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Conflict is at the heart of all stories. These are six of the story conflicts possible in your book: What are story conflicts? A conflict in a book is a situation or meeting between characters that results in challenge and opposition. Conflict, such as a power struggle between a hero (or protagonist) and villain (or antagonist) is arguably the most important element in fiction because without conflict there is no movement and no narrative drive. A lack of conflict in stories is a common error among beginning writers. A writer will often painstakingly develop a setting and characters and then produce a story that is almost entirely lacking in conflict. One way to avoid this error is to outline your novel, and another is to get feedback on story scenes and conflicts. However, Outside of the most experimental approach to literature, all novels need a major conflict as well as smaller conflicts along the way. (Pro tip: It’s easier to build in conflict naturally when your scenes are structured well – download our free guide to starting, developing and ending scenes here.) Throughout the study of literature, there have been numerous attempts to codify the conflicts that can appear in fiction. In school, students are often taught that the main conflicts in literature are “man against man,” “man against nature” or “man against self.” Of course, these types of conflicts can involve women as well. However, others argue that this list is incomplete. Some have pointed out that a protagonist can also be in conflict with society. Genre fiction arguably creates another set of conflicts. A person might be in conflict against supernatural forces or against technology. Taking all of this into account, it seems there are roughly six different types of conflict that are possible in fiction. Most conflicts can fit into one of these six categories: The 6 types of conflict: 1. Person against person This is the most common type of conflict both in fiction and in life, and it can form the basis of the main conflict in your novel. Alternately, you might have a series of smaller person against person conflicts that may or may not be part of the larger conflict. Person against person conflicts have a number of interesting possibilities. In a person against person conflict, the two people who are in conflict may be on opposite sides of an issue, but there may be no clear right or wrong, or both sides may believe themselves to be in the right. This can make for complex and challenging storytelling. On the other hand, a story with an obvious and unambiguous villain can be fun to read and write. Both approaches are legitimate ways to develop a person against person conflict. The novel The Hunger Games is a stark example of this type of conflict. Katniss must fight her fellow contestants to the death in order to survive. Many mystery novels have the person against person conflict at their core as one character tries to uncover who is responsible for the crime. For example, Agatha Christie’s detectives Hercule Poirot and Miss Marple are engaged in person against person conflicts. In addition, most novels that have other types of conflicts as their main conflict may also have person versus person conflicts. People tend to complicate things wherever they go and whatever they do. In fact, if your novel feels light on narrative drive and conflict, introducing a person against person subplot may be an effective way to better develop it. If the conflict in your novel is between many people, the conflict may instead be person against society. 2. Person against nature A protagonist who is lost in the woods or who is under attack by wild animals or who is fighting to survive a terrible storm is in a person against nature conflict. Examples include Robinson Crusoe, “Jaws” and Cujo. Some classic YA novels are person against nature including Island of the Blue Dolphins and the Little House on the Prairie books. Notice here that the type of conflict does not dictate the genre of the novel. Cujo is a horror novel while the Little House books are about an American frontier family and Island of the Blue Dolphins is about a young girl struggling to survive stranded alone on an island and might be called an adventure novel. Because they are often on their own and struggling to survive against nearly impossible odds, protagonists in person against nature stories often have a secondary conflict of person against self. 3. Person against self Some protagonists are struggling largely with inner conflicts. Person against self is a common secondary conflict in much fiction. It is not uncommon for a protagonist to be struggling with some aspect of self-sabotage. The character might be struggling with fear, a difficult past, an addiction or a tendency to keep choosing the wrong relationships. Even if this is not the main conflict of the novel, a person against self conflict can add significant depth and complexity to your book. Of course, this is not an appropriate choice for every book. Novel help from a writing coach will help you make your conflicts fit your story’s arcs and themes. Some characters are defined by their self-assuredness. No readers want to see the aforementioned unflappable Miss Marple undergoing a great inner struggle or crisis of confidence. Brainstorm riveting conflicts Brainstorm ideas for conflict in your story and get pro critique and webinars on writing craft when you upgrade.LEARN MORE 4. Person against society Some characters are not fighting a single antagonist but a whole group of antagonists. Sometimes they may be fighting their entire community. If the first book of the Hunger Games trilogy is person versus person, then the second, Catching Fire, marks a shift toward person against society, and that becomes the main conflict of the third novel in the series. To Kill a Mockingbird, a novel that features a lawyer in a small American Southern town in the 1930s defending a black man against a false charge of rape, is another example of this type of conflict because the lawyer is in conflict with nearly everyone in their small community. Other examples of this type of conflict include 1984 and The Handmaid’s Tale. Because society is made up of individuals, this type of conflict will also include significant elements of person against person. However, when the person against person conflicts include conflicts against entire systems and ways of life, the overarching conflict becomes one of person against society. 5. Person against the supernatural The supernatural might here be considered a broad term that also covers conflicts against any unknown entity as well as fate and gods. The famous play “Oedipus Rex” is essentially the story of a man’s efforts to escape his fate and is therefore a person against the supernatural story. Stories in which characters are facing ghosts or demons if those entities are not too human-like would fit in this category as would stories about any kind of inexplicable antagonist. Therefore, a story like The Birds would fall under this conflict and not person against nature because the birds in that story are clearly not acting in a normal fashion. Conflicts against aliens might be classed as conflicts against the supernatural or as person against person depending on the types of powers and technology the aliens possess. In a science fiction story where humans and aliens are on roughly equal footing, the aliens might be considered the same as people for the sake of the conflict. But in stories like “The War of the Worlds” or “Alien” in which aliens deploy powers that might as well be supernatural for all the power that humans have to resist them, the conflict might best be considered as person against the supernatural. 6. Person against technology As our lives become more dependent upon and vulnerable to technology, the use of this as a conflict is likely to grow. However, we can actually look back hundreds of years to perhaps the earliest novel in which this was the central conflict. Frankenstein tells the story of a creature created through scientific means, and thus it is a classic example of the person versus technology conflict. This is a popular theme in science fiction film and television with movie franchises such as “The Matrix” and “The Terminator” and the TV show “Battlestar Galactica” pitting humans against powerful technology. Classic hard science fiction like many of the novels of Arthur C. Clarke in which protagonists must solve a technical problem in order to survive are also people against technology conflicts. However, this is not a theme that is strictly for the science fiction genre. A thriller might deal with a protagonist who is struggling to contain a piece of rogue technology or cyber attacks. Protagonists might have to pilot a crippled plane or survive a submarine explosion. Most novels feature one of six main central conflicts at their cores with smaller conflicts along the way. However, some novels are so big that they contain multiple major conflicts. For example, in Stephen King’s novel The Stand, much of humanity is wiped out by a virus, but this is not just a story about person versus nature. It is also person versus person and person versus supernatural. In Crime and Punishment, the murderer Raskolnikov is equally in conflict with others and himself. Identifying the key conflict or conflicts in your novel is key to ensuring that you keep your focus on that conflict throughout the book, as well as maintain enough narrative tension. Create your story outline online and get helpful feedback to make your conflicts effective. 22 replies on “6 story conflicts possible in your book” […] If your character’s strength is talking to strangers and gaining their trust, this might be an asset for them throughout their journey. However, if that is your character’s weakness and they’re forced to do so, it can cause conflict for them. […]

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Art History 101 Inside Walker Evans’ America Few artists evoke the Great Depression like Walker Evans—his stark photographs of breadlines, weary tenant farmers, and forgotten mining towns are embedded in American visual culture. Since the photo’s publication in 1941, the weathered gaze of sharecropper’s wife Allie Mae Burroughs staring resolutely into Evans’ camera has come to encapsulate the Great Depression. His unprecedented coalescence of realism and poeticism distilled the economic tragedy into unforgettable images, and throughout his decades-long career, Evans historicized even the most quotidian moments of twentieth-century American life. But Evans did not originally set out to be a photographer—born November 3, 1903, to an affluent family in St. Louis, Missouri, Evans briefly attended Williams College before moving to New York to become a writer. There, he surrounded himself with the likes of novelist John Cheever, poet Hart Crane, and his eventual collaborator, journalist James Agee. By 1929, however, his work with the camera gradually eclipsed the pen, and Evans brought the literary sensibilities and narrative structure he gleaned from writing to the medium of photography. The humanist realism that sets Evans’ oeuvre apart can be traced to his writing background and literary influences. Evans counted Ernest Hemingway among his drinking buddies, having met the author on his 1933 trip to Cuba, where he documented the dictatorship of Gerardo Machado for Carleton Beal’s The Crime of Cuba (1933). Between his conversations with the famed realist author and his fieldwork capturing daily life in a tenuous political climate, this trip is thought to be seminal to Evans’s frank documentary style. In contrast to European Modernism—which often manifested in photography as stylized cleanliness—Evans’ images of Cuba were spare and uncompromising, depicting beggars, policemen, and the wary gazes of citizens. With a vehement distaste for the cool formalism and marketability adopted by contemporary photographers such as Alfred Stieglitz and Edward Steichen, Evans aimed to honestly portray the American vernacular with what he called “the elevated expression, the literate, authoritative and transcendent statement which a photograph allows.” In 1935, Evans found the assignment that would see his humanist lyricism come to full fruition. The U.S. Department of the Interior hired Evans to document a resettlement community for unemployed coal miners in West Virginia, an assignment that exposed the affluent photographer to the poverty wreaking havoc on the nation. Evans worked full-time with the New Deal Resettlement Administration (later renamed the Farm Security Administration) for the next three years, producing some of his most iconic works—portraits of the Burroughs family, the sharecropping family he stayed with while documenting rural life in Alabama; soup kitchen lines; a coal miner’s home in West Virginia insulated with cardboard. These images—published in the likes of Fortune and Time magazine—shocked Evans’ city dwelling audience, and his unabashed realism quickly garnered him acclaim. By 1938, he became the first photographer to have a solo exhibition at the Museum of Modern Art. After leaving the New Deal program, Evans took advantage of developing camera technology, which allowed for shorter exposure times, and experimented with his own personal projects. Back in New York, he spent three years photographing unassuming subway riders with a 35mm Contax camera concealed in his coat. This subject matter was revolutionary for the time, as the passengers were not posed, stylized, or even consenting, and the covert nature of Evans’ process entailed chance and inexact compositions—a far cry from the carefully composed, artful portraits and cityscapes captured by his contemporaries. Critics debate whether Evans’ photographs inspire empathy for or further alienate his subjects, particularly in light of the economic privilege that intractably divided Evans from the impoverished people and places he depicted during his Depression-era work. While Dorothea Lange—the pioneering documentary photographer who was also employed by the Resettlement Agency—approached her subjects with emotional intimacy and a conviction for social justice, Evans remained largely apolitical and documentarian. Though this tempered ethos might bolster such criticisms, it also produced boldly transparent works of subjects not seen before. Evans typically opted to use a basic view camera with a slow, old lens in lieu of complex equipment. And he conceptually approached his work with the same uncomplicated pragmatism and grit, once stating, “I used to try to figure out precisely what I was seeing all the time, until I discovered that I didn’t need to. If the thing is there, why, there it is.” Love reading about all things art? You can have articles from Canvas, curated collections, and stories about emerging artists delivered straight to your inbox. Sign up for the Saatchi Art Newsletter.

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Typically a lot more interaction in classrooms where laptops are pervasive. Sound Pedagogical Theory – Student use in class, teacher use in class, student use outside class, teacher use outside class. Sound pedagogical theory ○ Cooperative learning ○ Learning styles ○ Problem based learning Student use in class: ○ Debating in class – groups of 3, topics of discussion, teams post ideas in online discussion board. Winners get bonus marks. ○ Case Studies – present in class; teams of 3 to come up with a solution; post to discussion board… ability to respond. ○ WebQuest – well organized web based research activities; groups of 3; provide key starting resources http://webquest.org ○ Research – search for info on specific topics. Can use library resources, electronic databases; evaluate quality of resources use. ○ Online Surveys – find survey on topic being discusses, create your own survey; good into activity that gets personal involvement. ○ Software – 64 titles… give them as much as possible. ○ Robotics – hands on programming, able to take to school. ○ Digital Video in Class – students capture video of themselves presenting, teaching; aids self analysis; mini-movie making, teaching storytelling; skits and presentations. ○ Probes and Probeware – use laptop to connect to probe, gather motion and temperature data. ○ Kits & Activities – electronic engineering kit for high schools. ○ Java Applets – find related interactive applets ahead of time; have students interact to solve problems; can be used for interaction (Interactive Mathematics – utah state university) http://matti.usu.edu/nlvm/nav/vlibrary.html ○ Videos can be used for demonstration purposes (Annenberg http://www.learner.org/) ○ Fast Feedback – www.getfast.ca – free online assessment summary tool. ○ Web Articles – current stuff, real world things for students to see. Student Use outside of Class ○ Discussion Boards – have to use in the right way – not too large of groups. ○ Posting Solutions – typed answers, scanned diagrams; effective way to promote discussion; get students to evaluate each others answers. ○ Tutorial Videos – Camtasia – http://www.techsmith.com/products/studio/default.asp ○ Digital Portfolios – collection of their best work throughout the year. ○ Video Projects – submit it as an assignment. Technical presentations. ○ Resource Collection – collect links that will assist them in a particular area, with analysis of why the link is good. ○ Group projects – can use discussion boards, email, shared documents, synchronous communication. E.g. hyper studio music. Teacher Use in Class ○ Organizer – gives overview of where class is going. Lesson plan: What is covered, links, homework. ○ PowerPoint – don’t over use (no longer than 10-15 minutes). Add videos & graphics. ○ Polling students – http://www.getfast.ca ○ Brainstorming – ask for ideas & thoughts; record ideas electronically. Post ideas on the web page. Teacher use Outside Class ○ Web Page – Great organizer; notify students of key changes; Go through class web site page by page so they know what is there. ○ Individual difference in ability between males and females disappeared after 8 months. ○ Individual difference between beginners and experts disappeared after 8 months. ○ Pedagogy must be there. ○ Need to consider In and Outside class use. ○ Need to consider teacher and student use. ○ Outside class activities can be done with out laptops. ○ Bottom line – Engages students; Improves attitude & ability; acts as an equalizer. ○ email@example.com – ask for a link to the presentation and a paper about this.

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Dyslexia, Dysgraphia and Dyscalculia3 min read Learning disabilities such as dyslexia, dysgraphia, and dyscalculia are signs of specific learning difficulties. Teaching coping mechanisms or compensatory alternative learning techniques can be beneficial in early intervention for learning disorders. Three of the most typical learning disabilities that teachers encounter are dyslexia, dysgraphia, and dyscalculia. Despite their high prevalence, they frequently manifest in each student in a unique way, and occasionally they even overlap. Your ability to address the unique needs of students who have one or more of these disabilities and create a positive, productive learning environment for all students will depend on your ability to recognize the differences and nuances between them. What is Dyslexia? Individuals who are dyslexic have difficulty with written expression, accuracy, and comprehension at a rate that is inconsistent with their cognitive ability. They may also have difficulties with phonological processing (hearing and manipulating the separate sounds within words). The inability to recognize that letters or groups of letters within written words can represent sounds makes it difficult for readers to read because of their lack of phonological awareness skills. Symptoms of Dyslexia - Having trouble understanding how letters and sounds relate to one another - Common words that is frequently misread or misspelled - Frequently miss instructions - When reading, frequently use synonyms for words that look similar - Applying spelling rules is challenging - Reading doesn’t seem to get any better with additional assistance - Aversion to literacy-related activities - Seem to be working very hard, but the results are lacking - Have trouble understanding a passage after reading it due to poor word recognition What is Dysgraphia? The specific learning disorder known as dysgraphia is characterized by language difficulties, including the inability to produce legible, meaningful, structured writing, express ideas clearly, and spell correctly. Unexpectedly, dysgraphia comes in two flavors: motor-based and language-based. Dysgraphia with a motor component affects the handwriting of patients because they have trouble with fine motor skills. Symptoms of Dysgraphia - Writing unclear, inconsistent, inconsistent letters with a variety of slants, shapes, upper- and lowercase combinations, and a combination of print and cursive - Frequently erasing or omitting letters from their work - Slowly writing and copying, particularly when copying from the board - When writing, having an odd grip, unusual wrist, body, or paper position can sometimes leave your hand feeling fatigued - Inadequate spatial planning (difficulty spacing things out on paper) Dysgraphia with a language component affects a person’s ability to translate spoken language into written form. These are some indicators of this kind: - Having issues with sentence structure in writing but not in speaking - Unable to organize their thoughts or put them into coherent sentences on paper - Showing a significant difference between a subject’s knowledge in written and spoken form - Writing and thinking don’t work at the same time - Struggling with creative writing assignments What is Dyscalculia? While dyslexia and dysgraphia both have an impact on reading and written communication, dyscalculia makes it extremely difficult to process numbers, time, and space. Additionally, for students with this learning difference, simple math equations can be overwhelming. Language processing is additionally more difficult, just like dyslexia and dysgraphia. A specific math learning disability is called dyscalculia. It has an impact on how well people understand mathematical concepts that involve symbols or functions. Individuals may experience challenges while in school, but they can also cause problems in your day-to-day activities. Dyscalculia signs and symptoms - Issues with counting - Unsure of which number is greater - Failing to remember math facts (multiplication tables) - Confusing signs and symbols printed on paper - Time and direction are difficult concepts. - Being unable to remember timetables, sequences of previous or upcoming events; being constantly late - Errors in number writing, reading, and memory - Having trouble understanding and recalling math concepts - Inability to comprehend spatial orientation, which makes it difficult to follow instructions or read a map Dyslexia, dysgraphia, and dyscalculia therapy For kids with learning disorders like dyslexia, dysgraphia, and dyscalculia, TalktoAngel has experience designing and implementing intervention programs. Our therapists are prepared to use these intervention programs with children who are at risk of literacy failure to help them learn more efficiently. In order to provide your child with the most thorough care possible, TalktoAngel Psychological Services will collaborate with other specialists (such as occupational therapists and speech therapists) as needed. To speak with the top mental health professionals online, visit TalktoAngel. You can search by “Online counsellor” or “Online counselling” regardless of the search criteria.

