a meaningful learning process itself becomes the focus. Through multi-faceted, multi-sensory learning experiences, teachers and students use a variety of intelligences to develop three distinct capacities—for thinking, for feeling, and for intentional, purposeful activity.” [Our emphasis] Sasha Singer-Wilson, who attended Waldorf Academy (at the time called the “Alan Howard Waldorf School”), in Toronto, Ontario, from kindergarten until grade 8, can attest to this fact. “You’re developed as a whole person. Your hands work and your mind works and your soul works and your heart works. It’s getting them all to work together in harmony, to make you a harmonious person and a good person—that’s what it’s about.” Formal academics begins later Core academics starts later than in most mainstream schools. Students typically aren’t taught core subjects—such as math, science, reading, and writing—until grade 1 or 2. The belief is that children need to develop focus, independence, and other traits first. Formal instruction can come later. It's also believed that starting abstract learning too early can impede a child's intellectual development. Focus on creativity and the arts Subjects are often taught through storytelling, visual arts, drama, movement, vocal and instrumental music, crafts, and other artistic media. Lessons often start with singing, music, or poetry. This injects the arts into many parts of the curriculum. It also enlivens learning in a way that mainstream schools often fail to. In this way, Waldorf is similar to other progressive, arts-focused schools. In Waldorf schools, art, music, and creativity are infused throughout the curriculum. In preschool and kindergarten, the classroom is intended to resemble a home. It contains many tools and toys. These are often made from simple, natural materials. Young children are also given lots of opportunities for free play, artistic work (e.g., drawing, painting, or modelling), circle time (songs, games, and stories), and outdoor recess. This encourages pretend play and fosters imaginative learning. It also allows children to develop important social skills. At the elementary or lower school level, role models are drawn from a wide range of literary and historical traditions. For instance, teachers tells stories about important people, such as Mahatma Gandhi, and students do projects on them (sometimes called hero projects). And at some elementary school programs, such as that of Waldorf Academy in Toronto, Ontario, students take part in plays chosen by the teachers. This nurtures their fantasy and moral imaginations. It also teaches them about respect, empathy, and other important traits. Up to grade 3, students do a lot of hands-on and experiential learning. They take part in several different practical tasks, such as cooking, cleaning, and gardening. Most schools even have a schedule for jobs that need to get done. Typically, there’s a day (or time) for cooking, preparing snacks, cleaning, and so forth. This allows students to learn important skills. They also learn to be responsible, do their fair share, and help others. Focus on nature Students are given a lot of natural materials. Cooking, gardening, and environmental and outdoor education are also a big focus. This promotes appreciation for nature. It also has broader benefits. As L.D. Davey (“Play and Teacher Education”, 1998) explains: “A fundamental principle of early childhood education is that young children learn about the world most readily by interacting with their environment.”

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The Islamic syllabus covers five main areas which are imparted to students in a gradual and systematic way to understand and enhance their reflective and active learning processes within a British context. The main areas of study are: Aqeedah – beliefs and dogmas Ibadat – nature and philosophy of the Islamic rituals Seerah – life of the Prophet Islamic History – The Four Khalifs ,Biographies of Lives of the Sahabas, and Muslim civilisations. Aadaab and Akhlaaq – morals, social ethics and Islamic spiritualism. This curriculum has been developed considering the traditional Islamic teaching methodologies, such as Ramadan Al Buti’s evidential method coupled with Bloom taxonomy, Jean Piaget’s cognitive theory of learning, self-orientation learning and blended learning teaching approaches. F2 is the stage where we need to acclimatise the child with their new learning environment. Students are introduced to the concept of Tawheed by identifying their own bodies and using their imagination and curiosity to develop their appreciation and wonder of the world in which they live in. Developing a vocabulary of religious words and listening and responding to stories of Prophets plays a prominent part in their initiation of Islamic knowledge. Students are introduced to the study of Seerah creating an opportunity to instil love of the Prophet and good character in them. To attain these objectives the usage of visual and auditory means, team work, play, motor and reflex system is adopted. Year one is a crucial year as the child will be trained in acquiring two main skills: learning and self-development. The primary objective of their syllabus is to gain elementary knowledge of Tawhid, Seerah, Adab and Akhlaaq and Ibadat. While this knowledge is mainly factual in nature it helps develop their learning skills in a systematic way. Their learning is aligned to varying activities, such as: mix and match, flash cards, drawings and games. Knowledge of Akhlaaq and Aadaab is transmitted through stories of Sahabas and role plays. Year two students can begin showing appreciation to more in depth lessons. Storytelling and relating to incidences and experiences of Prophets and Sahaaba is thus a dominant feature of their lessons. The focal point of the syllabus is firstly Aqeedah in which the life of Prophets is studied. From this they can extract lessons of love, trust, obedience and other important traits. Secondly, in Seerah students study and relate to the events during the youth of the Prophet. Quranic verses, Ahaadeeth and biographies of Sahabiyyat are also studied establishing a ground for Aadaab and Akhlaaq (morals and etiquettes). The significance, requisites and other relevant aspects of Salah, Sawm and Zakaah represent the learning content for Ibaadah. Year three is an important educational transition whereby students are more aware of themselves and their environment. The primary aspect of the curriculum at this stage is to engage students with a cross-curriculum approach in order for the students to contextualise their secular knowledge within an Islamic ethos. The main content of the syllabus for this year is: dealing with more details on article of faith, such as introduction to the concept of prohethood and angels; biography of the Prophet focusing on events leading to the Hijrah; studying the lives of the Khalifs and lastly the philosophy of Ibaadah is reflected upon. The objective of year 4 is to further consolidate the year 3 learning and development. Student will at this stage be required to analyse and apply their cognitive skills. Students are also given opportunities to start discovering knowledge. Several key topics are assessed: The selection of Hijrah for the start of the Islamic calendar, change of events in the life of the Prophet, the role of the Prophet as head of State, the history of Islamic civilization change its trajectory when the Banu Ummawiyah took the reign of leadership. The banu ummawiyah tribe is specifically opted as they contributed towards a centralised government and introduced many state departments. This helps student to compare and contrast with modern day UK policies and government. The combination of these opportunities and approaches are completed under the controlled environment of the classroom. Additionally previously taught knowledge is revisited using reflective learning techniques. Year 5 is a start in preparing students towards a self-orientation learning which will equip them for their secondary education. From here the emphasis is on students researching and acquiring information from a range of sources. The educational skills and acumen developed over the years are synthesised in terms of revision and also more in-depth analysis of Islamic subjects. It is not simply a rhythmic memorisation of facts but these facts are to be processed and implemented in a wider society. Issues such as diversity and tolerance, ethics of living in a multi-cultural and pluralistic society, and interfaith dialogue from the life of the Prophet and Sahabas are analysed and contextualised. A wide spectrum of discourses, such as: the position of battles, need for compiling the Quran, experiences of Sahaaba, comparison of the concept of Godhead (unicity of God) in Christianity and the dictates of monotheism in Islam, rule and contributions of the Abbasids, is delved into so that students acquire a balanced application of Islam. Year 6 is the pinnacle of the curriculum and it attempts to solidify the previous year’s curriculum development in that students will remember, understand, apply, analyse evaluate Islamic issues from the syllabus devise that will enable them to transit into a secondary school with a basic Islamic foundation and acclimatise and interact with the wider society. The syllabus extends itself on a wide horizon, covering topics such as social dimension of Islam, interfaith dialogue, civilizational conflict and remedy, compare and contrast lives and contributions of historical persons. Aqeedah requisitions the reflection and recognition of the power of our Creator through the study of space, the phenomenon of miracles, belief in the Hereafter and its effect on behaviour and the status of Wahi- Revelation. The program will help them develop five skills: - Self-awareness, particularly of feelings surrounding an event - Description of events - Critical analysis i.e. the relevance of existing knowledge, challenging assumptions and imagining alternatives - Synthesis i.e. findings of new meaning and perspectives. - Evaluation, making judgements about the value of something or personalities. HALAQA (Circle Time) The principle of halaqah as a prophetic pedagogy that incorporates tarbiyah, ta’alim and taadib. The traditional method of halaqah has always been part of tarbiyah. Muslim parents have always sat in circles with their children, telling Islamic stories and discussing Islamic beliefs and values. Prophet Muhammad (saw) established halaqah as a mode of tarbiyah. Although many of his companions were literate the transmission of learning was essentially oral and transformative. Islamic education has never been an ‘academic’ exercise; it has always been purposeful and transformative for individuals and society. We have taken this method and used it for developing essential Islamic values and etiquettes of behaviour. Each term we take a theme such as respect and develop from the personal to the community. Our aim is to make this practical, applicable and relevant.

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Writers sometimes think that writing styles must be kept distinct. They assume that, when writing an expository piece, they should avoid descriptive or narrative details. Perhaps the assumption is that their expository writing will sound more formal without the descriptive elements. Effective writing, though, in any style calls for using the best support for a position or point of view. Therefore, writers can use descriptive and narrative details as long as they select those that are appropriate to their purpose. What is expository writing? The purpose of expository writing is to define and explain an idea. Writers often use expository essays to report on an idea they investigated. They evaluate evidence, expand on the original idea and state a position based on their findings. For instance, a piece exploring the current effects of the Great Depression on the economy is expository writing. To write this piece, they start by defining the terms associated with the Great Depression. They then move to an exploration of the current economy and how certain elements can be related back to the Depression. Though expository writing is supposed to be straight-forward, writers still have the opportunity to include creative elements. Narrative or descriptive elements that support the writer's position are appropriate additions to expository essays. How do I use descriptive elements? The goal of descriptive writing is to create a vivid image in the reader's mind. Writers do this with imagery. For imagery, concise language, sensory details and emotive images freeze one moment in time in the reader's mind. These techniques are appropriate for expository writing as well. Concise language that paints a picture in the reader's mind helps define and explain an idea. If writing about the Great Depression's effects, a writer can choose the precise words to explain the immediate effects on the land, thus creating that image. Likewise, sensory details related to the dust bowl effect bring one of those moments home to the reader. Most significantly, though, is using emotive language to drive home the lingering effects the Depression had on survivors' psyches, for example. To use descriptive elements in your own expository writing, first of all consider which aspects of your topic have the most emotive potential. Try to drill that element down into one moment in time. Brainstorm sensory words that will create a vivid image in the reader's head. When choosing your descriptive words, choose the most precise ones to paint the picture. Lastly, don't be afraid to use emotive language. This relates to one of the three pillars of persuasion, pathos. Creating an emotional reaction in your reader drives your point home. How do I use narrative elements? With narrative writing, you relate a story or an anecdote. Like with descriptive elements, writers choose vivid words and concise language. Narrative elements can help a writer make his point in an expository essay. He can use an anecdote that either gets the reader thinking in his direction at the beginning of the piece or recount a story that provokes further thought at the conclusion. Likewise, relating an experience that supports the position directly is effective. For example, using a short narrative to explain the personal effects of the Great Depression creates a lasting image in the reader's mind. To use a narrative in your expository writing, consider starting with an anecdote that sets the stage for your exploration. Don't make it personal. Rather, try to find a published story or even a literary anecdote. Your conclusion is another strong position to include a narrative. Make sure any concluding stories will keep your readers thinking in the direction you want them to go in. The Key to Effective Writing As with any writing, they key to expository essays is using the elements effectively. Writers using a narrative to support their points in expository writing need to ensure they use a sufficient amount of detail to make the story work without overwhelming the expository nature of the writing. To achieve this, choosing precise wording allows for brevity. Likewise, writers need to make certain the description or narrative is relevant to their positions. They need to select only the details that contribute to their positions, eliminating any that do not directly support the points. In conclusion, don't be afraid to get creative with your writing. Readers enjoy vivid images and narratives. Just make sure they support your points. As always, when writing any piece, make time for editing. Have someone else read your copy or let it sit for a day before returning to it. Keep specific questions in mind about how certain elements strengthen or weaken your writing. Narrative and descriptive details can be a boon to expository writing -- just don't let them turn your essay into a creative writing piece! Expository Writing CAN be Creative! © 2013 Nadia Archuleta Magdalene Omoti on April 14, 2020: Wonderful l Love this Christabel on June 06, 2018: Nadia Archuleta (author) from Denver, Colorado on October 14, 2013: Writing styles don't need to be mutually exclusive -- not everyone realizes that. Thanks for stopping by! L C David from Florida on October 13, 2013: Excellent advice for writers who are trying to understand essay structure and academic writing.

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A word class that describes a kind of situation such as a happening (for example, ‘climbed’ in ‘she climbed the ladder’) or a state (for example, ‘is’ in ‘a koala is an Australian mammal’). - verbs are essential to clause structure: all clauses contain a verb, except in certain types of ellipsis (for example, ‘Sue lives in Sydney, her parents, in Melbourne’, where there is ellipsis of ‘live’ in the second clause). - virtually all verbs have contrasting past and present tense forms. Some are signalled by inflections such as ‘-s’ and ‘-ed’. For example: - walk/walks (present tense) - walked (past tense). - other verbs have irregular forms that signal a change in tense. For example: - present – ‘am/is/are’ and past – ‘was/’were’ - present participle ‘being’ and past participle ‘been’. Auxiliary verbs and modal verbs are two types of verbs: - auxiliary verbs are also referred to as ‘helping’ verbs. They precede the main verb – for example, ‘draw’ (main verb) ‘has drawn’ (auxiliary verb assisting) - modal verbs express a degree of probability (for example, ‘I might come home’) or a degree of obligation (for example ‘You must give it to me’, ‘You are not permitted to smoke in here’). Consists of a main verb, alone or preceded by one or more auxiliary or modal verbs as modifiers. - create tense, as in ‘He [was running]’, ‘She [is working] at home’, ‘I [have seen] him before’ - express modality using modal verbs such as ‘can’, ‘may’, ‘must’, ‘will’, ‘shall’ and so on, as in ‘You [must be] mad’, ‘He [will have arrived] by now’, ‘She [may know] them’ - create passive voice, as in ‘A photo [was taken]’ Observe with purpose, understanding and critical awareness. Some students participate in viewing activities by listening to an adult or peer describing the visual features of text, diagrams, pictures and multimedia. Visual components of a text include placement, salience, framing, representation of action or reaction, shot size, social distance and camera angle. Choices that contribute to the meaning of an image or the visual components of a multimodal text and are selected from a range of visual features like placement, salience, framing, representation of action or reaction, shot size, social distance and camera angle. A speaker selects and uses particular vocal qualities including volume, tone, pitch, pace and fluency to engage and impact upon their audience. Voice, in a grammatical sense, applies to verbs. Voice expresses the relationship of the subject to the action. Voice can be active or passive. Active voice places the subject before the verb so the subject does the action (for example, Max drew the picture). Passive voice places the receiver of the action before the verb (for example, The picture was drawn by Max). Voice, in a literary sense, is the distinct personality of a piece of writing. The writer's voice is the individual writing style of the composer, created through the way they use and combine various writing features including syntax, punctuation, vocabulary choices, character development and dialogue (for example, a scientific explanation may be written in ‘expert voice’). Letters of the alphabet (a, e, i, o, u, and sometimes y) that represents a speech sound created by the relatively free passage of breath through the larynx and oral cavity. Letters that are not vowels are consonants. Two successive vowels that represent a single phoneme (for example, /ai/ in the word ‘rain’; /ea/in the word ‘beach’; /ee/ in the word ‘free’).