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What is a picture book? A child’s picture book tells more than a story. A picture is better than 1000 words. There is a picture on every page of a picture book. Storytelling is the vehicle that elevates the picture into the imagination stimulus that keeps the child engaged and wanting to soak up every detail, and then turn the page to see what happens next. A picture book is meant to be read aloud. A children’s book with pictures on every page, to a child is the equivalent of a ‘movie’ to an adult. Their underdeveloped mind cannot keep up with a (fast paced, constantly moving) movie but soak up a page that is illustrated with images and pictures as if the movie is paused and they ‘get it all’. The illustrations help tell the story, by setting the mood, conveying information about the characters and describing the setting. The picture book helps the author tell a story and provide visual appeal to young readers, with fewer words. Picture books are for children aged 2 to 12. An eleven-year-old-boy was asked to read a picture book. His mother encouraged him to read the book but prefaced her statement with “even though it’s a little young for you.” The boy read gracefully and turned to the author and asked, “how do you say that word?” The word was examination. He sounded it out then asked, “what does it mean?” The author only observed and did not respond. The little boy associated the word with the illustration and came to the conclusion that an examination was an appointment with the doctor in the story. He cried, Mom, I learned a new word! Ex-am-in-a-tion!” Mission accomplished Mom. Picture books are for ages 1 to 90. Picture Books are published in a larger size, usually at least 8” X 10”, consuming up to 32 pages and usually not over 1000 words. This enlarged book with abbreviated text is read to a child by an adult or engaged by the child while alone . A picture book combines verbal and visual narratives most often written for young children. The images in picture books are commonly produced in a range of media, such as pencil, oil paints, watercolor, acrylics and digital coloring. The history of the picture book would have to date back to the cave drawings of prehistoric man. Recorded picture book drawings with text meanings has been documented from the time pyramids were made. John Amos Comenius created the earliest illustrated book specifically for children, Orbis Pictus (The World of Things Obvious to the Senses Drawn in Pictures ) in 1658. This book was more of a children’s teaching encyclopedia than a story, and was publishing by a method wherein all the illustrations were woodcuts (carved pictures that were inked and pressed on paper). Almost a hundred years later John Newbery illustrated the earliest known English storybook, A Little Pretty Pocket-Book in 1744. Modern children’s picture books didn’t come into its own until the late nineteenth and early twentieth century when visual thinking expanded the learning capacity with the understanding of the relationship between pictures, words, shapes, and thoughts. Picture books account for more books on the children’s retail department shelves than any other format. Grandparents buy them as gifts for children for holidays and throughout the gift-giving year. Children beg for picture books. Parents see these books as a vehicle for literacy, for home and travel. Children may start with picture books with simple texts, however, the reader will rapidly graduate to longer books with a greater vocabulary. Picture books are the graduation from board books usually for children ages 2 to 8 . Children of this age are emergent readers, they can sit for a longer time and their attention spans are longer. They are now ready to read longer books and leave board books. A strange thing happened as the digital age matured and picture icons began to be used in games, vehicles and electronic devices. Simple picture books and booklets, drawn crudely became common for adult instructions. These elementary picture books evolved into humor and adult comics. Wordless Picture Books Illustrated picture books or story books, have a story that can be read without the text. Text adds to the story, but some stories would make sense without text. Picture book plot types are usually one of three concepts. A “sausage story”, is a “series of events” or multiple small episodes “Wish fulfillment” also known as (“purpose achieved”) plot type has main character wishing for something and eventually receives it. In a “Discovery” plot the main character labors under a misunderstanding. Eventually, the character discovers a solution and the very next day the sky is blue. All misunderstandings fade away. A modern picture book can be any of the following genres: - science fiction, - fairy tale, - historical fiction, - horror, or These illustrated books generally occupy a single setting. The best place and time for the story to occur, is the setting. (spaceship, castle, farm or a pirate ship can all be described as the book setting. The Theme in these story books can be a lesson, social behavior, manners or just a story. When choosing a story, select one that deals with issues that matter to the child. The main character will be endearing enough that the readers imagine that they are the character and are concerned about the happenings of the character? Picture book characters are usually the same age as the readers, typically either animals or kids. Picture books are instrumental in word association with a picture. The child learns easier if the picture describes the word. A picture book develops the child’s imagination so that when the reader graduates to books that have fewer pictures, then no pictures the child’s imagination creates images as the pages are turned. A trip around the world is spawned between the covers of a book but seen with imagination between the ears. The greatest education one can hope to achieve is based upon the reading habits of a child. Reading exceeds any learning institution and plaque of accomplishment. A child’s life will be forever be influenced by the books they read and the people they meet! Picture books are written with few concise words. Those words and pictures cause the child to desire the re-reading of the same book over and over again. Classics picture book authors for young children’s first books are: • Dr. Qooz’, artistry teaches life’s lessons, honesty, and common sense in a way that the child wants more. • Maurice Sendak, his storytelling creates an incredibly lovely world for children to feel comfortable in. • Eric Carle, books are filled with bright pictures for the curious and include subtle lessons that help kids learn. With 43,000 new children’s books published each year and 233,000,000 books already printed, parents have a daunting task to choose a children’s book for their child. A 3 ½ minute solution is available.

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The classic three-act story structure Described simply as the "arc" of the plot The classic three-act structure is a storytelling framework that has been used for centuries in literature, theater, film and comic books. The structure is based on the idea that a story should be divided into three distinct parts, each with its own purpose and focus. Act 1: The Setup The first act of a story sets up the characters, the world they inhabit, and the conflict or problem that they will face. This is where the audience is introduced to the main characters, their goals and motivations, and the challenges they will need to overcome. The first act typically ends with a turning point or inciting incident that propels the story forward and sets the stage for the next act. Act 2: The Confrontation The second act is where the main conflict or problem of the story is developed and explored. This is where the characters face obstacles and challenges, and where the stakes of the story are raised. The second act typically ends with a major setback or crisis that leaves the characters in a difficult or uncertain position. Act 3: The Resolution The third and final act of the story is where the conflict is resolved and the characters reach their goals or face the consequences of their actions. This is where the loose ends of the story are tied up and the audience is given a sense of closure. The third act typically ends with a climax or resolution that brings the story to a satisfying conclusion. Why is this such a popular framework for telling a story? Because it provides a clear and effective way to organize a narrative, build tension and suspense, and engage the audience. There are other story structures, of course, and some popular works have deviated a great deal from this "formula," for example "One Hundred Years of Solitude" by Gabriel Garcia Marquez. This novel is structured in a nonlinear manner, with multiple storylines that intersect and overlap throughout the book. Another example of getting away from a simple three-act structure is Watchmen by Alan Moore and Dave Gibbons. This graphic novel is structured in a non-linear manner, with multiple storylines intersecting and overlapping. Instead of a traditional hero's journey or superhero origin story, Watchmen explores complex themes and ideas related to power, morality, and human experience. For example, Watchmen utilizes a series of flashbacks, character portraits, and other non-linear narrative devices that drive the plot which is a mystery story involving the murder of a former superhero. A group of retired heroes come together to investigate the crime. Original page March 4, 2023

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No narrative or a story is complete without the key elements of stories: setting, characters, plot, conflict, resolution, and a central theme. Let’s discuss what is theme in literature? What Is The Theme? Theme is an important element of any story because it is the main underlying message the author wants to convey through his/her story. Authors don’t write stories for entertainment purposes only, but they also aim to teach readers life-long lessons through their stories. But the authors seldom state the theme directly in their stories. Through the characters, the story’s plot, and conflict, the authors want the readers to infer the theme. They want us to learn from the characters’ mistakes, their actions, their treatment of others, and how they act in different situations that can teach us some life-long lessons. Remember, the theme is not the main idea or the central idea of a story. Simply, the main idea answers the question, ‘What the story is all about?” and the theme simply answers, ‘What messages does the author want us to learn?” In other words, the main idea is the compact version of the story’s summary. To find the main idea, you only have to look at the key events of the story, and ask yourself these questions: - What happened in the story? - What is the shortest version of the story? - Can I summarize the summary? On the other hand, to find the theme of a story, you need to think about these questions: - Based on the story’s plot, what lessons can the characters learn?” - What can I learn from the story? - If I were to advise the character, what would it be? Based on that advice what might I learn? - Did the characters make any mistake? Did they learn anything from their mistakes? - Can I write down the lesson in a sentence that might read like a life-long lesson? Quick Tip: Try writing down the key questions I shared with you on sticky notes and write down the answers as you read the story. This will help you come up with the main themes of the story. Examples Of A Theme: Whether you are reading Moving Day Surprise by Stolberg to your 2nd grader or are reading Holes by Louis Sachar to your 6th grader, the work is the same; learning the theme (the life-long lesson) from the stories. Some common examples of themes are: - Hard work - Importance of family And many more…Let’s explore some famous books and their themes: The Catcher in the Rye by J.D Salinger tells the story of a character, Holden who is averse to growing up. He struggles against growing up and detests the adult world. The main theme of this story is innocence. Lord of the Rings: ONE VOLUME by J.R.R Tolkien shows a man murdering his friend for his lust for power, which further leads to many problems for the character. HARRY POTTER AND THE SORCERER’S STONE (Movie/ Book) by J.K Rowling we learn about the power of love as the protagonist becomes even more powerful than Voldemort, the antagonist. To Kill A Mockingbird by Harper Lee teaches us the existence of evil in the world and also the power of courage. Books That Teach Powerful Strategies To Understand Themes In Literature: The Reading Strategies Book: Your Everything Guide To Developing Skilled Readers In her number 01 Best Seller book, The Reading Strategies Book, Jennifer Serravallo dedicates an entire chapter to ‘Understanding Themes and Ideas in Fiction Texts’. The strategies empower the teachers and students in developing excellent learning techniques that help readers better understand themes in fiction. Chart Sense: Common Sense Charts to Teach 3-8 Informational Text and Literature In her book, Chart Sense, Dr. Rozlyn Linder shares excellent strategies to understand themes and main ideas in fiction and non-fiction texts. The second chapter addresses the second Common Core Reading Standard about determining themes and central ideas, which Dr. Roz has broken down into grade-wise goals for literary and informational text. With the strategies to understanding themes in literary texts, come the simple and useful anchor charts for students to remember the strategy in action. Fresh Takes on Teaching Literary Elements: How to Teach What Really Matters About Character, Setting, Point of View, and Theme Dr. Jeffery D. Wilhelm shows how the readers can improve their understanding of literature including character, setting, point of view, and theme by using the innovative strategies given in the book. Chapters 11, 12 & 13 focus on improving students’ thinking about themes in literature, preparing them to understand themes through inquiry, and teaching it with the given texts and units. The chapters allow you to approach the element of theme in great detail through great introductory examples. No doubt, the lessons, texts, and classroom activities provided in the book are worth trying. I hope this post was helpful to most of you. Do let me know in the comments the books you like the most for their themes and if you used any strategies that helped you better understand themes in literature.

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Martin Luther said, “If you want to change the world, pick up your pen!” Harriet Beecher Stowe proved this with her compelling novel in the 1800’s, Uncle Tom’s Cabin. President Abraham Lincoln hailed her as “the little woman who started this great Civil War” because of the powerful narrative of slavery she portrayed. If the written word is so paramount in shaping the world around us, how can we as educators develop its importance in our homeschools? Creative Writing is far more than leading your children to make up fanciful stories. It offers a multitude of educational opportunities building skills your children will use throughout their lifetimes. - It teaches how to unleash creativity, how to think outside the box, invent and practice imagination. Albert Einstein 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.” - It helps children succeed and grow in confidence. They may not feel brave enough to tackle a new skill, or process a current life experience but through speaking through the eyes of the characters they can write about it. - It teaches strategic thought and problem solving through learning how to write a plot. - It teaches close observation through learning to develop sensory writing which happily overflows into science class! - It teaches characterization, producing self expression and empathy. - It livens up language class by teaching sentence structure and format in a fun way. - It helps develop creative nonfiction writing by learning how to write vividly. Five Great Tips to Help your Child Succeed in Creative Writing - Whatever they write, praise, praise, praise! You may wince on the inside over the spelling or neatness, but don’t let on. They may beam at the fact that they produced only one sentence in the beginning. So water your little plants with encouragement and watch them grow, grow, grow! - Let them write about what they love. Kooky plots, oddball characters, made up fantasy worlds and all. Many times a child is processing what they are learning about in life through their characters. - Don’t make creative writing a lesson in grammar or spelling. This is paramount! If the critical voice of correction becomes too noisy, it will drown out the creative voice and your child will stop wanting to write and may resist you. As their spelling improves during spelling class and grammar improves in language class, it will trickle down to writing class. - Keep tools handy that will help them succeed. Find a fun and inexpensive creative writing curriculum that can help you step by step. Look for something that is easy to use and will help your child stir up ideas. - Give them a reason to write by starting a Friday night Flashlight Theater or Writing Club. Invite grandma and grandpa, neighbors or friends over to listen to the next adventure your child has written. Turn off the lights and shine several flashlights on the reader. Pop popcorn or serve a favorite snack. Let your child read their stories for all to hear. Soon they will be motivated to write more and the other children may want to join in and write as well. God is raising up Christian writers in this generation! We need more authors like C.S. Lewis to remind us of courage, loyalty, the reward of godliness and the cost of evil. And those little writers, who are sitting at their desks in your homeschool, writing about cute puppies and kittens, could be the next world changers for Christ! A couple of favorite interactive writing curriculums are: Ocean Adventures in Writing–Develop characters much like the beloved movie Finding Nemo. Each child picks a character to become and writes from that point of view. It’s ocean-fuls of fun and learning! Isabel Writing Adventure for Girls-Easy lessons that walk the student through the basics of creative writing while encouraging Christian themes. Students create a character for their story, then as a paper doll, make her closet and design her clothes. Roll playing the adventures as they go! This article was originally published on our Homeschool Launch Blog. For more on writing, become a member of Teach Them Diligently 365, and watch the video on “Secrets to Making Writing Fun”. “Secrets to Making Writing Fun” Writing can be an enjoyable activity for budding writers. This workshop will equip you with tips and ideas to use with elementary-age children during writing time. The result? Your children will not only produce polished writing projects, they will also be begging for the next lesson! Sign up for a free 7 day trial of TTD365 and explore the extensive content! Sign up for the Teach Them Diligently newsletter to receive more great articles! Read our Blog, join TTD365, follow on Facebook and Instagram, and sign up to attend one of our homeschool events!

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Visual aids, like PowerPoint slides or printed handouts, offer structure for your presentation and help the audience follow the main points. Visual aids may be bulleted lists or outlines, charts or figures, or images that show important details that would take time to explain orally. Use visual aids to complement, rather than compete, with your presentation. If they are not necessary or helpful, don’t use them. Never read the exact words from slides that you present. When deciding which visual aids to use, keep in mind the following points: Not all presentations benefit from including slides, but many do. Decide if yours would. Take accessibility into account. Take an inclusive perspective; avoid tokenism, but try to use images and sources that display a diversity of perspectives and contexts for knowledge. Use visual images when “showing” is more efficient or evocative than “telling”. Don’t overload your slides with text or animations. Simple is usually best. Suggested text size: 32 pt for titles, 24 pt for text; use a sans serif font. Include one concept per slide, use point form, and be concise Don’t plan to read from the slides. Use the slides to emphasize key points that you plan to talk about in more detail. You can find some resources to help you to create your slides or handouts on the tabs below: Microsoft's PowerPoint is "a software package designed to create electronic presentations consisting of a series of separate pages or slides." Designing an Effective PowerPoint Presentation Purdue University's Writing Lab designed this PowerPoint presentation to highlight tips and tricks for creating an effective presentation. How to Make Awesome PowerPoint Presentations A short guide from Lifehack on making great PowerPoint presentations. Microsoft PowerPoint Tutorials Need help with the basics? Microsoft's PowerPoint tutorials are a good place to start. Prezi is cloud-based presentation software and storytelling tool which allows users to create and store presentations either on the cloud or on your desktop. Note: Prezi requires good WiFi connectivity to work well. Prezi Tutorial: Get Started in Prezi Video tutorial from Prezi on how to get started. Using Prezi Without Losing Your Mind North Shore Community College's Learning, Education, Technology and Support (LETS) blog post provides some tips on creating prezis. Prezi's Support Knowledge Base has a wealth of resources on how to get started, build presentations, and use various apps and integrations. A good tool for simple presentations, especially for team presentations. A free Google Drive account is required. How To: Quick Tutorial for New Google Slides Presentation 2019 David Lee EdTech's YouTube video on how to use Google Slides G Suite Learning Center: Slides Training and Help Google's support centre provides a variety of tools and guides on using Google Slides. Free, web-based visual presentation tool and app. It includes presentation themes and an image gallery. Haiku Deck slide decks can be exported to PowerPoint or KeyNote. Haiku Deck's Youtube video playlist on how to create, copy, delete, and edit Haiku Decks. Haiku Deck's suite of support guides. Clipart Library. (n.d.). Cliparts school presentations #2507770 [Image]. http://clipart-library.com/powerpoint-presentation-cliparts.html Queen's University. (n.d.). Presentation skills. https://sass.queensu.ca/presentation-skills/ Thompson-Rivers University Libraries. (2021). Academic presentation skills and tools. https://libguides.tru.ca/presentation/publicspeaking Trent University. (n.d.). Preparing and delivering oral presentations. https://www.trentu.ca/academicskills/how-guides/how-write-university/how-approach-any-assignment/preparing-and-delivering-oral

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Ep13 – Emotions and Identity How do we deal with our child’s negative emotions? It can be very confronting. There can be what can seem an ‘ocean of emotion’ in front of us, that our child and perhaps ourselves have little idea about how to approach the situation. Acknowledging the emotions, understanding that they are a part of every human being’s life experience and helping them to learn how to explore and learn from these negative emotions will help your child learn more about who they are. These skills will help them develop a sense of self and also to connect with others. - Show your child you accept and value them for who they are. - Genuinely acknowledge your child’s feelings. - Avoid pigeon-holing your child. - Don’t expect our kids to be happy all the time. - Self-acceptance is the cornerstone of self-esteem. - Help your child develop their sense of self. Emotions are ok If you show your child that you accept and value them for who they are, and really underline this by offering your love unconditionally, you teach them to trust themselves, and their own feelings and emotions. Children will feel valued when you hear and take notice of their emotions. This is easy when they’re happy and agreeable, but can be harder when they’re having a dummy spit. We don’t need to agree with the dummy spit or succumb to its intended purpose, we just need to let them know that we understand how they feel and that, well, it must be pretty rotten to feel that way. This teaches them that feelings and emotions are ok, even if the behaviour accompanying them is not. There is skill involved when it comes to acknowledging our child’s feelings. We need to offer the right amount (too little and we don’t show proper acknowledgement, lay it on too thick and we look like a goose and not really genuine). If we simply echo back what our kids are saying it can also seem false, so paraphrasing is better. Avoid any labelling terms (such as dumb, stupid, fat, or ugly), too. Another trap to avoid with feelings and emotions is pigeon-holing your child. If they have become ‘The Whinger’ or ‘The Good Girl’ then our perspective of them and their perspective of themselves is seen through this distorting prism. Over time, this can harden like setting cement and become entrenched, making it more difficult to break away from stereotypes. Finally we should not expect our kids to be happy all the time. It’s ok for your child to experience negative emotions at times. It’s all part of the deal of being a human being. Parental expectations of continual happiness, that sadness or other negative emotions are not allowed, become a burden. Allow your child to express these negative emotions, and help them to learn how to deal with them. When it comes to talking about emotional issues, we should always involve our child. What does he or she think? What is their take on this emotionally laden event? The solution is within the child. We should let it come out. A sense of self Through our acceptance and unconditional love and acknowledging and exploring emotions, our child can develop a sense of self. Not only are we ‘building’ our children, we are helping them to learn how to build themselves. They learn how to enhance positive emotional experiences, and deal with negative ones. We accept them and then they accept themselves. Self-acceptance is the cornerstone of self-esteem. As their sense of self develops, our child learns to do what human minds are essentially designed to do, connect with other minds. We want our child to be able to think ‘What are they thinking?’, or as Atticus Finch put it, to be able to walk in ‘another man’s shoes’. To insert a bit of their mind in ours, and our mind in theirs— a mind to mind connection. We can help our kids develop these skills (especially in the preschool years) with all the stuff I mentioned in earlier blogs — pretend play, emotional language, and storytelling. If we continually solve problems for our children as they arise, and fail to teach them to consider what others are thinking, we are selling them short. We should aim to teach our kids how to think, then how others may think, and this will help them understand how the world works. It may also help them (later in life) to get laid. Yep, it’s biological. The ability to connect with others makes it more likely we are going to reproduce — this is why we were made this way. And yes, your child will (one day) be very appreciative of the effort you put in!

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A lone river winding through the desert. A pair of wide plains. A fragmented land of islands and mountain valleys. When you’re building a world, the land matters. The land we live in shapes the way our societies work. To see what this means, let’s look at a few examples: ancient Egypt, ancient China, and classical Greece. We’ll be zooming way out and looking at these cultures on a very large scale. Egypt is defined by the Nile river. The Nile flows north from central Africa, making one of the few habitable spaces in the midst of the Sahara Desert. The river floods every year, bringing fertile sediment downstream. In ancient times, these floods filled the Nile valley, rising gradually and predictably before subsiding to leave the fields renewed with water and fresh soil. The Nile flood made Egypt the breadbasket of the ancient Mediterranean. The Nile was also a natural corridor of movement through Egypt. The river flows from south to north, while the prevailing winds blow off the Mediterranean Sea from north to south, making it easy to travel either direction on the river. The fertile land turns abruptly to desert at the edge of the flood zone, so people were clustered close to the river. With everyone living so close to the river, it was easy for a centralized state to keep control of the valley. For the better part of three thousand years, Egypt was a stable state with a strong central government, a record few other places in the world can match. The bountiful harvest yielded a huge surplus which was managed by the kings and used to fund massive building projects like the pyramids, to maintain a standing army, and to trade overseas for both necessities and luxuries. China encompasses not one but two major river systems, the Huang or Yellow river in the north and the Yangtze river in the south. These two regions also have different climates and produce different staple crops. The cool, dry north grows wheat and millet, two grains which do well in well-drained temperate plains, while the warm, wet south produces rice, which needs warm temperatures and flooded fields. These two regions complemented each other. In a particularly warm, wet year, the wheat and millet crops would suffer, but the rice would do very well; in a cool dry year, the opposite. On the other hand, they were also very different. It is not just that they experienced different weather and ate different foods, their crops required different kinds of labor organized in different ways. The landscapes in which they lived created different patterns of settlement. The result was two distinct cultures living in close proximity. When the two could be brought together to share resources, they made a resilient society able to withstand almost any crisis, but there were powerful forces pulling that society apart. It was hard to keep both the northern and southern regions together in a unified state. The two regions tended to disintegrate and focus on local problems and local centers of power at the expense of centralization. The competition between these two forces, one towards centralization and one towards localism, produced a history of alternating unification and disintegration. Over and over again, China was unified by strong ruling families, only to break apart into separate regions ruled by local magnates. The rise and fall of dynasties became a cycle that defined Chinese history. Greece is a land of rugged mountains, rocky valleys, and numerous islands. The rivers are small and many dry up in the summer heat. There is very little good farmland and staple crops like wheat and barley are hard to grow. Farming is precarious and harvests unpredictable. In this fragmented and unforgiving landscape, small communities competed fiercely for essential resources of water and farmland. Every valley or island became a society unto itself, defiantly independent and hostile towards outsiders. As the population of Greece grew, it stressed the carrying capacity of the land. The only solutions were to acquire new sources of food outside Greece or export some of the excess population abroad. Both strategies were followed. The long coastline of Greece encouraged the development of sailing ships and Greek merchants spread throughout the Mediterranean. Greek colonies also spread, some seeking new farmland and others providing safe harbors for trade. The Greek cities developed a wide variety of different forms of organization, but all were locally self-governed with some degree of citizen participation. Having a voice in politics also led people to form factions to advance their collective interests, and the conflict between factions frequently turned violent. Ancient Greek history was a turbulent one as many cities were subject to repeated bouts of unrest and civil war while at the same time fighting with their neighbors over scraps of farmland. Egypt, China, and Greece illustrate the profound effects that the landscape can have on a society. These effects are both positive and negative. Egypt was blessed with stability and prosperity, but this also brought stagnation and isolation. Greek society was driven to be inventive and independent, but also violent and unstable. China was wrapped up in a cycle of unification and fragmentation that produced both dynamic innovation and destructive internal conflict. Landscape is not destiny. None of these civilizations had to develop in the ways they did, but landscape is part of the reason why they developed as they did. Thoughts for writers The same ways of thinking that we apply to history can be applied to fiction to help us create the context of an imagined world. Here’s a few things to think about when you’re worldbuilding: - Fertile areas like river valleys and well-watered plains and hills support large, settled societies. Less fertile ground, such as deserts, tundra, and rocky hills, favors small, more mobile societies. - People cluster near fresh water sources, farmland, and natural routes of travel. Rivers offer all three. In societies that have developed naturally, rivers are almost never boundaries. Imperial or conquering states favor rivers as boundaries because they are easy to define on a map. - The easier it is to travel around an area the more likely it is to form a unified society. Open plains, lowlands, and regions well connected by rivers tend to be unified early. Highly fragmented areas like mountain valleys and islands tend to remain divided and resist efforts at unification. - Technology can change the way people relate to the land. Irrigation and drainage turn barren land and marsh into farms. Sailing ships turn rocky coves into valuable harbors. Roads make inaccessible forests and mountain valleys part of an interconnected trade network. The land is always with us. As long as we live on the land, the land will shape where and how we live. Images: Egypt, detail of image by Jacques Descloitres via Visible Earth. China, detail of image by Hautala via Wikimedia. Greece, detail of image by Chris 73 via Wiimedia. History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here. 2 thoughts on “Living on the Land” Comments are closed.

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As your little ones grow and interact with the world around them, they will face both accomplishments and challenges every day. By equipping them with problem-solving skills from their early years, children may be better able to face daily challenges with resilience and confidence. Below are four ways you can encourage problem-solving skills in toddlers and young children on a daily basis. 1. Ask preschoolers questions as often as you can, so they learn thinking skills that lead to problem-solving While young children are naturally curious about the world around them, you as a parent can deepen their curiosity by asking them questions that further their thinking. For example, “why do you think flowers on this side of the garden didn’t grow as tall as on the other side?” or “how could we create our own fort using only these materials?” These types of inquiries for their little minds are great starting points for questions that lead to deeper thinking. By asking questions like these, early learners can learn to investigate, form hypotheses and test their ideas – all of which are the building blocks of problem-solving. 2. Encourage creative thinking in your early learners, so they begin to see more than one answer to various problems As toddlers and preschoolers begin to investigate the answers to questions or problems they encounter, it is important for them to realize there can be more than one right answer to something. Facilitate their creative thinking by asking questions or presenting them with problems that pose multiple correct answers or solutions. This task can help young children develop the skill of problem-solving by looking at various perspectives to find multiple possible solutions. While teach children this method of problem-solving, it is important try following your child’s lead. Don’t quickly point out what you think is obvious – it’s ok if they make mistakes! But even more rewarding is watching what they come up with. During their thought process, they may go down a path you never would have thought of! 3. Facilitate as much play-time for young ones as possible It is well-known that children learn a lot through play (see article linked-to above). So, you don’t have to do this ‘text-book’ style! Play is the most natural way to encourage problem-solving skills in toddlers and young children. By giving young kids plenty of time for free play, they will inevitably create and solve many different problems on their own, or with siblings and friends. If you would like to set up a playtime that is specifically focused on problem-solving, try giving your little ones some puzzles to put together, or building materials to play with. Not only will they have to try to solve a problem, they will also have to engage in collaboration (if they are playing with you, a friend or sibling). Remember to speak out loud the thought processes you think of while problem-solving with kids. This way they can learn to think along with you. See related on our blog: 4 reasons to encourage play in early childhood years 4. Model your own problem-solving skills Teaching children about daily-life setbacks or mildly difficult situations you face is another way to strengthen their own problem-solving skills. And it’s ok if it’s ‘grown up’ stuff you talk to them about (but keep it PG, folks!). For example, “today at work I remember putting my yoghurt in the fridge when I arrived. But when I came back to eat it, it was gone!” The Globe and Mail suggests telling a story about a problem you faced with “colorful language and animated storytelling,” which is a great way to get your little ones interested. You can also do simple things like talk through a problem you are trying to solve (“hmmm, where did that yoghurt go?”). This way, your young children will be able to observe the problem-solving process first-hand. Once your early learners acquire basic problem-solving skills down, keep practicing with them! The ability to problem-solve like a pro definitely doesn’t appear overnight. It is something you’ll want to encourage on a daily basis with young children. By doing so, your little ones will become more familiar with how to face a variety of challenges and ‘hiccups’ in life. If there is only one bike but two kids who want to ride it, ask them what they think the solution might be. If they break their toy airplane, ask if they can come up with materials to repair it with you, or who they can ask for help. As you encourage your little ones to solve their own problems, be sure to verbally take note of the amazing and creative solutions they come up with on their own! See more on our blog: - How to find and use teachable moments as an early childhood educator - The importance of teaching kids decision-making skills in early childhood - How to teach toddlers and preschoolers to count, and learn their numbers - How to teach impulse control in early childhood - How to identify and encourage multiple intelligences in early childhood

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Learn how to Write Poetry - Learn about writing in different styles of poetry - Develop your own writing skills - Learn how to understand different poetry styles - Explore how you can use poetry to express yourself for fun, and for work. IN THIS COURSE, WE WILL DISCUSS THE WORK OF SOME POETS AND DIFFERENT POETIC FORMS THEY MAY USE. BUT THE PURPOSE OF THIS COURSE IS TO DEVELOP YOUR SKILLS AS A POET, SO YOU WILL BE ENCOURAGED TO WRITE POETRY AND TO THINK CREATIVELY AND IMAGINATIVELY THROUGHOUT. There are 9 lessons - - Nature and Scope of Poetry - Brief description of the many different types of poetry - Poetic Devices (Rhyme, Assonance, Alliteration, Personification, Onomatopoeia, Imagery, Symbolism, Simile, Metaphor) - Styles that tell a Story (Monody, Ballad, Epitaph) - Classic Styles (Sonnet, Ode, Haiku) - Trick Poems (Limerick, Tongue Twister, Shape Poem, Palindrome) - Styles classified according to Arrangement of Lines (Quatrain Style, Pantoum, Free Verse, Villanelle, Clerihew, Diamante, Acrostic Style) - Keeping a Notebook - The Work of Other Poets - Edgar Allen Poe - Encouraging your creativity. - Exploring Creativity - Understanding your own Creativity - Developing different styles of poetry A (Some Classic Styles) - Italian Sonnet - Writing Haiku - Developing different styles of poetry B (Following the Rules) - 21st Century Visual Poetry - Developing different styles of poetry C (Poetry for Story Telling) - Developing a Story in Poetry - Planning a Story - Developing Your Voice - Ending a Story - Epitaph Style - Developing different styles of poetry D (Styles for Fun and Trickery) - Funny Poems - Tongue Twisters, - Getting your work published (how and where) - Creative Writing Resources - Other Industry Resources - How and Where to Get Published - Self Publishing - Vanity Publishing - The next phase (how to continue to improve) Each lesson culminates in an assignment which is submitted to the school, marked by the school's tutors and returned to you with any relevant suggestions, comments, and if necessary, extra reading. Want to know a bit more about what you will be learning? Develop Your Creativity Creative expression can benefit us in many ways according to Ebersole and Hess (1998), who state that it can help us to – - make a positive out of a loss, depression or bad experience - create order and balance - maintain our integrity - resolve conflicts - give us a sense of control over the external world - help us to clarify our thoughts Various Stages of Creativity have been identified. You might recognise which stage your work is at at a particular time. Ebersole and Hess (1995) identify the following stages – - Preparation – when experience and time foster creative opportunities. - Frustration – where the ideas, approach and expression are not clear. - Incubation – the idea begins to take shape. - Illumination – the approach starts to become clear. - Elaboration – the plan is developed and expanded upon. You could probably write a poem about all of those stages of creativity. It would have a nice rhythm to it – count the syllables in each of those stages. Pre-par-ra-tion, Frus-tra-tion, In-cu-ba-tion, Il-lum-in-a-tion, El-ab-or-a-tion. ESTABLISHING A THEME Every piece of writing, no matter whether it is a poem, a novel or a business letter, should have a dominant theme or underlying idea. In a business letter and in technical writing, the theme should be immediately obvious and clear and should be stated. In a piece of creative writing it might be gradually revealed through the development of the work and may only be fully apprehended by the reader at the very end. Nevertheless, the theme should be present from the beginning, and should exist as a unifying thread. Every piece of the writing should, in some way, relate to that theme. It is what unifies a piece of writing and lets it stand alone as a meaningful expression. The theme of a creative piece may never be directly stated. For instance, the underlying theme of Boris Pasternak’s ‘Dr Zhivago’, is personal integrity, being true to one’s self in thought and action. This is never stated, but is exhibited in the behaviour of the main characters, each of whom draws upon hard-won inner truth for the strength and courage to maintain integrity in a vicious, chaotic, and seemingly unprincipled world. In a novel, we often find that a theme branches out into several sub-themes. Because of its length, the novel allows for this kind of interweaving of themes and ideas. So, in Dr. Zhivago, there is plenty of room for developing a critique of the rise of Communism, of war and aggression in general, of different kinds of power, and of love. But these must and do return in some way to the dominant theme, to enrich our understanding and experience of that dominant idea. In comparison, the short story or poem might focus entirely on one theme, though even then, there are usually subtle or even overt references to other ideas and themes, for no one idea or experience is self-sufficient, but inevitably relates to and rests on other ideas and experiences. We can develop themes through a variety of means, such as: - thoughts and speech of characters - actions of characters - contrasting societies or generations within a society - identifying shared values and experiences between groups or generations - ways of dealing with and coping with the environment - symbolic use of landscape and nature - repetition of ideas in different forms - repeated symbols or cultural items - contrast of values. One way to plan your writing is to establish a central theme, then consider how to develop it, and how to display its complexity and facets through different sub-themes. Ask yourself, “What do I want to say?”, then ask yourself over and over, “What else do I have to say about that?” This constant meditation on a theme can yield a rich trove of ideas. To understand how themes are developed, read several poems that you really like. Notice how the theme is introduced, and how it is developed. Also, do some exercises with free association. This process requires you to simply observe what thoughts, images, memories, people, events etc. come into your mind when you focus on an idea. For instance, let us say that you are thinking to write on the theme of personal responsibility. Rather than trying to consciously develop that theme at first, just jot down every image or word than comes into your head. Everybody will come up with a completely different and personal collection of items, for no two of us have lived the same life or experience it in the same way. The results of a free-association exercise like this can give you the seeds with which to ‘grow’ and express your theme. Course Duration -100 hours of self paced learning. Take as long as you wish, or complete it in a month or two if you are keen and have the time. ENROL AND LEARN MORE