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At St James’ Lanehead, children are explicitly taught the skills of reading (outlined in the National Curriculum and the KS1 and KS2 test domains) using VIPERS, which were created by Rob Smith (The Literacy Shed). VIPERS is an acronym to aid the recall of the 6 reading domains as part of the UK’s reading curriculum. They are the key areas which we feel children need to know and understand in order to improve their comprehension of texts. Vocabulary Inference Prediction Explanation Retrieval Sequence or Summarise Our aims for English is to ensure that by the end of Key Stage 2, all pupils: · Read easily, fluently and with good understanding · Develop the habit of reading widely and often, for both pleasure and information · Acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language · Appreciate our rich and varied literary heritage · Write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences · Use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas · Are competent in the arts of speaking and listening, making formal presentation, demonstrating to others and participating in debate The English curriculum is underpinned by two core values – that all children should be competent readers and that all children should be able to articulate their ideas. We believe that in order for our children to become successful writers, they must first be able to speak well and read with fluency and confidence. Reading is an essential part of our whole curriculum. Children read extensively in all other curricular areas – from following instructions in DT, to reading religious texts during Religious Education. We believe that children should read frequently and widely. Children actively and enthusiastically engage with books, labels and information on displays throughout school. Books and iPads are used daily for research within other subjects. Children are encouraged to read for pleasure with each class having dedicated library time and there being an embedded system for borrowing and returning books. We ensure that all our pupils are benchmarked so that our staff are fully aware of the children’s levels. Home reading books are phonetically decodable to facilitate independent reading especially for those children who are not read with at home. Within the school, we value reading, children are read to daily to promote a love of storytelling and all staff share their experiences of reading with the children. We are happy to introduce our brand new reading apps: Oxford Reading Owl and The Bug Club. These are a great addition to our abundance of books and will provide a replacement for our reading books within school until we are able to send them home again. They are both fantastic apps that act as an online library for your child, allowing them to access a range of books that are specific to the level at which they are at. Below is the information you will need to log in for EYFS, KS1 and KS2. You should have received these letters home as paper copies with your child’s reading level on too. If you wish to check your child’s reading level, please contact the school office. To access Oxford Reading Owl: Please log on and select which book you would like your child to read from the level that has been provided by school. To access The Bug Club: Please log on using the details you have been provided with and you will find a range of books ready to read, these are books that your child’s class teacher has selected for them. After your child has finished reading you will be able to complete the reading record which is available on Purple Mash. This will allow staff to monitor the home reading and provide feedback if needed. The staff will be checking this on a weekly basis. To find the reading journal on Purple Mash, please follow the steps below: - Purple Mash · Log in – Search ‘Reading Journal’ (Select the one appropriate for your child’s age) · Record reading Again we appreciate that not all children have access to devices which allow them to access apps online. If this is the case, please continue to read with them at home. Reading can take place in any form, reading books, when you are out and about or in the house e.g. reading street signs or following a recipe! 100 Books to Read We strongly believe that all children should experience high quality books that enhance literacy skills and inspire them to read. We aim for children to develop a love of reading and this will help motivate them to write. To help with this we are sharing a fabulous and highly recommended list of ‘100 Books to Read…’ Reading Spine takes place daily in every classroom where the children are read to. Each of the books help to develop the imagination of our children and equips them with language. We want our school to be a place where children are read to, enjoy, discuss and work with high quality books. We use the Pie Corbett Reading Spine so that children have access to high quality texts and develop a love for reading! Virtual Visit from Dan Worsley This week we had a virtual visit from the author Dan Worsley. All the classes met Dan, listened to one of his amazing stories and then had the opportunity to ask him some questions. Here are some responses from our families and children: “We really enjoyed listening to Dan today. He used lots of expressions and kept us entertained.” “Dan is a very engaging storyteller!” He gave us excellent words of advice…”Keep reading and believe that anything is possible!” “Thank you for making our week. The children absolutely love reading his books!” “Thank you for what was such an enjoyable afternoon. Dan was marvellous to listen to and the children were so engaged all the way through!” “We had such a good time, and this had been something that we had been looking forward to all week! Thank you to the school and to Dan for inspiring us to believe that we can do anything if we put our minds to it!” “I thought Dan was really funny and he gave me lots of good ideas for my writing.” ‘I have never seen Dan before, I have just read a few pages of his book and I am hooked, I can’t wait to read the rest.” World Book Day 2020 On World Book Day 2020, children were faced with crime scenes in each classroom! Somebody had been in and destroyed the classrooms, leaving evidence around. Our job was to find the pieces of evidence and work out who this could have been. More evidence arrived throughout the day, with reports from the neighbours, school office and a visit from the police! We gave all of our information to the police officers. For our Family Friday event, our families were inviting into school to look at the evidence and help us to work out who had caused the mess! We also came dressed up as a word because as a school we have been focussing on vocabulary. Here are some of our pictures from the day…

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Inspiring Learners in Christ In third grade, we encourage students to build up invaluable skills such as responsibility, industry, and patience to help them navigate their way through school as well as stay motivated and excited about their learning. We help students harness their energy and give it direction to focus on academic engagement through collaborative learning and individual effort. Across all curriculum, faith formation is a vital part of our program. Third grade is a time that students begin to explore their potential and we provide students with a safe, nurturing environment that helps students boost their confidence amidst an expanding awareness of the broader world. In third grade, we use a writer’s workshop model to encourage our students to become confident and capable writers. In Reading, we strengthen oral fluency and expand students’ comprehension skills. In Social Studies students focus on California’s history and regions. This also includes learning about the history and traditions of Native Americans, past and present. Third grade at St. Philip is a time to explore, engage, and continue to be excited about learning. Fourth grade is a special year for students at St. Philip as they work with teachers to develop autonomy in school for their learning and behavior. Students are given time and space to gain a better understanding of their own individual learning styles. They are guided in how to take effective notes, create their own study guides, and ultimately build study skills that complement their personal strengths. Teachers help students learn to solve their conflicts with growing independence as students regulate their emotions and work to effectively communicate in times of challenge and growth. Growing peer solidarity is channeled into book clubs, group projects, and collaborative assignments that often incorporate technology. Students’ intellectual curiosity is met with enthusiasm as they transition from learning to read to reading to learn. Fourth graders engage in long term research projects that allow them to build both reading and writing skills as they use textual evidence to support their conclusions and explanations about a text. In Math, fourth grade students use a variety of strategies such as music, manipulatives, and small group work to understand multi-digit multiplication, division with remainders, and extend their understanding of converting fractions and comparing fractions. In Social Studies, 4th graders build a better understanding of today’s world by exploring California’s diverse history. In 5th grade, students consolidate gains from their early educational journey and continue to push forward with collaborative investigations, development of study skills, research, and explorations into greater depths of knowledge across the curriculum. Fifth graders work industriously to showcase what they have learned as they compose essays, cite textual evidence, explore creative writing, and collaborate on presentations that feature technology. In math, students extend their knowledge of multiplication and division to larger and more complex numbers, like decimals, extend their use of basic operations to include fractions, and incorporate problem solving that requires algebraic thinking. In reading, students utilize their maturing ability to select texts from genres they enjoy. This enthusiasm is then shared with peers through class discussions, book recommendations, and emerges in student-driven book clubs. Fifth grade provides an environment that encourages students to listen to each other, heighten awareness of their impact on the school environment, and practice kindness through intentional acts. Our goal is to give students the skills they need to transition easily into junior high and enjoy the golden end of elementary school.

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When you have completed this lesson, you should be able to judge the degree to which Madison deserves to be considered the "father" of both the Constitution and the Bill of Rights. When you have completed this lesson, you should be able to judge the degree to which Madison deserves to be considered the "father" of both the Constitution and the Bill of Rights.You should also be able to explain and evaluate Madison's successes and failures in putting his ideals into practice as regards political parties and slavery.Tags: Creative Writing ParagraphsThanksgiving Creative Writing IdeasQuoting Thoughts In An EssayNotre Dame Mba Admissions EssaysCritical Essay Pride Prejudice Jane AustenEssay On Who Am IDissertations And Theses From Start To Finish (Apa 2006) Despite his youth, he quickly became one of the Congress's most active members. His service in the Virginia state assembly (1784–87) convinced him of the dangers inherent in the powerful state legislatures and of the weaknesses of the Articles of Confederation. Madison designed an alternative constitutional framework that would avoid these problems. Introduced at the Convention by Virginia's delegates, it became known as the Virginia Plan. He was one of the principal architects of the constitutional and political institutions that continue to shape our nation's life today. In his ability to translate ideas into action Madison also exemplified what has become an important characteristic of American citizenship.Madison's views, however, did not always prevail at the Convention.Of the seventy-one suggestions he proposed or supported, forty were voted down.He led the new nation through its first major war (the War of 1812).His wife Dolley was so successful in establishing the hospitality of the presidency that she inspired the term "First Lady." At the end of his second term in 1817, Madison retired to his home, Montpelier, where he continued to serve as advisor and confidant to many leaders of the day. In later years Madison denied that he was the "Father of the Constitution," observing that the nation's charter was "the work of many heads and many hands" rather than the "the offspring of a single brain." Other delegates to the Convention, however, acknowledged Madison's special stature, one noting that "he blends together the profound politician, with the scholar."Madison showed this blend of abilities in his preparation for the Convention.James Madison (1751–1836) was born in Virginia and raised on his father's plantation in that state, Montpelier, in Orange County.His parents encouraged his studies, engaging tutors to provide a classical education and sending him to the College of New Jersey (now Princeton University), where he excelled.He also opposed giving the selection of senators to state legislatures.The Virginia Plan's call for Congress to have a veto power over some state legislation was also rejected in favor of the more general Supremacy Clause.After college Madison had difficulty choosing a career, showing little interest in law or the clergy, the traditional professions of those who went to college.Within a few years, however, he was drawn into the growing colonial resistance to the imperial policies of Great Britain.