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Today’s fiction writing exercise is an excerpt from my book, Story Drills: Fiction Writing Exercises. This one focuses on story structure and examines narrative arcs within stories and across multiple scenes and installments of a story. Enjoy! An arc has a beginning, a middle, and an end. The events within an arc result in some kind of change for the story world, characters, or direction of the plot. In serial or episodic storytelling, a story arc is an ongoing story line that spans multiple installments. An arc might last through several episodes of a television show or several issues of a comic book. In literature, an arc might stretch across multiple books in a series. A narrative arc (or dramatic arc) is similar to a story arc, except it doesn’t have to occur across multiple installments of episodic storytelling. A narrative arc is any arc within a story, including the central plot and any subplots. Narrative arcs can occur within a single scene or span across a sequence of scenes. Characters also experience arcs when they undergo a progression of transformation. That’s a lot of different types of arcs. To make matters more confusing, the terms for story arcs, narrative arcs, and dramatic arcs are often used interchangeably. You can use any type of story for this exercise: books, comics, TV shows, or films. Find a series that you’ve enjoyed, and examine a small sample of installments. For example, you can look at five episodes from a TV show or three novels from a series. Make sure you’re using serials, which use ongoing stories across multiple installments, rather than episodic installments, which are separate but loosely connected. Make a list of three to five story arcs found across the installments you examined. Do the arcs intertwine? Are they occurring simultaneously, or are they consecutive? How does each arc relate to the central plot? Create a set of three story arcs that would span multiple novels in a series. If you’re already working on a series, feel free to create arcs within your project. For example, start by writing quick summaries of at least five novels in a series (about one paragraph each, highlighting the central plot of each installment). Then come up with the three arcs, each of which would span multiple novels. As an alternative, you can develop ideas for a television or comic book series. What is the difference between a story arc and a dramatic arc? Why are story arcs effective in serial storytelling? How is a character arc different from a narrative arc? What types of arcs are most important in storytelling? The post Fiction Writing Exercises: Narrative Arcs first appeared on Writing Forward. Go to Source Author: Melissa Donovan

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Save Your Favorite Listings, Events, and Offers Here The Gullah are African Americans who live in the Lowcountry region of South Carolina and Georgia, which includes both the coastal plain and the Beaufort Sea Islands. The Gullah are known for preserving more of their African linguistic and cultural heritage than any other African-American community in the United States. They speak an English-based creole language containing many African loanwords and significant influences from African languages in grammar and sentence structure; Gullah storytelling, cuisine, music, folk beliefs, crafts, farming and fishing traditions, all exhibit strong influences from West and Central African cultures. Most of the Gullahs' early ancestors in what is now the United States were brought to the South Carolina and Georgia Lowcountry through the ports of Charleston and Savannah as slaves. Charleston was one of the most important ports in North America for the Transatlantic slave trade. Up to half of the enslaved Africans brought into what is now the United States came through that port. A great majority of the remaining flowed through Savannah, which was also active in the slave trade. The largest group of enslaved Africans brought into Charleston and Savannah came from the West African rice-growing region. South Carolina and Georgia rice planters once called this region the "Rice Coast", indicating its importance as a source of skilled African labor for the North American rice industry. Once it was discovered that rice would grow in the southern U.S. regions, it was assumed that enslaved Africans from rice-growing regions in Africa would be beneficial, due to their knowledge of rice-growing techniques. By the middle of the 18th century, the South Carolina and Georgia Lowcountry was covered by thousands of acres of rice fields. African farmers from the "Rice Coast" brought the skills for cultivation and tidal irrigation that made rice one of the most successful industries in early America. The semi-tropical climate that made the Lowcountry such an excellent place for rice production also made it vulnerable to the spread of malaria and yellow fever. Fearing disease, many white planters left the Lowcountry during the rainy spring and summer months when fever ran rampant and they left their African "rice drivers," or overseers, in charge of the plantations. Working on large plantations with hundreds of laborers, and with African traditions reinforced by new imports from the same regions, the Gullahs developed a culture in which elements of African languages, cultures, and community life were preserved to a high degree. Their culture was quite different from that of slaves in states like Virginia and North Carolina, where slaves lived in smaller settlements and had more sustained and frequent interactions with whites. When the U.S. Civil War began, the Union rushed to blockade Confederate shipping. White planters on the Sea Islands, fearing an invasion by the US naval forces, abandoned their plantations and fled to the mainland. When Union forces arrived on the Sea Islands in 1861, they found the Gullah people eager for their freedom, and eager as well to defend it. The Union quickly occupied Beaufort and many Gullahs served with distinction in the Union Army's First South Carolina Volunteers. Beaufort’s Sea Islands were the first place in the South where slaves were freed. Long before the War ended, Quaker missionaries from Pennsylvania came down to start schools for the newly freed slaves. Penn Center, now a Gullah community organization on St. Helena Island, South Carolina, began as the very first school for freed slaves. After the Civil War ended, the Gullahs' isolation from the outside world actually increased in some respects. The rice planters on the mainland gradually abandoned their farms and moved away from the area because of labor issues and hurricane damage to crops. Left alone in remote rural areas in the Lowcountry, the Gullahs continued to practice their traditional culture with little influence from the outside world well into the 20th Century. Click here to discover more about the US National Park Service's Reconstruction Era Monument. In recent years the Gullah people—led by Penn Center and other determined community groups—have been persistent in keeping control of their traditional lands. In 2005, the Gullah community unveiled a translation of the New Testament in the Gullah language, a project that took more than 20 years to complete. The Gullahs achieved another victory in 2006 when the U.S. Congress passed the "Gullah/Geechee Cultural Heritage Corridor Act" that provides $10 million over ten years for the preservation and interpretation of historic sites relating to Gullah culture. The "heritage corridor" extends from southern North Carolina to northern Florida. The project will be administered by the US National Park Service with extensive consultation with the Gullah community. Over the years, the Gullahs have attracted many historians, linguists, folklorists, and anthropologists interested in their rich cultural heritage. Many academic books on that subject have been published. The Gullah have also become a symbol of cultural pride for blacks throughout the United States and a subject of general interest in the media. This has given rise to countless newspaper and magazine articles, documentary films, and children's books on Gullah culture, and to a number of popular novels set in the Gullah region. Gullah people now organize cultural festivals every year in towns up and down the Lowcountry. Be on the look out for these fun-filled events that highlight the food, music and art of the Gullah Culture!

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Sara Cone Bryant wrote children’s books in the 1900s, but among her best-known works are those that encourage storytelling. Stories to Tell to Children not only includes a list of stories to tell, but also covers the “how.” Subtitled “Fifty-one stories with some suggestions for telling,” the author first provides the following tips: - Take your story seriously. If it is good enough to tell, treat it with respect. - Take your time. Don’t dawdle. Don’t hesitate. But never hurry. - If you blunder, never admit it. Meaning, that detail you may not have gotten quite right can be corrected later. Just don’t interrupt the telling to fix it. With children it is “most unwise to break the spell.” - When telling humorous stories, initiate the appreciation of the joke, subtly suggesting to hearers with facial expression and/or tone that soon it will be time to laugh. - In addition, when telling humorous stories give your hearers enough time to fully appreciate the joke. She goes on to provide another great piece of advice: children do not object to “moral stories” if they are good. And we might add, if they are good, we don’t need to add to them! It is the type of story which specifically teaches a certain ethical or conduct lesson, in the form of a fable or an allegory,—it passes on to the child the conclusions as to conduct and character, to which the race has, in general, attained through centuries of experience and moralizing. The story becomes a part of the outfit of received ideas on manners and morals which is an inescapable and necessary possession of the heir of civilization. Children do not object to these stories in the least, if the stories are good ones. They accept them with the relish which nature seems to maintain for all truly nourishing material. And the little tales are one of the media through which we elders may transmit some very slight share of the benefit received by us, in turn, from actual or transmitted experience. Stories to Tell to Children also includes a list of stories to use for “reproduction” for each grade, first through fourth. We would refer to the process as narration. One final note: Because of the time in which this book was written, you will likely find at least one story offensive. The way we dealt with these stories was to explain why the story is inappropriate or, in some cases, skip it altogether. As always, make the book fit your family rather than the other way around! Storytelling is one of those “soft skills” our children will want to take with them into life. Here are 4 ways to develop the skill of storytelling.

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What Is Writing Mechanics? Are you curious to know what is writing mechanics? You have come to the right place as I am going to tell you everything about writing mechanics in a very simple explanation. Without further discussion let’s begin to know what is writing mechanics? What Is Writing Mechanics? Writing mechanics refers to the technical aspects of writing, including grammar, punctuation, spelling, and sentence structure. These elements are crucial to effective communication, as they help to ensure that your writing is clear, concise, and easy to understand. Good writing mechanics are essential for a wide range of writing styles, from academic papers to creative writing. Whether you are writing a business report, an email, or a novel, your writing mechanics will influence the way your readers perceive your work. Good mechanics can help you to convey your ideas and arguments in a professional and effective manner, while poor mechanics can make your writing seem careless and unprofessional. To improve your writing mechanics, it’s important to develop a good understanding of grammar, punctuation, and sentence structure. You can do this by studying grammar and style guides, practicing writing exercises, and reading widely to develop your knowledge of good writing practices. In terms of grammar, it’s important to be aware of common mistakes such as subject-verb agreement, word order, and the use of singular and plural forms. You should also be familiar with the use of modifiers, prepositions, and conjunctions, as these elements can help you to construct clear and concise sentences. Punctuation is also a critical aspect of writing mechanics. The use of commas, semicolons, colons, and full stops can help you to control the flow of your writing and make your sentences clearer and more easily understood. Click here – What Is A Soft Shoulder? Finally, sentence structure is a crucial aspect of writing mechanics. Good writing mechanics involves constructing well-formed sentences that are easy to read and follow. You should aim to use a variety of sentence structures, including simple, compound, and complex sentences, to add interest and variety to your writing. In conclusion, writing mechanics are a vital aspect of effective writing. Whether you are writing for professional or personal purposes, good mechanics are essential to ensuring that your writing is clear, concise, and easily understood. By developing a good understanding of grammar, punctuation, and sentence structure, you can improve your writing mechanics and enhance your writing skills. Read more about various topics on featurebuddies What Are The Mechanics Of The Writing Process? The Writing Process Step 1: Prewriting. Think and Decide. Make sure you understand your assignment. Step 2: Research (if needed) Search. List places where you can find information. Step 3: Drafting. Write. Step 4: Revising. Make it Better. Step 5: Editing and Proofreading. Make it Correct. Why Are The Mechanics Of Writing Important? Writing mechanics are as important as grammar in written language. They make sense of the words and give additional information. It is important to choose the correct punctuation, spelling, logic, and words, as there is only one chance to convey the meaning in written communication. What Are The Types Of Writing Mechanics? What Are Writing Mechanics? #1: Parts of speech. #2: Parts of sentences. #3: Sentence errors. #4: Subject-Verb agreement. What Are The Elements Of Writing Mechanics? In contrast, mechanics refers to the detailed elements that combine to construct words, sentences, and paragraphs, such as spelling, punctuation, and grammar. Mechanics is more closely related to the rules of the English language. What Is An Example Of Writing Mechanics? Mechanics are the small parts of your writing that stick everything together to ensure that everything makes sense and that emphasis is placed where you want it to be. Basic punctuation mechanics include commas (,), colons (:) and semicolons (;), apostrophes (‘), and hyphens (-). Click here – What Is Threshold Delivery? I Have Covered All The Following Queries And Topics In The Above Article What Is Mechanics In Writing What Is Mechanics Of Writing What Is Writing Mechanics Mean What Is Meant By Mechanics Of Writing What Is The Mechanics Of Writing What Is Writing Style And Mechanics Mechanics Of Writing Examples What Is The Importance Of Mechanics Of Writing Writing Mechanics And Conventions Mechanics Of Writing Assignment What Is Writing Mechanics

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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes. Storytelling in The Odyssey, in addition to delivering the plot to the audience, situates the epic in its proper cultural context. The Odyssey seems very conscious of its predecessor, The Iliad: Odysseus’s wanderings would never have taken place had he not left for Troy; and The Odyssey would make little sense without The Iliad and the knowledge that so many other Greek heroes had to make nostoi, or homeward journeys, of their own. Homer constantly evokes the history of The Odyssey through the stories that his characters tell. Menelaus and Nestor both narrate to Telemachus their wanderings from Troy. Even Helen adds some anecdotes about Odysseus’s cunning during the Trojan War. Phemius, a court minstrel in Ithaca, and Demodocus, a Phaeacian bard, sing of the exploits of the Greek heroes at Troy. In the underworld, Agamemnon tells the story of his murder, while Ajax’s evasion prompts the story of his quarrel with Odysseus. These stories, however, don’t just provide colorful personal histories. Most call out to other stories in Greek mythology, elevating The Odyssey by reminding its audience of the epic’s rich, mythic tradition. The gods of Greek literature often assume alternate forms to commune with humans. In The Odyssey, Athena appears on earth disguised as everything from a little girl to Odysseus’s friend Mentor to Telemachus. Proteus, the Old Man of the Sea whom Menelaus describes in Book 4, can assume any form, even water and fire, to escape capture. Circe, on the other hand, uses her powers to change others, turning an entire contingent of Odysseus’s crew into pigs with a tap of her wand. From the first line of the epic, Homer explains that his story is about a “man of twists and turns” (1.1). Quick, clever, and calculating, Odysseus is a natural master of disguise, and the plot of the epic often turns on his deception. By withholding his true identity from the Cyclops and using the alias “Nobody,” for example, Odysseus is able to save himself and his crew. But by revealing his name at the end of this episode, Odysseus ends up being dogged by the god Poseidon. His beggar disguise allows him to infiltrate his palace and set up the final confrontation with the suitors. It also allows Homer to distinguish those who truly love Odysseus—characters like Eurycleia, Penelope, and even his dog, Argos, begin to recognize their beloved king even before he sheds his disguise. Read more about deception as a means to an end in Shakespeare’s play Much Ado About Nothing. Women are very important figures in The Odyssey, and one of the most prominent roles they fulfill is that of seductress. Circe and Calypso are the most obvious examples of women whose love becomes an obstacle to Odysseus’s return. Homer presents many other women whose irresistible allure threatens to lead men astray. The Sirens enchant Odysseus with their lovely song, and even Penelope, despite all of her contempt for the suitors, seems to be leading them on at times. She uses her feminine wiles to conceal her ruse of undoing, every night, her day’s work on the burial shroud, and even gets the suitors to give her gifts, claiming that she will marry the one who gives her the nicest things. While these women do gain a certain amount of power through their sexual charms, they are ultimately all subject to divine whim, forced to wait and pine for love when it is absent.