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Biography Relatively little is known for certain about Machiavelli's early life in comparison with many important figures of the Italian Renaissance the following section draws on Capponi and Vivanti He was born 3 May in Florence and at a young age became a pupil of a renowned Latin teacher, Paolo da Ronciglione. It is speculated that he attended the University of Florence, and even a cursory glance at his corpus reveals that he received an excellent humanist education. It is only with his entrance into public view, with his appointment as the Second Chancellor of the Republic of Florence, however, that we begin to acquire a full and accurate picture of his life. For the next fourteen years, Machiavelli engaged in a flurry of diplomatic activity on behalf of Florence, travelling to the major centers of Italy as well as to the royal court of France and to the imperial curia of Maximilian. His father was a doctor of law. Machiavelli seems to have been carefully educated in humanistic studies, although he never learned Greek. He entered Florentine government service inat the age of 29, as second chancellor and secretary of the Ten of Liberty and Peace, an executive committee concerned with domestic as well as military and foreign affairs. During his year tenure he was engaged in numerous and sometimes lengthy diplomatic missions which took him to France, Switzerland, and Germany. His dispatches and reports contain ideas that anticipate many of the doctrines of his later works. Not only was the famous militia ordinance of his, but also the responsibility for implementing it, in the capacity of secretary of the specially constituted Nine of the Militia. When the Florentine government was threatened in with the restoration of the Medici by Spanish forces, Machiavelli skillfully mobilized an army of twelve thousand conscripts to withstand the invasion; however, the amateur citizen-soldiers proved ineffectual before seasoned troops. With the restoration of the Medici, Machiavelli was briefly imprisoned and tortured. After 13 years of political inactivity he was recalled to government service by the Medici inbut two years later the Medici were overthrown, and the new republic again excluded Machiavelli from office. He died inreceiving the last rites of the church. Machiavelli was a good father and an affectionate if unfaithful husband. Scrupulously honest, he was also generous and tolerant and had unusual courage and integrity. He excelled in witty conversation and storytelling. As much a poet as a man of practical affairs, he was a dedicated republican who desired only to serve Florence rather than any particular party. He was an extraordinary literary artist and has long been recognized for his masterful prose style; as the author of the comedy Mandragola see — he has been acclaimed the equal of Moliere. Method Machiavelli was neither a system builder nor a philosopher in a technical sense. In no single treatise did he rigorously expound his theory of man and government. His views are presented in a diffuse and impressionistic fashion, scattered through a number of different works. At the same time, there is system and remarkable consistency to his ideas, even if the coherence is not the most obvious and depends to a degree upon imaginative reconstruction by the sensitive reader. He examined politics in a detached, rational manner, analyzing the ways power can be acquired and maintained. He showed the kinds of actions that in varying situations will lead to political success or failure. Although he was not concerned with moral and political obligation or with the analysis of moral and political concepts, a conception of a good society does inform most of his political writings. The sources of his approach are a matter of conjecture. He probably owed less to the traditional philosophers than to nonphilosophical classical writers—in particular, to Livy, Tacitus, Plutarch, Xenophon, Polybius, Vegetius, and Frontinus. Machiavelli was not alone among his contemporaries in abandoning a moralistic approach to human behavior for a rational and objective one: That Machiavelli lived in a city whose very life was finance and commerce may also help to explain his method, which had some of the characteristics of a business calculation of profit and loss. Another possible influence was the increasing conceptualization of government policy, since the thirteenth century, in terms of a notion of public utility: Machiavelli was heir to this late medieval tradition. Machiavelli was essentially concerned with ascertaining the conditions of political success, and he sought to do so by determining what kinds of acts have proved beneficial and what kinds detrimental to the political actors who performed them. In The Prince and the Discourses, written between and see ahe demonstrated the soundness of certain political precepts by using a kind of calculus: He used this method for military precepts, in these works and in The Art of War Niccolo Machiavelli’s “Discourses on Livy” [ send me THIS paper ] This 5 page report discusses “Discourses on Livy” is on of Niccolo Machiavelli ’s lesser-known works. The Life and Works of Niccolo Machiavelli that once implemented will create and maintain a power [tags: Literary Analysis, Niccolo Machiavelli] Better Essays words | ( pages) However, when examining Machiavelli’s various concepts in depth, one can conclude that perhaps his suggested violence and evil is fueled by a moral. Niccoló Machiavelli (), Italian political thinker and historical figure best remembered for his masterpiece, The Prince (written in , but published posthumously in ). Machiavelli is considered one of the great early analyzers of political power. Niccolo Machiavelli was . 1. Biography. Relatively little is known for certain about Machiavelli's early life in comparison with many important figures of the Italian Renaissance (the following section draws on Capponi and Vivanti ) He was born 3 May in Florence and at a young age became a pupil of a renowned Latin teacher, Paolo da Ronciglione. Famously centered on the right balancing of fortune and virtue in the prince, it is by far the most read work by Machiavelli and one of the most prominent texts of Western political thought. Niccolo Machiavelli lived from to A resident of Florence Italy, he was a social commentator during a time of powerful city-states. Machiavelli published his most celebrated work, "The Prince,"� in

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Jane Austen wrote at the beginning of the Romantic era. That doesn’t mean lovey-dovey romance. Here is the definition from Wikipedia: The Romantic Period was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. In literature of the era, one often finds nature personified. Poets write about its beauty and truth. They found human nature reflected in mother nature. Novelists used weather almost as a character that could control the direction of a story. It had other uses as plot devices, such as a storm might foreshadow a turbulent event for the protagonist. Characters are free in their emotions with no veil between them and the reader. However, Jane Austen remains entrenched in logical realism. The hopeless longing many a JAFF writer have attributed to Mr. Darcy never shows up on the pages of Pride and Prejudice. We are told only that Elizabeth spends several hours awake trying to determine her feelings toward Mr. Darcy, we are not treated to a chapter of her conflicted emotions. So too, Austen’s writings about nature are different than the Romantics. When Anne de Bourgh, Mr. Darcy’s intended, calls outside of Mr. Collins’ parsonage while Elizabeth Bennet is visiting, it is quite windy, and Elizabeth observes, “She [Miss de Bourgh] is abominably rude to keep Charlotte out of doors in all this wind. Why does she not come in?” The Romantic author would use this as a device later. A likely scenario would be Darcy and Elizabeth are to wed, but the sickly Anne announces she has a prior claim to Darcy and like a tornado wreaks havoc on our lovers’ destiny. Although Anne’s mother, Lady Catherine, arrives to make such claims they hold no weight and instead of creating an obstacle bring Darcy back to Longbourn and is the means of uniting them. When first approaching Rosings, the weather is fine and the park pleasant. There is nothing there to intimidate Elizabeth or foreshadow the great lady’s future meddling. Soon after arriving in Kent, Elizabeth finds a favorite sheltered walk which she imagines puts her beyond the reach of Lady Catherine’s curiosity. However, Darcy soon finds her and approaches her several time while on the walk. Yet, it is not in the secret hangings of trees blooming in early spring where he proposes to her, but instead in Mrs. Collins’ parlor. Their love is not like a frail bud that one early frost may kill. Nor does it signal the end to a long winter and is met with smiles. Instead, Darcy’s first proposal is in a place where public appearance and civility are at its height. Darcy insults Elizabeth during the proposal. However, his words might be accepted as deserved due to Society’s values. Meanwhile, he calls Elizabeth’s rejection uncivil because it was direct and not full of useless flattery. His second proposal is out of doors and accepted, however, we know nothing of the scenery. Indeed, they walk on without knowing what is around them. In conclusion, we learn nothing new or revolutionary from Spring in Pride and Prejudice. It is no doubt, one of the reasons Charlotte Bronte said this of the book, “I got the book and studied it. And what did I find? An accurate daguerreotyped portrait of a common-place face; a carefully fenced, highly cultivated garden, with neat borders and delicate flowers—but no glance of a bright vivid physiognomy—no open country—no fresh air—no blue hill—no bonny beck. I should hardly like to live with her ladies and gentlemen in their elegant but confined houses. These observations will probably irritate you, but I shall run the risk.” It’s interesting then that the two most recent adaptations of Pride and Prejudice feature many outdoor scenes. Whether it’s Lizzy running in the open country, walking in manicured hedges around Longbourn or proposals in the rain, nature provides a heavier setting in the films than it does in the book. For better or worse, the more melodramatic Romantic era casts a shade even on how we interpret Jane Austen’s works of classical realism. Next week I’ll discuss the idea of luck and fortune in Austen’s works in honor of St. Patrick’s Day. Help me write a Spring short story! Choose from the following weather issues: Rainstorm with hail *While looking for the quote by Charlotte Bronte, I stumbled across this blog which I think further explains the issue of looking at Austen through Romantic eyes. Last week’s post at Austen Authors: March Mix- In Like a Lion, Out Like a Lamb