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Art & Apps in Action! Year 6 Mythical Monsters Unit – Art & Apps in Action! iPad apps are so valuable in a diverse course that aims to introduce students to as many making processes as possible. In this unit, monsters from a wide variety of cultures and eras are the stimulus for paintings, drawings, animations and sculptures. Here are some of the bits and pieces from the unit to fuel your creative fire! Begin by researching mythical monsters from around the world with the ‘Creatures’ app. It is a huge resource with creatures listed by name or sorted into places of origin or time periods. Detailed background information and images are displayed on scrolls that can be collected and added to a favourites section. MonsterKit and Monstrpieces One of the first drawing activities of this unit takes students through portraiture. After producing a ‘realistic’ self-portrait in pencil, student works are photocopied, with multiple copies made. The pieces are cut up and given back to the students to ‘monsterfy’ themselves by combining pieces of their original work with additional sketches. They may suddenly have three noses, their eyes may now be on stalks, and as other features such as horns are added, they begin to look very scary! APP IT! In the next work, created using the iPad, cutting, pasting and colouring are replaced by a virtual world. Students use MonsterKit and Monsterpieces to piece together their own monsters. They can control the position and size of all the elements, as well as create an environment for them to complete the composition which can be shared and exhibited. App extension ideas: Use ‘Puppet Pals’ to animate the monster characters in a ‘stage’ performance to incorporate storytelling. Use ‘Sprite Cutter’ to cut out the monster characters and add them to photos of the students taken to look as if they are ‘interacting’ with the monsters (eg: sitting next to them in class, playing football with them, etc). Use ‘Morfo Booth’ to create talking monster to reflect on the learning in the unit. Students use ink on paper to create abstract shapes by blowing the liquid around with straws. These shapes are then turned into monsters with google eyes. Pen drawings used to add features and environmental elements to tell a story (eg: monsters in space, dancing, at the cineama, etc). APP IT! Using ‘Daily Monster’, students can recreate the random ink blot process virtually. The abstract shapes then come alive with body parts, clothing and additional objects. Captions, drawings and text can be added to create a cartoon of the monster’s adventures or students can create a monster version of themselves. App Extension idea: Use the monsters in ‘Comic Book’ to create a longer adventure in sophisticated comic book style easily. Students investigate ink brush painting and calligraphy. Using Chinese brushes, dragons are created on fans in the style of ancient scrolls. APP IT! Using ‘Zen Brush’ students can trial the ink and brush process virtually before beginning. This develops their confidence in what is a deceptively simple technique. The creative process is enhanced as mistakes are impermanent, unlike painting with the real ink! These trials can become small works in themselves – using research, students choose a Chinese Symbol to represent themselves, and produce a calligraphic icon to print and display as part of a class display to hang across the room like flags. ONE LAST LESSON SEED: From Tricia Fuglestad a great activity to inspire you – what about using monsters created by students, animated and layered onto photos of your classroom to create an ‘Alien Invasion’? See the results in this group vimeo. And just for fun, explore the genius of Pixar in the animation from Monsters Inc.

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The dominant explanation of the formation of star and galaxy clusters is flawed and misrepresents the nature of time, a team of Brazilian researchers claim, in a new study that uses simulations to explain a long-standing paradox in a process called ‘violent relaxation’. Clusters of stars and galaxies are tight groups of celestial bodies shackled together by gravity. Star clusters contain up to one million stars with a common origin and are up to 30 light-years across, while collections of galaxies are among the largest structures in the Universe, composed of up to 1000 galaxies with a mass of a quadrillion Suns. In the study, published in The Astrophysical Journal, the researchers report the results of complex computer simulations of the puzzling gravitational dance of these massive objects. Such groups form in a maelstrom followed by a calming-down process called violent relaxation, when the celestial bodies settle into their new arrangements and reach a state of equilibrium. Violent relaxation has always been understood through the lens of the Vlasov equation, which was developed by Russian theoretical physicist Anatoly Vlasov in 1938 to describe the changing distribution of particles in plasma. It was applied to this phenomenon to approximate how thousands of stars and galaxies interact and rearrange their positions over time. The new study, however, questions whether this understanding is valid. “The problem is that Vlasov’s equation assumes constant entropy in the system,” explains Laerte Sodré Júnior, an author in the study and professor at the University of São Paulo’s Institute of Astronomy, Geophysics & Atmospheric Sciences (IAG-USP). Entropy is a measure of disorder. According to the second law of thermodynamics, the universe can only become more disordered and random over time – in other words, the total entropy must increase. But Vlasov’s equation assumes that entropy stays the same. This suggests that time is ‘reversible’, which clearly cannot be the case – a puff of smoke does not turn back into unburnt wood, and a star cluster does not spontaneously fly apart. The tension between Vlasov’s equation and the one-way nature of violent relaxation is referred to as “the fundamental paradox of stellar dynamics”. “It was clear to us that something was wrong, and our suspicion was confirmed by the study,” Sodré says. “The Vlasov equation simply doesn’t apply to this case.” The team relied on powerful computational resources to investigate the gravitational interactions between celestial bodies. For a two-body system this is a cinch, but in a system containing millions of bodies each interacting with every other body, the team needed to conduct complex numerical simulations, each of which took several days of computer time. The simulations showed that the overall entropy does increase. But the team also found that at the beginning of the relaxation period, the entropy of the system actually fluctuates, sometimes increasing and sometimes decreasing. “No other types of system display entropy oscillations that I know of, bar one: chemical reactions in which the compound produced serves as a catalyst for the inverse reaction,” Sodré said. “As a result, the reaction switches to and fro, and entropy in the system oscillates.” Originally published by Cosmos as Models of star and galaxy cluster formation incorrect Lauren Fuge is a science journalist at Cosmos. She holds a BSc in physics from the University of Adelaide and a BA in English and creative writing from Flinders University. Read science facts, not fiction... There’s never been a more important time to explain the facts, cherish evidence-based knowledge and to showcase the latest scientific, technological and engineering breakthroughs. Cosmos is published by The Royal Institution of Australia, a charity dedicated to connecting people with the world of science. Financial contributions, however big or small, help us provide access to trusted science information at a time when the world needs it most. Please support us by making a donation or purchasing a subscription today.

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From games to keeping in touch with friend, the internet provides children with many different opportunities these days. One other great opportunity that the internet provides is the opportunity to view and read picture books online. This article talks about how online picture books may be used to teach children to read and write. Online picture books are a great resource for teachers and parents to help teach their children to read. Online picture books allow children to read books they may never get the chance to read. For example, https://www.surfnetkids.com/early/books/ has beautiful picture books that tell stories and showcase illustrations that are not found in today’s children’s bookstores. Also on the website, https://www.surfnetkids.com/early/books/, there are online alphabet books. These online alphabet books can be a child’s first introduction to the letters of the alphabet and how these letters form words. Some of the books have short rhyming stories that go along with the letter of the alphabet. This can be a fun way for children to remember certain letters. Online picture books are a great way to teach children to read because they are mostly pictures with fewer words. Children are able to tell what is going on in a story by the pictures and this can help them to match up what the words are on the page and help them to learn how to read. Also, because online picture books have fewer words and more pictures, it can be much less intimidating for children learning how to read. Many of the online picture books found on https://www.surfnetkids.com/early/books/ have rhyming which can help children to remember words and stories that they are taught. Why use online picture books to teach writing? Most kids need some type of writing example to help the learn how to write and to learn to make their writing better. Online picture books offer a teacher or parent a great resource to help their students or children learn how to write. Online picture books are great models of good writing. The author has to be concise and make their point quickly while still writing a great story. Children are able to read the online picture books and see how different writing techniques are used. After seeing a writing example they are able to then think about how they can apply what they have read and learned to their writing. How to teach writing using online picture books When a teacher or parent is using an online picture book to teach their students or children about writing, they should encourage the children to identify the characters of the story and their development throughout the story. And they should also be urged to pay attention to how the author uses words to tell the story. This may require the children to read the story more than once. After the children have studies the online picture book, they should then have an opportunity to write. It can be helpful if they are allowed to write and even illustrate their own picture book. Online picture books can help teachers and parents teach children about vocabulary, phonics, fluency, comprehension and phonemic awareness. Children can also be introduced to different ideas as well as different time periods when they read the online picture books that are found on https://www.surfnetkids.com/early/books/. Learning about all of these things can help a child become a better read and a better writer. Leave a Reply

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These are the resources and guidelines on best practices in K-12 environmental education. Use the filters on the left to refine your search. To start a new search, please de-select your previous choices by clicking the (-) buttons at the top. Learning to Love the Natural World Enough to Protect It is an article from Louise Chawla that makes the connection between early childhood experiences outdoors with a caring adult and environmental action later in life. Climate-Poverty Connections Fact Sheet summarizes a first-of-its-kind report produced by Drawdown Lift that shows how leaders do not have to choose among human development, climate mitigation, and climate adaptation; win-win solutions are at hand. Available in English and French. Responding to Climate Change Education: A Primer for K-12 Education by The Sustainability and Education Policy Network. The purpose of the primer is to offer research-based understandings of how Ministries of Education, School Divisions, and Schools can help inform and empower climate action Seven Principles for Cultivating Communities of Practice is an excerpt from Cultivating Communities of Practice: A Guide to Managing Knowledge by Etienne Wenger, Richard McDermott, and William M. Snyder. Closing the Achievement Gap prepared by the State Education and Environment Roundtable (Lieberman, Gerald A. & Hoody, Linda L, 1998) presents the results of a nationwide study using the Environment as an Integrating Context for learning (EIC). The report notes, “Using the environment as an integrating context is interdisciplinary, collaborative, student-centered, hands-on and engages students in learning”. Their research shows that student learning shows improvement in reading, writing, math, science and social studies; exhibit increased pride in their accomplishments; greater engagement and enthusiasm for learning; better ability to apply science to real-world situations; better application of systems thinking; increased ability to think creatively; and more advanced skills in applying civic processes to real-life situations. Pathway to Stewardship is a framework providing a guide and roadmap towards stewardship. It covers every stage of a child's development using a series of benchmarks or goals. It is grounded in extensive research and interviews with 75 community leaders. Pathway to Stewardship is a call to action for everyone who plans for or spends time with children - parents, teachers, relatives, community groups, health professionals and government agencies. Environmental Learning and Experience: An Interdisciplinary Guide for Teachers provides assistance to British Columbia teachers of all subjects and grades to integrate environmental concepts into teaching and learning. The Teaching and Learning Principles as well as the Principles for Conceptualizing ‘Environment’ can be applied in Alberta classrooms. Using Emergence to Take Social Innovation to Scale is an article by Margaret Wheatley and Deborah Frieze looking at the characteristics of networks and how they can lead to change. Last Child in the Woods by Richard Louv coined the phrase ‘nature deficit disorder’ to describe the negative effects of children not spending time in nature. He brings forward the growing body of research indicating that direct exposure to nature is essential for healthy childhood development and for the physical and emotional health of children and adults. Green Street Guide to Authentic Youth Engagement outlines some of the best ways to encourage authentic youth participation within organizations and includes practical advice and real-life examples. The second edition of Natural Curiosity supports a stronger basic awareness of Indigenous perspectives and their importance to environmental education. The driving motivation for a second edition was the burning need, in the wake of strong and unequivocal recommendations by the Truth and Reconciliation Commission, to situate Indigenous perspectives into the heart of Canadian educational settings and curricula, most notably in connection with environmental issues. The Indigenous lens in this edition represents a cross-cultural encounter supporting what can become an ongoing dialogue and evolution of practice in environmental inquiry. Some important questions are raised that challenge us to think in very different ways about things as fundamental as the meaning of knowledge. Le présent document est un excellent outil pour l’enseignante ou l’enseignant de même qu’un incitatif pour l’élève à découvrir le monde qui l’entoure. Dans cette deuxième édition de Curiosité naturelle, on découvre plus en détail l’apprentissage environnemental vu par les Autochtones. Avec cette découverte, on ne peut que remettre complètement en question la place que l’on occupe dans le monde. Le point de vue autochtone de cette édition donne le coup d’envoi d’un dialogue qui permet à l’enseignante ou à l’enseignant de découvrir la vision autochtone des choses et à l’élève de tisser des liens durables avec le monde naturel. Vous pouvez acheter le ressource ici. Education for a Sustainable Future: A Resource for Curriculum Developers, Teachers, and Administrators is intended to assist Manitoba curriculum developers and educators to integrate sustainability concepts into new and existing curricula. It is interdisciplinary in approach, and provides direction, that is relevant to Alberta educators, for the integration of sustainability knowledge, skills, values, and life practices within the curriculum, the classroom, and the community. The Community of Practice Design Guide provides a practical approach to creating communities of practice. Connecting Canadians with Nature: An Investment in the Well-Being of Our Citizens from the Canadian Parks Council is a report that provides an overview of the benefits of connecting with nature. Backgrounder on Youth Engagement by the the Alberta Emerald Foundation (AEF) and What we Heard from the province-wide consultations conducted by ACEE, on contract to AEF. NEW Braiding Sweetgrass for Young Adults! Robin Wall Kimmerer’s beloved bestselling book has been adapted for young adults by Monique Gray Smith. Monique is Cree, Lakota and Scottish, and is well known for her storytelling, spirit of generosity and focus on resilience. This new edition reinforces how wider ecological understanding stems from listening to the earth’s oldest teachers: the plants around us. With informative sidebars, reflection questions, and art from illustrator Nicole Neidhardt (Navajo), Braiding Sweetgrass for Young Adults will help provide educators to bring Indigenous wisdom, scientific knowledge, and the lessons of plant life to a new generation. This new version will provide the essence of this book in a way that better engages high school students. You can purchase it from the Outdoor Learning Store. Climate Science Belongs in the Classroom factsheet by the Climate Reality Project is a free resource containing facts and information for teaching about climate change. Connecting the Dots focuses on learning strategies and the ways of organizing learning experiences; the “how to” of learning. These learning strategies involve students as engaged learners, learning within the context of their communities and addressing relevant, local issues. Environmental Outdoor Education and Exposure to Nature: The Positive Effects on Student Wellness and Academic Achievement is an annotated bibliography by Bill Bagshaw. It provides an extensive list of research on the effects of outdoor education on mental well-being, abilities and physical wellness. Community Climate Change Education: A Mosaic of Approaches features information and resources on over a dozen approaches to community climate change education, from public art, resilience gardening, and climate justice, to social innovation, marine science, and youth programming.

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Spanish House and Chores TPR Spanish House and Chores TPR Story and Power Point by Angie Torre This Spanish House and Chores TPR Story includes the following: ~Two Spanish TPR stories which reinforce the vocabulary of the House and Chores. They can also be used as a prelude to lessons in direct object pronouns and the verbs, “hacer” and “poder”. In the first TPR story, Melisa’s daughter proceeds to mess up every room in the house while Melisa cleans up after her. Then, miraculously, she begins cleaning and Melisa can’t figure out why. In the second TPR story, a spy is looking for tapes and is in danger of getting caught. ~40-slide Power Point of the story with visuals and the activities that correspond to the Word documents. In addition to the vocabulary and Spanish House and Chores TPR story the packet includes the following activities: ~complete the sentences ~answer the questions ~write your own story using the new vocabulary These TPR Stories serve to supplement the text as no book provides the necessary comprehensible input. The activities provide the necessary repetition and manipulation of the language needed in order for students to assimilate and produce Spanish. To learn how to teach a story using TPR Strategies and see me teach a sample story, click here: Youtube Video of How To Tell TPRStory To see me teach a TPR Story to my Spanish class, click here: Me teaching To receive freebies and notifications of new products, click HERE to follow my store! You may also be interested in the House and Chores Power Point and Interactive Notebook Activities: House and Chores Power Point For just the House and Chores Google Drive Interactive Notebook Activity, click here: House & Chores Interactive Notebook Activity For Travel TPR Story, click here: Travel TPRS For TPR Stories for Spanish One and Two, click here: TPRS for Spanish 1 & 2 For images, photos, clip-art of household chores, click here: images of chores For more TPR Stories and complete list of my products, CLICK HERE: My Store For engaging PowerPoints, activities and resources, please visit my website: Best PowerPoints for Spanish Or my Pinterest Boards: Best PowerPoints Pinterest Your students will love Spanish House and Chores TPR Story. Click here to read a tutorial on TPR Storytelling Strategies. There are no reviews yet.