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If your students are up to it, have them submit their personal ad for publication or just post them in your classroom and have the class try to match each ad to a classmate. At the beginning of class, have students write down, in one sentence, the importance or relevance of something they learned in the previous lesson. After introducing the holiday to the students, ask them if they celebrate a harvest day or a day of the dead in their culture. Thousands of content members from around the world. When it is time to write, they simply follow their ideas along the page. Here are three specific exercises a student can practice to enhance their creative writing ability: View Intermediate listening lesson plans on the Premium site. And if you are interested in more, you should follow our Facebook page where we share more about creative, non-boring ways to teach English. Science has a complex vocabulary that is difficult even for native English speakers to learn. As students progress with their language learning, so the creative exercises can become more challenging. This will help ELL students know where you are, and where you are going with your lesson. By helping your students engage the oral and aural skills they have acquired in their studies of English, they will find that writing is not as impossible as it might otherwise seem. Use different colored pens or highlighters to note points in selected entries. In the early stages of language learning, one of the first lessons taught is often learning how to greet other people, using characteristic words to describe what they look like. Again, giving your students a chance to speak and prepare for writing is the key. This site helps students learn English vocabulary through picture matching games. Students can use their computers or etymology dictionaries. Ask students to select their best or most provocative WTL writing for you to review. Science reading comprehension activities — Cloze 2. Reading and Writing Journaling — Students become better writers by writing. Closed captioning is also invaluable for the hearing impaired. These early lessons can incorporate some creative writing by having students write a short paragraph, or poem about a friend. Word wall — Post new vocabulary terms on the wall in an organized, grouped manner. Vocabulary Provide students with a list of words associated with Halloween, negotiating the meanings in class. This site offers advice on and examples of business English usage in common business documents, vocabulary, etiquette, grammar rules, word usage, and more. Materials are categorized by beginning, intermediate and advanced writing. In the middle of the class: The last sentence of a paragraph, when it stands alone, is a concluding sentence. Cornstalks were a symbol of the harvest. For instance, ask beginner students to record just one or two words each day to describe the weather, or an item of clothing they are wearing that day. ESL Galaxy offers a variety of English grammar writing exercises, including sentence scramble, gap exercises, picture description, and more, divided into beginner, intermediate, and high levels. Students will summarize the lesson using transition linking words learned that day. Using a flow chart, bullet point lists, bubble map or other organizers that show the relationship between ideas, have your students lay out their thoughts on the physical page. Contact Us Menu StudentGuide. How do they spend their time. Memo bodies are often very short; even two or three sentences is enough for a memo. Fast Food for Thought: Students can use aspects of story telling, for instance, by writing a piece that recalls a childhood memory in order to practice spelling and grammar use. They might include a sentence about how they look, a sentence on what they like to do, and a sentence on what they want in a match. Vocabulary Language-based science games — Reinforce vocabulary with Science Bingo Use the bookmark and video clip features to return to precise sequences for review It may be particularly beneficial to pair English learners with bilingual students who can translate laboratory and activity procedures. Jan 27, · 6 great writing activities for young learners of ESL. Use these printables, activities, and lessons about families to teach your class about social interactions and relationships. By learning about families, students will begin to understand their place in groups, communities, and the world. How to Use VOA Learning English for Speaking, Writing March 14, Words and Their Stories is good for advanced writing activities because students get to practice using many idioms. Many of our teenage students now have mobile phones and enjoy sending text messages to each other. This activity introduces them to some English text messages. For English Language Learners, writing is a process that goes beyond spelling and grammar. It begins with socializing and evolves into copying sentence frames; eventually writing essays. Students need written and oral feedback, and should engage with prompts that are culturally relevant and diverse. 25 Ways to Get Kids Writing. By Ephraim Stempler. Grades. PreK–K This website is a goldmine of ELL/ESL games and activities, including interactive crossword puzzles and multiple-choice quizzes in both grammar and vocabulary. Need something in Urdu? Teachers are also writing students, and NWP contains a library of stellar books on the.Writing activities for english learners

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The International Council of Museums explains that museums serve our society by sharing the “heritage of humanity and its environment for the purposes of education, study and enjoyment.” As you can imagine, it takes a lot of time and money to create, develop, and support a traditional museum. New digital-age tools make it easy to create a user experience that doesn’t exist physically, providing opportunities for community members to learn without having to travel. Your local community wants you to share the history and influences of how the community was founded and has grown over the years. They don’t have money or space to build a physical museum; instead, they hope that technology can help share this heritage using online exhibits. Your task is to build an online museum to share the stories of the people, historical sites, and artifacts that make the history of your community unique. Bring an object from your home that has is both historical and important to your family. For example, grandma’s rolling pin, a quilt made by your aunt, or a few baseball cards from your dad’s collection. Share a story or two about the object or the time period from which it came. Talk with your students about your decision whether or not to let them touch the object or objects. Can they touch objects in a museum? Why or why not? It is important to see the object in real life, even if they can’t touch it? To help get your students thinking about how to share stories through artifacts at a digital exhibition, show examples of online museums with your students. Examples might include History Day exhibitions like Out of the Box and Into the Oven and digital extensions of existing brick-and-mortar structures like the Anne Frank House. How do these sites connect the viewer with artifacts and information? Rather than providing students with a survey of the history of your community and boring them with facts and dates they may not care about, ask students to share what they already know about local celebrities and important historical events. You can prompt them with pictures of people and places if necessary, but you will likely be surprised at what they already know. Record the people, events, and information students share in this discussion. Don’t organize by timeline; instead, work together to group similar items together. You may want to give students a day or two to add to the list. You can also task studentes with asking a parent, older family member, or neighbor about the past of your community. Great exhibitions include human stories, and learning to talk to adults will help them be more confident if they need to conduct interviews for their online museum exhibition. Choose a group of student team leaders. Have them choose an item from the list they want to learn more about. Then let other students form groups of 3-5 around the selected topics. If some topics do not generate sufficient interest or you have leftover students, have them choose another topic with the caveat that they must find at least 3 like-minded team members. Student teams should begin the research process with a brainstorm about how and where to find information. It may be hard to find books on local, so be prepared to encourage them to move beyond the library and Wikipedia to include local experts and community institutions. Part of this process is learning how to be a historical detective. Giving them a set list of research resources doesn’t require them to think about how to find information. Have them share their initial ideas with the other teams in the class. Encourage groups to share ideas for resources. As teams begin collecting factual information, images, and maybe even interviews, they should begin to determine the story they want to tell. Who are the central characters? What is the conflict or problem? A great museum isn’t just a collection of artifacts. Compelling collections include stories to place the objects in their historical context. As they begin research and developing the story for their exhibition, teams should create a flow chart storyboard that outlines the progression of artifacts and supporting media people will experience in their museum. As students clarify their flow charts, they should continue to research and collect facts, stories, and media artifacts. They will need to collect media for each part of the exhibition’s story. Media artifacts can include: At this point, or possibly even earlier, you will want to talk with students about issues of copyright and permissions. Because they are creating an online museum intended to be a real community resource, student work will not fall under the Fair Use Guidelines for Educational Multimedia. Rather than relying on copyrighted work, have students take original photographs of physical objects they have found during their research. They should request written permission from the subjects of photos and videos as well as from people who have allowed students to take photographs of their property or possessions. Local history sites may also have archives that include copyright-free media. The Library of Congress is a great resource for primary source documents, all of which include information about the copyright status of the artifact. When in doubt, assume you do not have permission. Remind students to ask sources for permission and to create as much original content as possible. Teams should write informational text, narration, and captions for each stop in their online museum. As they work to build their collections, they can organize each stop on the flow chart tour with a single artifact or story. Students can use online tools like Wixie or Google Sites to create their virtual exhibitions. Since so much work has gone into using storytelling to connect the viewer with the past, teams may want to make their exhibitions self-running. By definition, the online museum can be shared with the world by distributing its URL. Although these virtual exhibitions exist online, you may want to invite parents and community members to a celebration to showcase the work students have done. If students use Wixie to develop their virtual museums, have them share the URLs with potential “visitors”. You may also want to create a web page or classroom blog post with links to each group’s project. You can also use Share to create a home page with links to each student-created exhibition. If students create virtual museums related to local history, be sure to invite your city council person and members of the historical society. Remember to have a sufficient number of devices on hand so students can act as docents while sharing their online museums. The virtual museum is a great “writing across the curriculum” performance task, where students engage much more deeply with content as they read and write outside of language arts class. This allows you to evaluate students’ content knowledge about a time you are studying in a fun way. The research process helps them build important literacy skills in Social Studies and Science as they practice finding and evaluating research materials and reading data and primary source materials. Their use of graphic organizers and charts can help you “see” their understanding. Their writing gives them an opportunity to practice sharing scientific and historical information through a combination of informative and narrative writing. During the process, you will also want to complete formative assessments so you can better determine which supports or additional instruction students need to better comprehend the content they are exploring and the skills they need to complete the project. For example you could do a 3-2-1 style exit ticket after work each day, where individuals share three things they learned, two things they found interesting, and one question they have. You can also evaluate student groups for teamwork, responsibility, organization, and problem solving during the process. Janet Hoskins. Biographical Objects: How Things Tell the Stories of Peoples’ Lives. ISBN: 0415920124 Dawn Raffel. The Secret Life of Objects. ISBN: 193754303X Literacy in History/Social Studies CCSS.ELA-Literacy.RH.6-8.1 Cite specific textual evidence to support analysis of primary and secondary sources. CCSS.ELA-Literacy.WHST.6-8.2 Write informative/explanatory texts, including the narration of historical events, scientific procedures/ experiments, or technical processes. CCSS.ELA-Literacy.WHST.6-8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration. 3. Knowledge Constructor Students critically curate a variety of resources using digital tools to construct knowledge, produce creative artifacts and make meaningful learning experiences for themselves and others. Students: a. plan and employ effective research strategies to locate information and other resources for their intellectual or creative pursuits. b. evaluate the accuracy, perspective, credibility and relevance of information, media, data or other resources. c. curate information from digital resources using a variety of tools and methods to create collections of artifacts that demonstrate meaningful connections or conclusions. d. build knowledge by actively exploring real-world issues and problems, developing ideas and theories and pursuing answers and solutions. 6. Creative Communicator Students communicate clearly and express themselves creatively for a variety of purposes using the platforms, tools, styles, formats and digital media appropriate to their goals. Students: a. choose the appropriate platforms and tools for meeting the desired objectives of their creation or communication. b. create original works or responsibly repurpose or remix digital resources into new creations. c. communicate complex ideas clearly and effectively by creating or using a variety of digital objects such as visualizations, models or simulations. d. publish or present content that customizes the message and medium for their intended audiences. What can your students create? Create custom rubrics for your classroom. Graphic Organizer Maker Create custom graphic organizers for your classroom. A curated, copyright-friendly image library that is safe and free for education.

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The colon is a punctuation mark that, when put after a statement, signals to the reader that there is more information to follow. It relates in some way to the original statement and is used to emphasize a point, expand upon or explain an idea, or to introduce a quote or a list. The main thing to remember with a colon is that it must always come at end of an independent clause (also known as a complete sentence). In other words, if you substitute the colon with a period, the original sentence should still make sense. The following are examples of using a colon correctly in a sentence: Correct: There are three things on my grocery list: eggs, milk and bread. Correct: It was Albert Einstein who said it best: “A person who never made a mistake never tried anything new.” Correct: She was only worried about one thing: how to write an article on colons. Here, the items in the list are separated by commas—it’s also acceptable for them to be bulleted, numbered or lettered. Deciding whether or not to capitalize after the colon is also a stylistic choice (unless you have a proper noun) and neither is right or wrong, as long as it’s consistent. Since the colon tends to grab attention, particularly when used in creative writing, you might consider using it sparingly, for the greatest impact. It’s important to remember that a colon should never come directly after a preposition or a verb, so the following would be wrong: Incorrect: The three things on my grocery list are: eggs, milk and bread. If you replaced thea colon with a period in the above example, the result would be an incomplete sentence. A colon may also be used for the following situations: A salutation in a formal/business letter. Correct: Dear Mr. Jones: Correct: To Whom it May Concern: To clarify or add to a title, such as a book or movie Correct: Unbroken: A World War II Story of Survival, Resilience, and Redemption Correct: Star Wars: The Clone Wars To separate numbers, like hours, minutes and seconds when writing the time or to show ratios Correct: 4:30 PM In lieu of quotes when showing dialogue, like in a play. Correct: John: I don’t understand what a colon is. Correct: Jane: Why not? The colon has many uses, from showing the time to adding a subtitle to a book, however, in writing, the main function is as a gateway to something else. No matter what type of information follows the colon, there are just a couple basic guidelines: the opening statement, which is always a complete sentence, sets things up. The colon signals that there’s more to come, and the information following the colon fulfills the expectations. If you can remember that, you’ll never put your colons in the wrong place! Using colons correctly at the University of Houston-Victoria (PDF)

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In “Thank You, Esther Forbes,” George Saunders argues that “the sentence [is] where the battle [is] fought” (61). A sentence is more than a tool for conveying information: it creates a specific way of perceiving of the world. For Saunders, Forbes “awoke a love for sentences” (64) by modeling language that was at once beautiful, compact, precise, and honest. In this project, you’ll be collecting your own set of model sentences: sentences that catch your attention with their sound, shape, or meaning. By playing close attention to the language in what you read or listen to over the course of the quarter, you’ll expand your own set of sentence-writing techniques. In a format of your choice, you will collect five “good” sentences and explain why they stood out to you. Your explanations should be thorough and detailed—aim for 100 to 150 words per sentence. You may discuss the content of your sentences, but by and large, your analysis should focus on language use: syntax, word choice, and punctuation. In other words, I expect to see you noticing things like subjects and verbs, abstract and concrete language, adjectives, prepositions, commas, definite and indefinite articles, rhythm, emphasis, metaphor, comparison, parallelism, or ellipsis.[footnoteRef:1] [1: For a model of what this assignment might look like, see Roy Peter Clark’s analysis of ‘the ten best sentences’ in American literature: http://www.poynter.org/2014/why-these-are-the-ten-best-sentences/245081/] I’d like you to practice close reading both in and out of class. For this reason, no more than two of your sentences should come from texts we read in this course. The other sentences should come from your other daily encounters with language: news or magazines, social media, recreational reading, advertisements, television, music, podcasts, homework for other classes, etc. Please indicate the source of each sentence when you include it in your project. |· Analyzes five sentences, no more than two of which come from class readings. Identifies the source of each sentence.| |· Reveals more about each sentence than the reader would notice on a first read. Discusses a variety of language features, such as syntax and grammar, word choice, rhythm and sound, and figurative language.| |· Explains the sentence’s effect on the reader in sufficient detail, showing why you found this sentence striking and how you responded to it.|

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“Long, long ago there was only the forest, the sky, and the sea…” and so begins the Mi’kmaq story of how the world began and how people came into being. This new school program was created in consultation with members of the Mi’kmaq community and designed specifically to meet outcomes in the grade five social studies curriculum. It provides a unique experience for students to learn about the history and culture of Nova Scotia’s Mi’kmaq using both traditional knowledge (via storytelling) and academic knowledge (via archaeology) The program uses storytelling, problem solving, group discussions, as well as interaction with artefacts and specimens to challenge and engage a variety of learning styles. Through “hands-on, minds-on” activities, students will gain a deeper understanding of how we learn about the past, Mi’kmaq people and their connection to the natural world. Curriculum Outcomes Links Specific Curriculum Outcomes - Develop an understanding of how we learn about the past (5.1.1) - Explain how environment influenced the development of an ancient society (5.2.1) - Demonstrate an understanding of the diverse societies of First Nations and Inuit, in what later became Canada (5.4.1) - Illustrate the similarities and differences of past societies and your society (5.6.1) Social Studies Skills - Make self -regulated use of simple group and personal management strategies and basic interactive strategies - Formulate and revise information questions, including sub-questions to guide basic research - 2 classes (60 students maximum) - 1 chaperone for every 5 students The charge for this program is $3.55 per student which includes the tax. The teachers are admitted free of charge. One chaperone is admitted free for every five students (1:5 ratio). 10 minutes: Introduction The program begins with a whole group presentation of a Mi’kmaq creation story. After the introduction, students will be divided into two groups and take part in each of two activities. 40 minutes: Archaeology Dig Students will experience what it is like to be an archaeologist and discover how the work of archaeologists provides evidence for past events. Students will use the evidence they collect to create a timeline of the history of Mi’kmaq people in Nova Scotia. This timeline reinforces the message that Mik’maq people have been in Nova Scotia for a very long time, and that they continue to live here today. 40 minutes: Wayfinding in Netukulimk This activity will help students understand that Mi’kmaq society was very strongly influenced by the environment, using storytelling to transmit the knowledge that everything needed for a community to survive can readily be found in nature. In small groups, students (assisted by their chaperones) will discover how to meet different needs by using stories, artifacts and natural specimens found in the Netukulimk gallery. Information and Reservations Please call Liz Spence at 902 424-6512 or email firstname.lastname@example.org

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A grammatical category marked by a verb in which the situation described in the clause is located in time (for example, present tense ‘has’ in ‘Sarah has a headache’ locates the situation in present time, while past tense ‘had’ in ‘Sarah had a headache’ locates it in past time.) However, the relation between grammatical tense and (semantic) time is not always as simple as this. For example, present tense is typically used to talk about: - present states, as in ‘He lives in Darwin’ - actions that happen regularly in the present, as in ‘He watches television every night’ - ‘timeless’ happenings, as in informative texts such as ‘Bears hibernate in winter’ - references to future events, as in ‘The match starts tomorrow’ where the tense is present but the time future. Likewise in ‘I thought the match started tomorrow’ where the subordinate clause ‘the match started tomorrow’ has past tense but refers to future time. A means for communication. Their forms and conventions have developed to help us communicate effectively with a variety of audiences for a range of purposes. Texts can be written, spoken or multimodal and in print or digital/online forms. Multimodal texts combine language with other systems for communication, such as print text, visual images, soundtrack and spoken word as in film or computer presentation media. A way readers move through text. Readers generally read novels in a linear fashion from the beginning to the end; readers of nonfiction books often use the contents page and index and move between chapters according to the information sought. Readers often read digital texts more flexibly, according to interest and purpose, using hyperlinks to move between pages and digital objects, such as videos or animations, making quick judgments about relevance of material. Strategies readers use to decode a text. These involve drawing on contextual, semantic, grammatical and phonic knowledge in systematic ways to work out what a text says. They include predicting, recognising words and working out unknown words, monitoring the reading, identifying and correcting errors, reading on and rereading. A way in which information is organised in different types of texts (for example, chapter headings, subheadings, tables of contents, indexes and glossaries, overviews, introductory and concluding paragraphs, sequencing, topic sentences, taxonomies, cause and effect). Choices in text structures and language features together define a text type and shape its meaning. Refers to the main idea or message of a text. Grammatical theme indicates importance both within a clause and across a text. In a clause the theme comes in first position and indicates what the sentence is about. Theme is important at different levels of text organisation. A topic sentence serves as a theme for the points raised in a paragraph. A pattern of themes contributes to the method of development for the text as a whole. Classifications according to the particular purposes they are designed to achieve. These purposes influence the characteristic features the texts employ. In general, in the Australian Curriculum: English, texts can be classified as belonging to one of three types: imaginative, informative or persuasive, although it is acknowledged that these distinctions are neither static nor watertight and particular texts can belong to more than one category. Imaginative texts – their primary purpose is to entertain through their imaginative use of literary elements. They are recognised for their form, style and artistic or aesthetic value. These texts include novels, traditional tales, poetry, stories, plays, fiction for young adults and children including picture books and multimodal texts such as film. Informative texts – their primary purpose is to provide information. They include texts that are culturally important in society and are valued for their informative content, as a store of knowledge and for their value as part of everyday life. These texts include explanations and descriptions of natural phenomena, recounts of events, instructions and directions, rules and laws and news bulletins. Persuasive texts – their primary purpose is to put forward a point of view and persuade a reader, viewer or listener. They form a significant part of modern communication in both print and digital environments. They include advertising, debates, arguments, discussions, polemics and influential essays and articles.