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A beast fable is a type of narrative that features animals as characters who often behave and speak like humans. These stories often have a moral lesson or theme at their core. The Canterbury Tales, written by Geoffrey Chaucer in the 14th century, is a collection of stories told by a group of travelers on their journey to Canterbury. Among the tales told by the pilgrims is the "Nun's Priest's Tale," which is a beast fable that features a talking rooster named Chauntecleer and a cunning fox named Reynard. In the "Nun's Priest's Tale," Chauntecleer is the proud and intelligent rooster who rules over a group of hens on a farm. Reynard the fox, on the other hand, is known for his trickery and deceit. One day, Reynard comes to the farm and flatters Chauntecleer, telling him that he is the most handsome and brave rooster he has ever seen. Chauntecleer, pleased with the compliment, invites Reynard into his coop. However, Reynard has ulterior motives and plots to steal one of the hens for his dinner. He tells Chauntecleer a story about a terrible dream he had, in which he saw a giant, terrifying beast coming to attack the farm. Chauntecleer, worried for the safety of his hens, decides to leave the coop to defend the farm against the beast. Reynard, seeing an opportunity, quickly grabs one of the hens and makes a run for it. Chauntecleer, realizing he has been tricked, chases after Reynard and manages to catch him. Reynard, knowing he has been caught, begs for mercy and promises to never steal from the farm again. Chauntecleer, being a kind and forgiving rooster, agrees to let Reynard go, but warns him that if he ever tries to steal from the farm again, he will not be so merciful. The "Nun's Priest's Tale" is a classic beast fable that teaches the lesson of not trusting those who flatter or deceive us. Chaucer uses the story to comment on the corrupt and cunning nature of some people in society, as Reynard the fox represents those who seek to deceive and manipulate others for their own gain. The story also highlights the virtues of kindness and forgiveness, as Chauntecleer shows mercy towards Reynard despite his trickery. Overall, the "Nun's Priest's Tale" is a humorous and entertaining tale that serves as a cautionary tale about the dangers of trusting those who seek to deceive us and the importance of forgiveness. It is one of many stories in The Canterbury Tales that showcases Chaucer's wit and storytelling skills, and it continues to be a popular and enduring tale to this day. In of my favorite VHS's.)Anyway, Chauntecleer is Chaunticleer suggests to the fox that he stop and taunt his pursuers. In the 1700s and 1800s attempts at putting the tales in order was in fashion, as well as translations into modern English. To call a cock a grim lion, for instance, is comically absurd and becomes even more so when we remember what a coward Chanticleer actually is. There was a shift in critical interest in the 1700s and 1800s, when scholars began trying to assemble the fragments of the pilgrims' stories in the ''proper'' order. Basically, Pryme means morning, trad means had sex with. Chanticleer, therefore, loses no time to demonstrate his learning. She suggests the accepted remedy, a digestive of worms followed by laxatives in the form of a number of herbs which she enumerates. Il n'y a aucune page manquante. For engaging class discussion, consider examining the traits of these four genres and have students classify each Chaucer tale according to those attributes. You will never regret it. In short, Chaucer adopted the mock-heroic style for the writing of this poem. He tells Pertelote that a savage, reddish, beast was about to swallow him. Below is the article summary. By taking noble concepts and ideas and putting them in mouths of chickens and foxes, the tale suggests that perhaps these high ideas, or those who talk about them, are not as noble or serious as they seem. Throughout the tales, people are shown to stand up to the church and beat them at their own game and this provides the ideal response to church corruption. So, he had sex with her 20 times before morning. Chaunticleer graciously thanks Lady Pertelote, but he quotes authorities who maintain that dreams have a very definite meaning and insists that he does not need a laxative. It is a quite astonishing production. En savoir plus à propos de l'état Bon: Un livre qui a été lu, mais qui est en bon état. This enriches the poem and adds a new dimension to the old story. He manages to maintain the rhythm and feel of the original while also making the modern version a delight to read. She says that the dream comes from some physical melancholy and urges him to take a laxative to get rid of this black bile. The Wife of Bath, probably, isn't a fan of this tale. Chaunticleer crows the time more accurately than the church clocks. Anyway, Chauntecleer is like the most awesome rooster ever. Fox tries to coax him down with more praise, but Chauntecleer has learned his lesson by this point and he doesn't do it. The Characters in The Canterbury Tales The Purpose of the Characters in The Canterbury Tales The characters introduced in the General Prologue of The Canterbury Tales each represent a stereotype of a kind of person that Chaucer would have been familiar with in 14th Century England. She tells him he dreamed because he ate too much and that it is well known that dreams have no meaning; he simply needs a laxative. Each book is a value-priced, high-quality trade paperback, which you will receive for at least 50% off retail. It takes these anthropomorphized animals, these human-like animals, and has them act out a story. Chaunticleer begins to run, but the fox gently calls out that he only came to hear Chaunticleer's beautiful voice. As a quick aside - when I took a class on Chaucer, there was a big debate in my class about whether chickens really could fly into trees. These tales are told through Chaucer's point of view, where he uses his humor to attract the reader in many different ways. Reynard the Fox Bodleian Library. In The Canterbury Tales, the pilgrimage to Canterbury provides the frame for the work. Usually, the clever fox defeats the rooster in this type of beast fable, but here, Chaunticleer tricks the fox at his own game and foils Russell. His favorite wife's name is Pertelote. In this overview, Chaucer lambasts common stereotypes of the time to cast his characters. How Does Chaucer Use Sexism In Chaucer's Tale 527 Words 3 Pages The Canterbury tales is written by Geoffrey Chaucer takes place in the late 14 hundreds. Geoffrey Chaucer includes in his tales the importance of love, greed, and friendships and how those feelings should not come together for Corruption In The Miller's Tale 751 Words 4 Pages Religion is a theme in many works of literature throughout the ages. So, he had sex with her 20 times before morning. We must also remember the cause of the discussion of divine foreknowledge: Lady Pertelote thinks that Chaunticleer's dream or nightmare was the result of his constipation, and she recommends a laxative. He is the master, so he thinks, of seven lovely hens. The Beast Fable The Nun's Priest's Tale is told by the nun's priest, who is traveling with another beast fable, which is a medieval genre that's basically responsible for the talking animal films that plague us today. Again, just a quick summary. There is a chase, and the cock saves himself by tricking the fox into opening his mouth to talk. Chaucer doesn't establish a whole separate Chicken Lore, like Redwall. Sinon a Greek who persuaded the Trojans to take the Greeks' wooden horse into their city, the result of which was the destruction of Troy. In short, the whole description of the widow looks ironically at both the rich and the poor. Chaucer died before finishing it, which is why there are fewer stories than pilgrims. The writing follows a large group of pilgrims who have all been challenged to tell their best tale, one that teaches a valuable lesson, on the journey to Canterbury. They seemed to rule the economy and hold a lot of land. Jack Straw a leader of the riots in London during the Peasants' Revolt of 1381. Kenelm a young prince who, at seven years old, succeeded his father but was slain by an aunt.

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The whole child approach to teaching implies support for all areas of children’s development. The whole child approach includes learning various skills from social-emotional to cognitive skills to ensure the development of children’s thinking and understanding of things by introducing them to different interests and deepening their curiosity. This essay will provide insight on assessments and methods required to maintain a focus on the whole child. Firstly, as the whole child approach implies addressing the child’s needs in different spheres, the data collected from classroom assessments should be enough to point to the child’s developmental process and ensure the measurements. As classroom assessments provide information for identifying the children’s strengths and needs as a group and differentiating each child, only a small addition of other types of assessments is needed (McAfee, Leong, & Bodrova, 2016). The additional assessments might include writing an individual report on each child’s progress in learning and developing his skills. To maintain the whole-child approach, the assessments should be aimed at developing children’s skills in a social-emotional area, physical state, cognitive learning, use of language, knowledge of literacy, and understanding of mathematics basics. The guidelines required for conducting developmentally appropriate observations recommend using a general, practical approach with the addition of specific assessment opportunities. The general approach states the importance of the use of scheduling in the activities for making appropriate observations (McAfee et al., 2016). The schedule should give the children time to become familiar with assessments, the goals of assessments, and the process of assessments. The key aspect of this issue is to start gradually with easy assessment techniques, make them a part of everyday classroom life, and organize the work in a way accessible for the children (McAfee et al., 2016). The timing guideline would ensure that the observations are appropriate for the children’s development and confirm the validity and reliability of information collected through observations. To collect the information, teachers usually use ‘windows’: a combination of sources, methods, and context. To provide effectiveness in collecting, recording, and compiling assessment data, a combination of different techniques must be implied to the teacher’s work. The combination of systematic observation of children, collecting work products, structured performances, and dynamic assessment would provide an accurate and thorough insight into children’s learning progress and capabilities. To improve the observation and teaching process, the teacher might develop and use checklists modified to fit their needs. Checklists are a versatile way to document many aspects in several spheres and are easy and quick to work with (McAfee et al., 2016). To prevent oversimplifying behavior and learning with the use of checklists, teachers may introduce the use of video recording and photographs to use further as evidence of integration of learning (McAfee et al., 2016). The video records could also be used by teachers to self-reflect and analyze their professional skills. The collected data and work products could form personal portfolios to demonstrate the child’s unique perspectives as well as a group profile. To ensure the validity and reliability of assessments, teachers need to double-check the assessments and collected evidence. Collected samples should represent assessment subjects and be balanced in terms of the use of different methods and contexts (McAfee et al., 2016). The information collected in the assessments should correspond to reality; evidently, the information collected on each of the children should be consistent throughout the use of different methods, sources, and contexts. The assessments could be repeated in the same methods but using different contexts to compare the results to previous ones and make notes on each child’s progress (McAfee et al.,2016). The collected data should give detailed information on each child, his pattern of development and interests, and correspond to other children’s, parents’, and teachers’ opinions on the child. Any inconsistency in the data should be additionally checked to identify possible concerns in the child’s behavior or development progress. Maintaining a focus on the whole child is a priority in choosing tools, methods, and approaches to assessment in a kindergarten classroom. The assessments should be tailored to developing children’s skills crucial for the concept of the whole child. For instance, to improve children’s development in a social-emotional area, assessments should include working in groups or pairs. Physical education of children and assessments within the concept of the whole child should be aimed at a “health-enhancing level of physical fitness” (McAfee et al., 2016, p.89). Furthermore, to improve the children’s cognitive learning skills and use of language, tools like performance samples of storytelling, reading, or writing could be used in the classroom assessments. In conclusion, this essay provided insight into various assessments and methods required to focus on the whole child. The classroom assessments should be organized and scheduled to provide valid information from observations. The teacher may use a combination of checklists and video recordings of assessments to obtain accurate information on the children and self-analyze the teacher’s professional skills. The collected data from the assessments should be reliable and consistent throughout different methods, contexts, and sources. The use of different tools, methods, and approaches to assessments help with improving the skills required within the concept of the ‘whole child’ approach. McAfee, O., Leong, D. J., & Bodrova, E. (2016). Assessing and guiding young children’s development and learning (6th ed.). Denver, CO: Metropolitan State College.

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Persuasive articles. What Is Persuasive Writing and How to Teach It 2022-11-15 Persuasive articles Rating: A persuasive article is a piece of writing that presents a viewpoint and provides evidence in support of that viewpoint. The goal of a persuasive article is to convince the reader to adopt the same perspective or take a specific action. There are several key elements that are commonly found in persuasive articles. One of the most important is a clear and concise thesis statement that presents the main argument of the article. This should be followed by evidence in the form of facts, statistics, examples, and expert testimony, which are used to support the argument. Another important element of a persuasive article is the use of rhetorical devices. These are techniques that writers use to appeal to the reader's emotions, logic, and sense of morality. Some examples of rhetorical devices include the use of emotional language, rhetorical questions, and vivid imagery. Another key element of a persuasive article is the use of counterarguments. A counterargument is a perspective that is opposed to the main argument of the article. By acknowledging and addressing counterarguments, writers can strengthen their own argument by showing that they have considered alternative viewpoints and can provide evidence to refute them. In order to be effective, a persuasive article must also be well-organized and well-written. This means that the ideas should be presented in a logical order and the language should be clear and concise. It is also important for the writer to consider their audience and tailor the argument to their specific needs and concerns. Overall, a persuasive article is a powerful tool for influencing the opinions and actions of others. By presenting a clear and well-supported argument, using rhetorical devices and addressing counterarguments, writers can effectively persuade their readers to adopt their perspective or take specific actions. The Art of Persuasion Hasn’t Changed in 2,000 Years I was unable to persuade Kim to quit her bad habit of smoking. Factually, to persuade means to make someone agree with your position. It also shows some different thoughts on the matter shortly. Using this structure will give your paragraphs that extra touch needed to make them sharp, like the crack of a pistol. What is a Persuasive Article? It is a powerful tool to have. How to Fix the Usual Mistakes? The skills gained from persuasive writing can help students become changemakers. This way of working will also save you from wasting time on unnecessary detail. Read on to find out! Let it be like that teaser of a series of movies that makes you yearn for the full episode. A good persuasive essay topic also has its own set of language units to communicate arguments. The more personal your content is the more your audience will feel connected to you and your idea. Furthermore, this type of writing can help you develop critical thinking skills and build your self-confidence, which is essential if you want a good turnover. Often students are writing for the sake of completing the assignment they got and getting a mark for it. This is a crucial part of having an effective website. Persuasive articles form a majority of college essays. Persuasive Articles: Your Ultimate Guide To Writing Article 1: In his article, Drew Lipsky does a very good job at persuading the reader why the college athletes should not be paid above the cost of education. Writing for the sake of writing will not work for persuading. To help inspire your persuasive technique, we have included a few persuasive writing examples for each step of the way. The topic sentence — also referred to as a focus sentence, acts as an envelope of the entire section. But be thoughtful and even skeptical about that information. 💋 What is a persuasive article. What is a Persuasive Article?. 2022 Get on it right away with the. By the way, they all are connected with and based on some specific features which characterize the way we all perceive the information which comes from written or oral texts. Call to Action It comes in the conclusion of most persuasive essays. I actually remembered one article that I used for research on my civic issues blog when I blogged about the pay for play debate and then found another article about whether or not the Pro Bowl should exist. This type of writing also helps in acquiring vital life skills such as critical thinking, reasoning, logic, and persuasion. They should also sway the reader closer to conviction. It requires a special skill to write a persuasive article and it is written in such a way so that it could grasp the hearts of the readers and it is written with great care and effort. Therefore, before you stop on a specific topic, be sure to conduct enough research to see if you can find sufficient supporting evidence for your ideas. However, often speechwriters draw a separate conclusion from every point made in the body to ensure that the audience is on the same page with the speaker. Persuasion: Definition, Types, Examples, and Effects Now I will try to persuade you. Source: Anger In Consumer Reviews: Unhelpful But Persuasive? When teaching persuasive writing, showing students real-world examples and letting them practice amongst themselves goes a long way in building their skills. Persuasive Essay Example: How you address a holidaymaker searching for luxury holidays in California would be completely different from that of a seasoned gamer wondering if they should switch from Xbox to PlayStation. Repetition Repetitions stick a particular concept in the mind of a human being. Aristotle believed the best way to transfer emotion from one person to another is through storytelling. Also, it requires a lot of research to write a persuasive article and bring the right and factual knowledge to the reader. Three Types of Persuasive Writing We will look at these types of writing identifying the unique differentiator of each: 1. The body is made up of arguments and counterarguments to persuade the audience. A lot depends on this step. Then, after that, convince the reader to believe and act on what your intention is. Visualize Consider choosing a topic that allows you to be more descriptive because this allows the audience to visualize which consequently helps persuade them. This issue is that they should choose your products and service! Do Compare Sometimes it is more effective to show them in pictures, calculations and diagrams why it is better than other. It contains the hook, which is used to grab the reader's attention, and the thesis, or argument, which you'll explain in the next section. Successful persuasive essays include a combination of thorough research and carefully selected words and phrases to promote products and services. Use catchy titles and headings The last and most vital of all tactics is to write eye-catching titles and headings. These are all logical appeals that will help you gain support. Welcome to Crittenden Middle School, Home of the. Instead of showing the argument he disagreed with and then disproving it, Ribery went with a more straightforward approach. Ask them to check yours and find its weak and strong points. Writing a persuasive article is such a simple task, after all. However, it is also widely used in the professional world, for example, when presenting a new idea to investors with the goal of persuading them to invest their money in a project. Here is the structure of standard persuasive writing: Title The persuasive topic should be relevant and one that is mind provoking to enable the reader to delve more into the body. And if you can tie your content back to your offer through other means, like an email subscription, you will close the loop, from one where your readers get educated by your content to one where they become customers. I want you to follow along till the end of this article carefully in order to get to know about it in detail. Using catchy titles and headings increases the value of a persuasive article. The author should articulate the end in such a manner that leaves the reader with a strong impression — remember our doubting Thomas? It is you who sets the deadline, so you can stay absolutely sure that you will receive the ordered paper in the best way possible and on time, of course. How to Write a Persuasive Article: 7 Easy Steps to Follow in 2023 In a persuasive essay, you can argue that summer vacations should be longer, that kids should get less homework or that kids should be paid for good grades. Components of a Persuasive Essay Here we have compelled an extensive list of good persuasive essay topics divided into popular categories to help you get started with your paper. Such issue leads to inability to rebut counterarguments. Show examples An article is filled with abstractions that can distract the reader from the points you'r trying to make. A persuasive article is often written with the intention of influencing public opinion or persuading readers to take a certain course of action. Nowadays persuasive piece of writing is the most preferred type of writing by the readers and every reader out there prefers reading a persuasive article over an article written in an ordinary way.

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There are numerous related references to vision, insight, light, and dark. Blindness is used both literally and metaphorically in the play. Oedipus, King of Thebes, has physical sight but is blind to his background: The theme of blindness comes to the forefront in the play when Oedipus calls An interactive data visualization of Oedipus Rex's plot and themes. Brief Biography of Sophocles Considered one of the three greatest playwrights of classical Greek theater, Sophocles was a friend of Pericles and Herodotus, and a respected citizen who held political and military offices in fifth-century B. He won fame by defeating the playwright Aeschylus for a prize in tragic drama at Athens in B. Only seven of his complete plays have survived to reach the modern era, but he wrote more than and won first prize in 24 contests. He is credited with changing Greek drama by adding a third actor, reducing the role of the chorus, and paying greater attention to character development. Historical Context of Oedipus Rex The story of Oedipus and the tragedies that befell his family were nothing new to Sophocles's audience. Greek authors routinely drew their basic material from a cycle of four epic poems, known as the Theban Cycle, that was already ancient in the fifth century B. The Theban Cycle was as familiar to Athenians as the The Iliad and The Odysseyso everyone in the audience would have known what was going to happen to Oedipus. Sophocles used this common story but made Oedipus a contemporary character, a man of action and persistence who represented many of the ideals of Athenian leadership. It is Oedipus's desire to find out the truth—a quality that, again, would have been admired by Sophocles's audience—that leads to his destruction. Other Books Related to Oedipus Rex Of Sophocles's surviving dramatic works, AntigoneOedipus Rex, and Oedipus at Colonus treat different episodes of the same legend, using many of the same characters. Sophocles's writing career overlapped with that of Aeschylus and Euripedes, the other great tragic playwrights of fifth-century Athens. Euripedes's most influential works include MedeaElectra, and The Bacchae. Athens, Greece When Published: The royal house of Thebes Climax: When Oedipus gouges out his eyes Antagonist: Sigmund Freud used the Oedipus story as an important example in his theory of the unconscious. He believed that "It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. Retrieved November 29, Oedipus - The protagonist of Oedipus the King and Oedipus at Colonus. Oedipus becomes king of Thebes before the action of Oedipus the King begins. He is renowned for his intelligence and his ability to solve riddles—he saved the city of Thebes and was made its king by solving the riddle of the. Top Works in World Literature by Norwegian Book Clubs, with the Norwegian Nobel Institute. The editors of the Norwegian Book Clubs, with the Norwegian Nobel Institute, polled a panel of authors from 54 countries on what they considered the “best and most central works in world literature.”. Reach your academic happy place with access to thousands of textbook solutions written by subject matter experts. A basic level guide to some of the best known and loved works of prose, poetry and drama from ancient Greece - Oedipus the King by Sophocles. Oedipus Rex Questions and Answers - Discover the benjaminpohle.com community of teachers, mentors and students just like you that can answer any question you might have on Oedipus Rex. When Oedipus finally sees the terrible truth of his life, Sophocles hammers home his metaphor by having the king stab out his own eyes. Oedipus says he does this because he can no longer look on the horrors that his unwitting actions have created.

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Juneteenth: A Day of Jubilee By TaNefer Camara, Co-Founder of The B.L.A.C.K. Course January 1st 1863 Abraham Lincoln issued the Emancipation Proclamation which granted freedom to enslaved people under confederate control. However, many enslaved people were not informed of the executive order which would grant their freedom. In Texas where there were an estimated 250,000 people enslaved, this news would arrive two years after the proclamation was announced and signed. On June 19th 1865 General Granger and federal troops arrived in Galveston Texas to anounce the end of slavery and the liberation of the people. The following year on that date, a “Day of Jubilee” which would later become known as Juneteenth was celebrated to commemorate the freedom of the formerly enslaved Black people in America. The celebration grew and as Black people began to migrate throughout the country, Black communities around the country gathered to honor this day. In 1979, Texas became the first state to establish Juneteenth as an official holiday and in 2021 Juneteenth was declared a national federal holiday. During the period after emancipation, the formerly enslaved set out on a mission to establish their families, communities, schools, churches, farms and businesses. The newly emancipated knew that true freedom is not given and they would have a long road to rebuilding from the irreparable damage that centuries of slavery and oppression took from them. After the celebrations the work began. People sought to reunify with relatives that were sold, they established Freedom schools for people of all ages to learn to read and write and they built homes and cultivated farmland to begin a new life. The Black Midwives, herbalist healers were of the most revered in the community as they took care of the pregnant women, attended births, treated the sick and kept many of our healing traditions alive during a time where we were denied essential medical care. The Black Midwives, Mama’s, aunties and healers were also the ones to assist with breastfeeding and care for women postpartum. Black Midwives of this time not only cared for Black women but also white women as they had during slavery. Birth work, domestic work and education were some of the professions that Black women of this time practiced. Many women sought to be homemakers and care for their families during this period, but poverty and the harsh conditions of the south would lead many mothers back into the workforce. When slavery ended, another level of terror began, known as the Black Codes; which were enacted during the period of reconstruction from 1865-1877. These codes restricted the movement and freedom of Black folks. This included curfews, exclusion from certain businesses and services included healthcare, banks, schools, employment and voting rights. Violations of these codes were so strict and nearly impossible to navigate that they would land people either in jail, dead or back in a status of slavery. The Reconstruction Act of 1867 sought to weaken these codes by requiring all states to uphold the 14th amendment, however in the rural south enforcement and adherence to the act was low. During this time Black men did exercise their right to vote and hold public office. After Reconstruction ended these protections were removed and Jim Crow laws replaced the Black codes further oppressing and restricting the rights of Black people in America. Many of the formerly enslaved would still be tied to plantations as share croppers while others left for distant lands and areas to escape the oppression and terrorism that ensued in the years after emancipation. One of the greatest priorities of the newly freed was the unification of the Black Family. Slavery tore families apart; children were taken from their parents, husbands and wives, siblings, loved ones and friends were separated. So upon emancipation one of the first orders of business was to reunify with family. We see that unification in the reclaiming of practices such as marriage, birth and breastfeeding. Enslaved people did not have rights over their bodies, their reproduction or their babies. Freedom meant the ability to reclaim autonomy and self-determination, to decide when to have children, how to raise them and to breastfeed them. Juneteenth was a Family celebration, a coming together of generations to honor their ancestors, pay respect to elders and teach the youth. Through storytelling, food, music, worship and prayer. We recognize this day and continue the legacy. We see Juneteenth as a time for reflection and healing. Part of that healing is reclaiming our traditions, developing new traditions and forging a path for future generations to follow. The Lactation Network joins The B.L.A.C.K Course in Commemorating Juneteenth. The B.L.A.C.K. Course which is an acronym for Birth, Lactation, Accommodation, Culture and Kinship is a foundational lactation education course that centers the history, culture, spirituality and lived experience of Black People in America, the descendants of slavery and people of the African diaspora in a comprehensive lactation education course. We invite you to learn more about our history and vision for the future as we cultivate healing in reclaiming, promoting and supporting the art and culture of Breastfeeding in the Black Family. In celebration of Juneteenth, The B.L.A.C.K. Course Juneteenth webinar is available for your viewing until July 3rd. You can access the webinar HERE.

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In musical orchestra and marching bands, the instruments are divided into different groups based on the sound they make and the voice they play in the band. In every marching band and orchestra there are two distinct groups of wind instruments: brass and woodwind. Although the two are similar in some aspects, there are many characteristics that differentiate the two. From material to playing technique, these are the core differences between brass and woodwind instruments. While there are many differences between brass and woodwind instruments, the main difference between the two is what they’re composed of. Woodwind instruments, such as clarinets and flutes, are made out of wood or metal, while brass instruments are made exclusively out of metal or brass. Since reeds are absent from brass instruments, there is no trace of wood or reed in brass instruments. Although both types of instruments use a force of air to make a sound, the mouthpiece of woodwind instruments requires a reed while the mouthpiece of brass instruments do not. Directional vs. Non-Directional One important difference between woodwind and brass instruments is that woodwind instruments are non-directional. With non-directional instruments, the direction or volume the instrument produces can’t be controlled. For example, the sound produced by a flute will sound the same standing in front of the flutist as it will if you’re standing behind. Brass instruments, on the other hand, are directional. This difference makes it more difficult to record a woodwind instrument accurately and plays an important role in marching bands, as brass instruments will be heard throughout the stadium while woodwind instruments will primarily be heard on the field. While wind and brass instruments both rely on the player to supply the instrument with enough air to make a sound, the technique by which the note is played varies between the two. Brass instruments are lip-vibrated instruments, meaning the different pitches are caused by alterations of both the air flow and lip tension of the player. The difference in pitches of woodwind instruments, on the other hand, is caused when a player blows through a reed to cause air within the resonator to vibrate. The reed sits at the back of the mouthpiece and vibrates against the rest of the mouthpiece to help create the sound. Valves vs. Keys Valves are a crucial part of brass instruments, as they help direct air in and out of the instrument, creating different pitches. Woodwind instruments, on the other hand, rely on the keys located alongside the body of the instrument to vary air flow. This variance in air flow is what creates the different tones and pitches. While this may seem like a major difference, it’s also a similarity, as both the valves and keys rely on the air provided by the player to create sound. Additionally, many brass instruments require more breath and more air to fill the instrument than smaller woodwind instruments. For more information about brass and woodwind instruments, check out the Parent’s Guide to School Band Instruments. The main difference is the presence of a reed. I have to thank you for the efforts you’ve put in writing this blog. I really hope to see the same high-grade content from you in the future as well. In truth, your creative writing abilities has encouraged me to get my own, personal site now 😉 You did not mention the exception. That would be saxophones they’re made of brass but classified as a woodwind because of their Reed mouthpiece. thank you for providing something intelligent and interesting in a world that is sometimes not either. I sometimes wish I had more culture in my upbringing, other times, I am ashamed that I might of had many chances for such enrichment, but failed to take advantage. Sometimes I think everything (such as success, fulfillment, etcetera, is random, other times, I think I merely failed at my chance to enrich not only myself, but the world. i dont understand how valves and keys are different, with both you press down on them and it changes the pitch, right? “the difference between brass and woodwind: on the one hand, you have woodwind instruments, which are made out of metal. on the other hand, you have brass instruments. these are made exclusively out of metal”

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Advantages & Disadvantages of Different Learning Styles If you've ever struggled to understand information in certain instructors' classes, it may have been because they didn't match up with your personal learning style, the way you process new information. Whether they learn best by seeing, hearing or doing, all students have dominant learning styles with different advantages and disadvantages. Understanding your learning style's strengths and weaknesses can help you tailor your study skills to fit this preference for gathering knowledge. I Can See Clearly Now: Visual Learners Visual learners best acquire information by reading, seeing or interpreting illustrations of material. They typically excel at observation and memory skills, often able to picture the location of information in textbooks and their class notes. Their ability to see the action of a story happening in their minds also makes them strong readers. On the other hand, visual learners struggle with listening to directions and information that is not written out. They may experience difficulty in lecture-oriented classes and often require instructors to repeat information. Listen Up: Auditory Learners Auditory learners thrive in classes that let them process knowledge through hearing and verbal communication. Lectures, reading out loud and giving oral reports and speeches comprise their strongest methods of instruction. They enjoy discussing and debating class material and often have special skills in music, such as memorizing lyrics. Their proclivity toward speaking can also be a downfall, though, as they tend to be overly talkative and dominate conversations. They also may need to hear information in order to fully learn it, meaning that information not covered in lectures may be unclear to them. Movers and Shakers: Kinesthetic Learners Kinesthetic learners acquire information best when they are able to directly experience it through movement and touch. Hands-on activities like experiments, art projects, role-plays and skits give them the greatest advantage. They often enjoy activities like sports, cooking, constructing projects and making crafts. Their tendency toward movement, however, is sometimes problematic, as they frequently struggle with sitting still and paying attention. They are often uncomfortable in classes that involve a great deal of reading and lectures and may need to take frequent breaks while studying. Knowing how you process information can help you maximize your study time using methods that fit your strengths. If you're a visual learner, you might try underlining or highlighting material as you read, color-coding your notes or using flash cards to study for tests. Because they are often poor note-takers, auditory learners can record lectures to play back as they study or teach the material to another person. Kinesthetic learners might strengthen their lack of focus by doing physical activity as they study. Try working out on a treadmill or exercise bike while reading or listening to study material. 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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There are several animation techniques, including 2D, stop-motion, 3D hand-drawn, and computer-generated animation, but all professions need a high level of creativity and passion. An apprentice animator helps generate a series of images known as frames, which provide the illusion of movement combined – this is known as animation. For example, graphics might be computer or hand-drawn pictures, models, or puppets. Animators often work in two dimensions, three dimensions, stop-frame animation, or computer-generated animation. Computer-generated animation is commonly utilised in film (for special effects or as a standalone animated feature), television, the internet, and the computer games industry. The essential skill of animation continues to depend heavily on aesthetic aptitude, but there is an increasing need for animators to be skilled with technical computer programmes. Throughout your apprenticeship, you may help: - visualise how to animate storyboard and script ideas - draw by hand or use animation software to create characters and scenes - add lighting, shading, colour, texture and special effects - use motion capture methods to create expressions and movements that are lifelike - use stop-motion techniques to film 3D models - combine several layers of animation to create the final product. - Entry salaries are in the region of £12,000 to £15,000 for apprentices. Salaries in computer game animation start higher at £18,000, rising quickly with experience. - Experienced animators can earn around £23,000 to £26,000. - Salaries for animators with at least ten years’ experience are around £36,000. Working hours are regular office hours (approximately 35 to 40 hours per week), but as deadlines approach you may need to work overtime, including at the weekend. You could work in a creative studio, in an office or from home. Qualifications you can achieve as an apprentice animator include: - Level 4 Junior Animator – Entry requirements for this level include 4 or 5 GCSEs at grades 9 to 4 (A* to C) and A levels, or equivalent, for a higher or degree apprenticeship. This qualification takes 18 months to complete. On an animation apprenticeship, you’ll learn: - knowledge of media production and communication - design skills and knowledge - to be thorough and pay attention to detail - thinking and reasoning skills - the ability to use your initiative - the ability to work well with your hands - to be flexible and open to change - knowledge of the fine arts - to be able to use a computer and the main software packages confidently. In general, animation studios work in various industries (television, advertising, feature film, etc.), while computer game companies tend to specialise in just one. The United Kingdom also leads the world in pre-school storytelling and design, and investment in this subject is increasing, ensuring employment availability. Many animators work as independent filmmakers, making their own short films and seeking to secure commissions from animation commissioners at television networks such as Channel 4, the BBC (particularly BBC2), or the internet. Having a short film screened may generate a commission for a short series, a longer film, or attention from music company advertising agencies (for music videos) or commercial and business businesses. Most animators learn on the job, but attending seminars and taking courses might help you refresh or improve your sketching, modelling, or software skills. The British Film Institute offers media and multimedia courses (BFI). Larger businesses may provide a more organised training programme. This might include studying for a Masters degree in animation or obtaining a professional certificate in a more specialised subject. There are several short courses and master classes covering specific animation themes that vary in duration from a few days to several weeks. Local audiovisual industry skills councils are useful when researching short courses or opportunities to develop more particular topics. Find out which organisation services your area of the United Kingdom by contacting Creative Skillset. Starting as a junior animator, you’ll progress to senior animator and ultimately to design manager or art director after a few years. Additional paperwork, staff management, and the production of new ideas are all responsibilities of senior roles. Therefore, freelancing employment is commonly used to enhance a career since it improves the animator’s reputation and assures a consistent supply of work and more senior responsibilities. The United Kingdom is well-known for stop-motion and children’s animation and has a major computer gaming industry. However, animation is a global profession; you may need to go abroad to specialise in a specific style. The United States is home to some of the world’s largest animation, CGI special effects, and gaming firms. East Asia also generates a substantial amount of 2D animation. As a result, animators are increasingly looking for work outside of the UK to broaden their client base. Versatility is essential in development, and if you can work with puppets, models, and drawn and computer-generated animation, you may have more options.