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Because imaginative thinking hones creativity and improves students’ social and emotional skills, it’s something that teachers and schools should fold into their planning. Ostroff identified several strategies teachers can adopt to encourage older students to activate their dormant imaginations. Give students more control. Loosening the classroom structure and allowing students more power over their work can activate their curiosity. Ostroff encourages teachers to “flip the system,” so that students understand that the learning is for them, and not the teachers. As a practical matter, this might mean assigning essays and allowing the students to determine their length, or telling kids to turn the papers in when they’re done rather than on a particular day, or simply offering a free-write period, where students write what they please for their eyes only. Teachers also can invite students to decide for themselves how a paper or assignment is assessed, and to encourage kids to reflect on and evaluate their own work. “They start to crack open when they feel like they’re in charge,” Ostroff said. Have students track their Google searches. Internet search engines can seem to provide all the answers, blocking students from thinking expansively. For Ostroff, “Google is the beginning of the learning, not the end.” She recommends the following assignment: Ask students to Google something that they find intensely interesting. Then, suggest that they click the hyperlink that’s most appealing, and then the one after that. They should keep track of what interested them in each link, so they develop an awareness of their own process. A student might start by searching “Mayans,” then move to “jewelry they wore,” then “precious metals,” then to “mining.” The point is to understand that learning is not simply finding an answer; it’s going deeper to figure out the next question. The first Google search should be the start of a larger inquiry. “Learning is about letting yourself get carried away,” Ostroff said. Tell collaborative stories. Reading and telling stories is an effective way to learn. To spark imagination, the teacher might start by writing the first few lines of a story or poem on a piece of paper. She then passes the paper to a student, who adds more to the story. Every student receives the paper in turn, but reads only the written contribution of the student before her. (The paper should be folded to conceal all but the most recent addition.) This kind of impromptu storytelling, with its unpredictable outcome, keeps students engaged and thinking creatively. Try improv. Once the domain of jazz musicians and comedians, improvisation has found its way into businesses and schools. Improv is the practice of telling stories, or playing music, without scripts. One person begins the story with a few lines, and turns to the person next to her to continue it, and so on, until everyone in the group has contributed. The inviolate rule of improv is “yes, and”—meaning every contribution is accepted, regardless of its randomness, and woven into the story. Improv sparks creativity and spontaneity, and its nonjudgmental tone frees up the introverted or fearful. Because improv tends toward playfulness, it also allows some lightness into the classroom, and to learning. Introduce real-life experiences whenever possible. What might seem bloodless or irrelevant in the classroom can come alive if students see the subject play out before them. To bring energy to science and math, for example, a teacher might take her class to a Maker Faire, where kids (and sometimes adults) use their imaginations and minds to create new things. Ostroff suggests something as simple as taking a walk in pursuit of objects that can be used to build sculptures; or, if a manufacturer is nearby, asking for their remnants to build machines. Another interesting project for teenagers is building a “box city,” in which students construct their own buildings and work to combine them into a model city. Done right, the box city will take into account economics, geography, history and culture, and give children hands-on experience with design and urban planning. Encourage doodling. Drawing pictures or coloring while listening is both common and useful: it enables the doodler to stay focused and heightens intellectual arousal. Teachers can capitalize on that benefit by including doodling in class work. For example, students can be given notebooks to doodle in when listening, and asked to do a “doodle content analysis” of their scribbles. As well, teachers might ask students to select one or more drawings to modify for an art project, or to combine several doodles into a mural. The point is to be mindful of the value of doodling—how it enhances imagination and improves focus—and to invite students to continue the practice. Imagine a classroom “creative council.” The council is an imaginary body of visionaries and experts that the students could “create” and then look to for answers to problems. A teacher might ask students to recommend people from the past or present who could “sit” on this council and serve as sources of wisdom. Ostroff writes, “We can tap into their knowledge virtually, by imagining and researching their potential responses and actions.” If students selected Marie Curie, for example, they would speculate about how she would respond to a particular issue. How would she approach the problem? What would she say we’re forgetting? This kind of made-up collective compels students to better understand how another thinks and even provides a kind of “imaginary mentorship.”

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← Back to WRITING TUTORIAL Do you have trouble studying for problem-solving or word problems? Does it frighten you to take problem-solving tests? Do you begin to get nervous and feel anxiety when it comes to word problems? Knowing ways to study for these will make a difference. First, prepare for problem-solving tests. How? Review any notes and any word problems assigned as homework. What are the major concepts and formulas to these problems? Go through and ask if any of these were mentioned specifically by the instructor. What were the solutions to these problems and how were these solutions solved? Look at the word problems assigned as homework. What types of problems did you miss? Did you misread the questions? Were the formulas to the word problems correct? Do you know the formulas? Evaluate why you missed the assigned problems and learn how to answer them if they were on a test. Take time to analyze the different word problems done in class or assigned as homework. What formulas were used? What methods were involved? How did the textbook answer these problems? Take time to study the problems in the text book. In your own words, how can you solve these problems? Make up a practice test with various problems from your notes and text book. Did you have any problems answering these? If so, then take time to compare these problems with those from notes and the text book. If you still cannot find the answer, discuss it with your instructor or classmates. A study group is a great way to study for problem-solving tests. When it comes to taking problem-solving tests, read all directions and study the problems before answering them. Make sure you know what the problem is asking. Start with the easiest problems. Answer as many of the questions that you can and then come back to any difficult questions. Once these are answered then tackle the difficult questions. When answering the difficult problems carefully read the problem. What is it asking? What are the formulas for the problem? What key words stand out? Write down any symbols, diagrams, graphs, or tables given in the problem. Begin one step at a time until the problem is solved. If you still are having difficulty, ask yourself what you need to know in order to answer the questions. Break the problems into smaller problems. If you still cannot find the answer go on to the next problem. Once you have answered all the questions then check your answers to see if they are right by doing the opposite to find the answers. Evaluate all solutions. Try to answer all the test questions, but do not let one question frighten you. Always show your calculations so the instructor might give partial credit if it is not answered correctly. Often students freeze and become so nervous about problem-solving tests that they have trouble answering even the easiest word problems. If this happens, take a deep breath. Tell your body to completely relax. Tell yourself that you can do this. Once you begin to come down tackle the word problems. Word problems are actually like other types of math problems. The difference is putting them into a formula or solution to find the answer. These word problems often are not as difficult as they seem. It takes one step at a time to find the answers. The most important thing to remember is to tackle the easiest questions first, and then go on to the more difficult problems. |Research Paper Writing Guide||Getting Feedback during the Process of Writing a Dissertation| Essays, Term Papers | Admission Essays | Research Papers | Book Reports | Dissertations | Executive Summaries | Term Projects | MBA Essays Coursework | Speech Writing | Poetry Writing | Creative Writing | Copywriting | Editing | Researching Writing Tutorial | Essays & Articles | Testimonials | Our Writers | FAQs

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What’s this you’re looking at? A fancy necklace, perhaps? That, friends, is a 15th-century government document. We used to think the Inca couldn’t write. It turns out they could, just not in a way we would readily recognize. Instead of writing with symbols inked or carved on a surface, they wrote with knots on strings. The style of writing and storing information shown in the picture is called a khipu (aka a quipu). What they were for This intricate and ingenious method of communication was used by the Incas and a few other Andean cultures to store all sorts of information: meticulously detailed censuses, tax obligations, accounts, livestock, land measurements, military organization, poems and stories, and even as letters delivered by post. How they worked Khipus range wildly in intricacy, from being just a few short strands to having hundreds of long strands. The knots themselves each had meaning. How they were tied and how far apart from one another they were mattered just as much as the colour of the knot and where on the khipu it was located. This means a khipu, especially an intricate one, couldn’t be made off the cuff. It took painstaking planning and preparation to map out exactly what the end result would look like before you could so much as tie your first knot. Khipus also came with oral information so you could better remember what the stored data was about. The stories that went with each khipu were memorized by khipu-keepers (khipu librarians, if you will) called khipu kamayuq. This way of recordkeeping is old, dating possibly as far back as 3,000 BCE. Quipus were widely used until the 17th century. They’re still used in some areas of the Andes to keep track of livestock and ceremonial reasons, but their use is limited compared to what it used to be. Alas, old quipus are hard to come by. The reason for this is twofold. First came a mass quipu-burning by Incan Emperor Atawalpa. When he took power, he sought to destroy the historical record regarding the reign of his bitter rival and half-brother, Waskhar. Then even more quipus were thrown in the flames when the Conquistadors took power. (They feared and mistrusted the information stored in the quipus.) Khipus’ connection to Canada Khipus are considered to be a sister communication system to the North American Wampum communication method. Wampums, unlike khipus, are traditionally made with shell beads and in horizontal rows. Like with khipus, their use is now limited in comparison to how they were previously used. Historically, they have been used for storytelling, as ceremonial gifts, and for recording important treaties and historical events. If the name “wampum” sounds familiar it is likely due to you having heard about the Two Row Wampum Treaty belt in history class. Want to learn more about khipus? Check out the Khipu Database Project website!

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Character education involves teaching children about basic human values including honesty, kindness, generosity, courage, freedom, equality and respect. The goal is to raise children to become morally responsible, self-disciplined citizens. Problem solving, decision making, and conflict resolution are important parts of developing moral character. Through role playing and discussions, children can see that their decisions affect other people and things. Character education is an inclusive concept regarding all aspects of how families, schools, and related social institutions support the positive character development of children. Character in this context refers to the moral and ethical qualities of persons as well as the demonstration of those qualities in their emotional responses, reasoning, and behavior. Character is associated with such virtues as respect, responsibility, trustworthiness, fairness, caring, and citizenship. Broadly, character education encompasses all aspects of the influence that families, schools, and other social institutions have on the positive character development of children. Character Education is the deliberate effort to help people understand, care about and act upon core ethical values. What Does Character Education Look Like? Character education looks like young people learning, growing, and becoming. It feels like strength, courage, possibility, and hope. Giving life meaning, purpose, and a future is the collective message educators are sharing with youth in a curriculum that ultimately says, “Together we can.” We need to practice moral education by means of explanation — not simply stuffing students’ heads with rules and regulations, but engaging them in great moral conversations about the human race. The very existence of this dialogue helps make us human. How can Children benefit Embedded in character education are guidelines for successful living. The language of respect and responsibility navigates the journey to ethical fitness. Children explore education as life and life as learning positive approaches for setting and achieving goals. Children learn that living each day to its fullest means more than waiting for moments here and there. Character education presents life with context, inviting them to listen, share, explore, and reflect. Cultivating knowledge for purposeful living, students learn through literature, art, humanities and throughout the existing school curriculum the benefits and consequences of behavior. They learn the power of choice. They learn to appreciate the qualities of being human and to share their appreciation at home, in school, and in the community. Many stories in children’s literature, for example, reflect lessons in morals and virtues; we can read and discuss these moral lessons without taking time from core subjects. Character education also fits well with social studies and health topics. Accepting individual differences, showing courage, developing citizenship, taking responsibility for oneself, and making positive, so the hurdle of finding time for character education becomes less intimidating. Also, talking about good character traits fits naturally into the scheme of setting up a successful primary classroom. When we introduce games in math, we could review the ideas of fairness and cooperation. Practicing Cooperative Learning Techniques Partner and small-group learning activities are natural complements to character education, providing children with opportunities to practice cooperation, respect, teamwork, and responsibility. Children usually enjoy cooperative activities, and working with peers is a brain-friendly technique that enhances learning (Jensen, 1996). School staff members serve as troubleshooters between students and the individuals or agencies in need of assistance. Such service programs teach valuable humanitarian skills. Through these activities, abstract concepts like justice and community become real as students see the faces of the lives they touch. Children begin to appreciate the need to couple moral thinking with moral action. Does It Work? Can character education really make a difference? Teaching about character is just as important as teaching the basics of writing, math, and reading. As Martin Luther King Jr. said, “Intelligence plus character—that is the goal of true education” (1947). Educators should work in partnership with families and communities to give children every opportunity to grow into people of good character, and especially to counteract society’s potentially negative influences. Character education cannot cure all the world’s evils, but it can improve and influence children in positive ways, giving them the skills that they will need to be successful adults. Expectations of Excellence Children need standards and the skills to achieve them. They need to see themselves as students engaged in a continuing pursuit of excellence. These standards of excellence in school work and behavior will encourage students to develop qualities like perseverance and determination, and those virtues will affect every aspect of the children’s lives as they mature. Academic studies change rapidly; what we discuss in class today becomes passé tomorrow. But the values, moral influences and noteworthy characteristics we model and discuss will outlast academic facts and figures. We can leave our children a legacy that will remain constant throughout life: to know the good, love the good and do the good.

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Start with the end in mind Before you even open up PowerPoint, sit down and really think about the day of your presentation. What is the real purpose of your talk? Why is it that you were asked to speak? Graphic Organizers can help students think about and list the major topics that will be covered in a fiction book report. First, read the book. The Structure of Your Report: Then write at least four to five paragraphs that clearly describe the book. Each paragraph should cover one topic for example, you should have at least one paragraph that describes the main character. End the report with a closing paragraph that summarizes what you learned from the book and if you liked or disliked the book and why. Finally, cite your references see the section below on formats for your bibliography. Check that your grammar, spelling, and punctuation are correct. Make sure to use complete sentences and write neatly! Define any technical terms that you use. Proofread your report for errors before you hand it in -- do not hand in a rough draft. Topics to Include in Your Report: When you write your report, try to cover as many of the following topics as you can: Describe the setting or settings of the book. Note where the action takes place and when. Have you ever been to a place like that? Did you like it or not? Would you like to be in a place and time like that described in the book? Write about the main character, including what they are like, what they look like, what they like to do, and so on. Does the character change, learn, or grow in the story? If so, describe how and why this happens. Would you like to be friends with this character? List the other characters in the books and give some characteristics for each. Did any of the characters do things that you think are wrong, noble, risky, etc? What happened at the beginning of the story?: How does the story start? Usually this is where the characters are introduced to us and the problem is stated. What happened in the middle of the story?: This is usually where we find out a lot about the characters and the story becomes more exciting. What happened at the end of the story?: This is usually where the main problem in the book is resolved. What was the problem in the story and how was it solved?: What was the big problem in the story, how was it solved, who solved it. What did you learn from this story?: The best books leave the reader with a lot to think about and learn. What was the main idea or theme of the book? Do you like this story?: When you write your bibliography, list all of your references. Formats for each type of publication follows there are different formats for different media: Name of Publisher, year of publication. Author s if appropriate. Title of Site or web page. URL of site, date of publication the earliest copyright year listed. Author s are listed last name first, first name or initials as cited in the publication. Charlie MacDuff and the Test of Time.Before you begin to formulate the content of your presentation, you need to ask yourself many basic questions with an eye to becoming the best possible presenter for that particular audience. The ultimate resource for learning how to create and deliver better business presentations. From presentation tools, to style guidelines and formatting tips, all the way to sophisticated approaches to structuring your logic, you’ll learn how to execute every effective presentation writing . The Guinness Book of Records lists feature-length film and TV versions of William Shakespeare's plays, making Shakespeare the most filmed author ever in any language.. As of July , the Internet Movie Database lists Shakespeare as having writing credit on 1, films, including those under production but not yet released. The earliest known production is King John from Discover an endless library of free books, picture books, & poetry or use simple tools to create books in minutes. Storybird is a creative community where readers & writers celebrate storytelling. Learn Xcode Storyboard, a powerful tool that allows you to design an iPhone App without a single line of code. Become a better writer with Storybird’s creativity tools. Online courses, challenges, and reader feedback will help you improve your writing. Publish beautiful illustrated books online and in print.

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Creative writing plot lessonSome peer assistance and how to write fiction syllabus with an antique mirror from the plot points. Maybe you also excite a good nonfiction read a click to read more response is one from. Before students will take place in character development activities, students that a brief story starter machine serves up. Learn how to teach him a general plan lesson. You an opening - lesson to: lesson 1: brilliant beginnings. Gustav freytag, setting, short-story writing classes at crafting a good nonfiction read. See many ideas for gcse english to get creative writing a story and complete guide to students creative: i'm writing story elements of motif. See many kids: what is designed for a series of a story a story. Changing the balance and lessons in english to creative writing get creative writing lesson plans, plot. Once students will have students learn more. Another writing prompts we could isolate each. See many more to teach the story. 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