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Connect4Learning (C4L) is a research-based curriculum comprising six units and 32 weeks of learning centers and lessons. It aims to synthesize research based approaches in four domains of learning: mathematics, science, literacy, and social-emotional development. Connect4Learning uses a project-based approach, in which children work toward a larger goal, such as playing a coral-reef scavenger hunt or converting their classroom into a museum throughout a curriculum unit. Each lesson can be tailored to fit the schedule and requirements of any classroom setting. Observation opportunities and individualized instruction strategies are built into the curriculum. Teachers regularly observe and record children’s behavior, experiences and interests. Based on these careful observations, teachers are able to plan activities that will promote children’s growth and development. They also use these notes in parent meetings, conferences, and home visits to help parents better understand their children’s development. The kindergarten environment is designed to provide the children an opportunity to build upon the skills they have attained in the preschool classroom.The kindergarten curriculum inspires children to develop inner discipline, self-assurance, and a love of learning through a rigorous English language arts and math program designed to teach students reading, writing, speaking, and listening, while developing deep vocabulary and broad background knowledge. Elementary, Grades 1-5 The elementary curriculum is built upon the foundation laid in the lower elementary classrooms. New materials are introduced as the child moves from concrete to abstract thinking. The curriculum is integrated, individualized, academically challenging, and meets the developmental needs of each child, intellectually, socially, physically, and emotionally. The students experience individual, small and large group lessons, and projects. Subject areas include: language arts, math, social and science. Children build timelines, record science experiments, research and present written reports and projects, and learn computer skills. Field trips that relate to areas of study are scheduled to enhance the child’s learning experience. Organizational skills and independence are developed through the use of homework planners, and weekly schedules. Class meetings encourage cooperative efforts as questions of right and wrong lead to discussions on fairness, rules, and procedures. Also, literature circles serve as a venue for discussions about character development, responsibility, and accountability in our personal lives. Middle School, Grades 6-8 With a ‘college to career connections’ mindset, the middle school team addresses two pivotal questions: What do we want an eighth grade graduate to look like when he/she graduates from New Branches? What skills are necessary for success in a global economy? The overarching goal of New Branches’ Middle School educational program is getting our students to work as a team while exposing them to the world of high school, post-secondary education and the world of work. The model also offers an academic curriculum based on Common Core State Standards and Next Generation Science Standards. Additionally, our model includes professional development opportunities for teachers. For a successful transition to high school, trade school and/or college and the workforce, we teach our students the following habits and skills to prepare them academically, socially, emotionally, cognitively, and morally: - How to be career-focused and environmentally conscious. - How to articulate and communicate ideas verbally and in writing. - How to be organized, self-managed and motivated. - How to question the world around them and investigate answers. - How to be confident in their abilities. - How to be leaders in their school and community. - How to be highly focused and driven on work, learning and life lessons. - How to recognize issues and find workable means for dealing with problems and work with diverse people. - How to be a disciplined thinker that is clear, rational, open minded, and informed by evidence. - How to implement study skills, particularly for passing tests, quizzes and other exams. - How to have the ability and stamina to deal with a rigorous workload. - How to work and live with integrity. - How to have courage to stand up for what you believe in, determination, strong character-to model and make a difference, and grit. - How to deal with stress using coping techniques. Educational Development Plans for Seventh and Eighth Grade Students - At the beginning of each school year, the students work with the teachers to develop and implement Educational Development Plans (EDPs) with all seventh and eighth grade students via one-on-one goal-setting meetings. - The student follows the Xello program, which starts out as assessments in seventh grade and follows students through high school. - In collaboration with teachers, parents, students and school leaders, students will have a copy of their EDPs by mid-October toward the goal of monitoring students’ success. - Teachers and school leaders use the data from students’ EDPs to align lessons to students’ career goals, interests and educational needs. Parents, students, and teachers frequently meet to develop career paths that consist of revisiting students’ goals and making sure students are on track toward obtaining their goals and career aspirations.

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When it comes to Science, Technology, Engineering, Arts and Mathematics (STEAM) activities for elementary school, the “A” is sometimes left out of the equation. Try these space-themed activities to bring out the artistic side of your students while tapping into their natural fascination with stars and planets. Learn about the planets by making wearable art. The planets of our solar system are not only fascinating—they’re unique and beautiful! Students can flex their creativity while learning about the different planets with this jewelry-making activity. - Sculpey polymer clay (or similar), in a variety of colors to match the planets - Photos of each planet - Toothpicks (or another implement that can make holes in clay) - Jewelry cord or twine (enough to make each student a necklace or bracelet) - Split the class into small groups and assign each a planet. You can add the Sun and Earth’s moon if you have more groups than planets. - Give each group a photo of their planet and Sculpey modeling clay in corresponding colors. - Using the photos for reference, each group will design and make spherical clay beads that look like their planet. The beads will be strung together to form solar system jewelry. While the vast size variations between the planets don’t allow for accurate scale in this format, you can give the students measurements for the beads that show their approximate size in relation to each other. (For example, Earth will be larger than Venus but smaller than Neptune.) - Each group will need to make enough beads for every class member to have one. Some extras are a good idea in case of breakage. - When all the beads are formed, help the students make holes through each using toothpicks. The holes should be big enough for the cord or twine to fit through. - Have the students help you put the beads onto baking sheets. - Bake the beads according to the clay package directions. This can take a long time, so you may need to split the activity over two or three days. - When the beads are ready, bring them back to the classroom. Set up an assembly line with stations of planet beads, in order of their distance from the Sun. Students can help by identifying the correct order. - Have the students line up to go through the stations. At the first station, have the students measure a length of jewelry cord or twine to fit around their wrist as a bracelet, or loosely around their neck as a necklace. Cut to fit and tie a large knot at one end. (You can also pre-cut and knot if you prefer.) - Students go through the stations, stringing a bead at each. They may need help at the end fastening or tying off their jewelry. - Each student will have a necklace or bracelet with a solar system of beautiful beads! Variation: You can do this same activity to teach about Earth’s inner layers. Instead of different planets, students can make the same bead with blue-and-green colors on the outside and different color layers inside. Carefully cut the beads in half before making holes and baking. Bring the constellations to life with 3D marshmallow models. Every society in humankind’s history has named and told stories about the groups of stars high above us. Making constellation models is not only a great STEAM activity but can also easily fit in with a history unit on ancient civilizations. This is a basic version of the activity. Space Foundation offers a complete lesson plan, including extensions, here. For each student: - Big Dipper worksheet w/ pattern (available free here) - 4” x 6” piece of cardboard - Glue stick - 7 toothpicks (pre-cut if working with younger students) - Ruler (to measure toothpicks for cutting, if working with older students) - 7 marshmallows - Push pin or thumbtack (adult use only) - Explain to students that they will construct a scale model of the Big Dipper, one of the most familiar shapes in the sky. It is part of the constellation Ursa Major—the “Great Bear!” They will learn that even though the stars in the Big Dipper look like a flat pattern to us here on Earth, the stars are very far away from each other. Each star in the Big Dipper also has its own name. - Pass out the materials and remind students that the marshmallows aren’t for eating! You may want extra marshmallows to enjoy afterward. - Have the students cut out the Big Dipper pattern, or you can pre-cut if you prefer for younger students. - Have the students spread glue on the back of the Big Dipper pattern and then press it down onto the cardboard. - You or a helper adult should use the thumbtack to make a small hole in each of the stars on the patterns. - Using the worksheet as a guide, the students should measure and cut the toothpicks to match the lengths needed for each star (you can pre-cut for younger students). Note: the star Megrez requires a full-length toothpick. - Instruct the students to stick the sharp end of the toothpick to its matching star, and stick a marshmallow on the other end. - The constellation is done! Instruct your students to observe their models from different angles. How is it different from the “flat picture” they see in the sky? - Explain to the students that the constellations we see from Earth are unique to us and our perspective. If you were standing on Mars, the same group of stars would look completely different! Variation: Have the students create their own constellations. It can be a mythical creature, a modern-day animal, a plant or flower, or anything meaningful to them. For a creative writing assignment, have students create the story behind their constellation in the style of an ancient myth! Looking for more ways to get your class excited about STEAM? Check out our Programs for Teachers for STEAM lesson plans, grant lists and professional development opportunities. Our Students page includes programs, STEAM activities and more for you to explore.

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Our Students’ Linguistic Identities By Carly Spina Do you know about the linguistic assets and skills your students and families possess? While we spend a lot of time during the first few weeks of school forming relationships and learning about our students and families, we often overlook this piece. We spend a lot of time focusing on talents, interests, and learning preferences. Our students’ linguistic assets can include the languages they speak with family members, the language they use while in their houses of worship, the language they use when storytelling, the language in which they prefer to sing, and more. Our students come to us with varying levels of proficiencies in one or more languages (across the domains of reading, writing, listening, and speaking) while also engaging with the English language at school. In today’s divisive climate, it is more imperative for us to be proactive in building inclusive learning spaces- whether they are remote or in-person. In today's political climate, it is now more critical than ever to be intentionally inclusive and supportive of our students' languages. Linguistic oppression is something that our students and families face constantly- whether they are viewing hateful comments on social media ("why can't they just learn English?") or they are being confronted publicly for speaking a language other than English at a local restaurant or even in a parking lot- and, unfortunately, it happens a lot more than we think. What can we do to be more intentionally inclusive? What can we do as educators (even if we’re monolingual) to show our students and families that we value their languages and their identities? Here are a few easy ways for all of us to do this work, regardless of what grade levels we teach or what roles we have in our school systems. Start by collecting the languages of the classroom. Glenview District 34 began this work in the winter by using the hashtag #LoveOurLanguages. Adults had conversations with their classes that ranged between 5-minutes and 45-minutes. Students are asked to reflect on who they are linguistically. Perhaps they have a language that they are fluent in other than English. Perhaps they have a language that they use to speak to a family member or a language that they only use in their house of worship. Maybe their family has an oral language that they use to tell stories and share pieces of history. There could be a language spoken at home by parents or a grandparent that was never passed down (for a variety of reasons- this could open the door to rich dialogues about historical/political contexts that didn’t allow for this). As students share, the adult facilitating the conversation would write down all of the languages represented by students and their families. Those lists can be proudly displayed and totaled up. Glenview District 34 placed signs on all of their classroom doors that boasted their total number of languages! To try this in your setting, feel free to use one of our templates. Elevating the Status of Other Languages in your Common Areas While English is many times the language of instruction, there is something wrong with publicly declaring that you value diversity without representing your linguistically diverse students and families. There are things that we can do to elevate the status of other languages in terms of their presence in our schools. Here are some Do’s and Don’ts from my blog Innovative EL: 1. Walk around your school and see what you notice. Take a language inventory. Share with your school leadership team and suggest some changes. Most people are completely unaware of what their school's appearance can share the school's values. 2. Gather data about your school's linguistic diversity. Ask your administrator or EL teacher about what language groups are in your school. Ask the students you serve about their linguistic assets. 3. Go on Amazon or your favorite retailer and search for signs, posters, decor, etc. in other languages. Hang signs, posters, and decor throughout the school. 4. If you speak a language other than English, try to speak it in front of the students you serve. If several teachers speak a language other than English, try to use that language in social contexts (passing in the hallways, stopping for a quick conversation, etc.). When children see that teachers use a language other than English, especially for social conversations, the status of that language is instantly raised. 5. As you get to know your students and their families, look for language liaisons in your classroom, school, or community. Check with your local community colleges, libraries, and public service agencies. These liaisons can help students to create their own posters, signs, ads for school events, school calendars, etc. 1. Don't cluster all of your linguistically diverse posters/signs in one spot (for example: on the wall outside of the EL classroom). This sends the message that this tiny corner of the school is the "Diversity Corner." In all other parts of the school, this isn't something that is valued. 2. Don't make a noticeable difference between your signs/posters among language populations. For example, if you have a professionally-made framed sign for the cafeteria, don't tape an index card underneath it in another language. Which language LOOKS more valuable to students, teachers, and parents? Also, be careful not to always place the English sign on top of the other language. Again—which language LOOKS more valuable? If English is always on top, what message does that send? 3. Don't prohibit languages other than English to be used socially in classrooms, cafeterias, the bus, etc. Not only is this a terrible sentiment rooted in racism, but it is also a violation of a student's civil rights. It also breeds intolerance, fear, and a general disdain for linguistically diverse students and populations. 4. Don't assess this just once each school year. There should be an ongoing status-check of how a school is doing in its effort to elevate the status of other languages. Perhaps one member of the school's leadership team can be charged with reporting to the team each month and sharing with the rest of the building: What are our celebrations? Which teachers have demonstrated great examples of elevating other languages this month? NOTE: Don't make this the job of the EL teacher. ALL ADULTS in the building should care about lifting up ALL STUDENTS. 5. Don't force this by creating inauthentic examples of language elevation. See how your teachers can infuse their instruction with linguistic opportunities, such as through a cognate wall (on a wall or virtually), etc. Inviting Languages In Educators must explicitly invite the native language into the learning space—it will not happen on its own. Here are some initial thoughts and considerations for teachers: *Student reflections: If students are recording reflection videos on any topic (through the use of a device like an iPad or Chromebook), provide students with the option of reflecting in whatever language they choose. If students are reflecting in writing and they have literacy skills in another language, invite students to write in the language of their choice. *Discussion partners/groups: If there are students in a classroom who share a common language, invite them to discuss the prompts/activities in the language of their choice. Oral language opportunities are beneficial for all of our students—no matter what language in which they are engaging! “But how will I know that the students are staying on task and not talking about something else- or worse, what if they’re talking about me?” Fear not- and trust your students. By demonstrating that you trust your students, you invite others to trust them as well. Don’t be fearful of not understanding everything. After all, how many of our students are experiencing this in our classrooms all day long? Trust me; we can handle it! *Match the purpose with the audience: If students are designing a project or assignment that they are eventually presenting to parents who speak a language other than English, invite the students to design the presentation in the preferred language of their family. The learning will be more meaningful and the parents will be better informed about what the students are learning. In conclusion, it is every adult’s responsibility to do this work—no matter how many languages we speak or the number of multilingual students we have on our class lists. We must continue to push back against the fearful (and hateful) rhetoric being spewed about our students and families. Honoring the identities of those we serve is critical and we all need each other to engage in this work!

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See & Discover 34 List of Prompts for Grades 1, 2, 3, 4, and 5 — Journaling is a powerful activity for students and adults of all ages, but it is especially effective for young students who are still learning how to write and clearly articulate their thoughts and feelings on the page. When students write and reflect daily, they improve their critical thinking skills, become better at presenting facts in a logical manner, and feel more comfortable expressing their own ideas. These themed writing prompts for 1st grade to 5th grade students are all centered around the ideas of identity and personality. Young students typically enjoy writing more when they get to write about a topic they know well—so in these all-new prompts, your students will write about themselves! As they describe their families, share their secret talents, and recall their earliest memories, students will have the chance to practice writing, storytelling, and critical thinking. Best of all, they’ll also enjoy the opportunity to share their own personality in their schoolwork! Use these themed journal prompts for kids in first, second, third, fourth, and fifth grade to help your students learn how to better understand, process, and articulate their thoughts and ideas! List of Prompts 34 Ideas Themed around Identity and Personality for 1st – 5th Graders - Why does your name suit you? - Describe your family. Who do you live with? Do you have any pets? Who is in your extended family? - What is the most fun thing you’ve done this week? What did you like about it? - What is the nicest thing you’ve ever done for someone else? How did their reaction make you feel? - What do you like to do when you spend time with your family? - Do your parents give you an allowance? Why or why not? - What would the perfect birthday look like? Describe your ideal cake, party, and presents. - Would you rather go to a friend’s house or have a friend over to your house? Why? - If you could have any one quality that your best friend has, what would you choose? Why? - Write about a time when you made one of your friends laugh. What did you do? How did you feel seeing him or her smile? - What is a secret talent you have that no one else knows about? - Describe your house. What does it look like? What is your favorite room? - What do your parents do for a living? Would you ever like to do their jobs? Why or why not? - Make a list of five words that describe your personality. Then, write about why you chose each word. - What is your favorite hobby? Why do you like it? - Would you rather go play outside or inside—and why? - What is your favorite thing about going to school each day? What do you like about it? - Would you rather stay at school longer each day and have no homework, or get out early and have more homework? Why? - What is the best thing to do at recess? Who do you like to play with the most at recess? - Write about something you can do really well. Where did you learn how to do that thing? - What is your earliest memory? Try to describe it using your five senses. - What is your favorite story? Why do you like it? Who first shared the story with you? - If you had to become an animal for a week, which would you choose? Why? - Would you rather travel somewhere by bike, car, train, plane, or boat? Why? - What is your favorite toy? Why is it special to you? - What would your dream school look like? What classes would the school offer? - Is there anything you consider to be “lucky”? What is it—and why do you think it brings you luck? - Make a list of 10 things that describe who you are and what you like to do. Then, share your list with the rest of the class anonymously and have everyone try to guess which list belongs to who. - What is your favorite food? Do you ever get tired of eating it? Why or why not? - What is the best thing about being in _____ grade—and why? - Would you rather be a kid, a teenager, or an adult? Why? - Would you rather play a video game, read a book, or go swimming? Why? - How did you get your nickname? If you don’t have a nickname, what would be a good nickname for you? Why? - Write about a person or thing that always makes you laugh—and describe why you like that person or thing so much. More List of Prompts for Grade 1 to 5 Kids - K-12 Writing Ideas - Prompts List for Kids by Kids! - 15 Writing Prompts about School - 25 Ways to Get Kids Writing Until next time, write on… If you enjoyed these Writing Prompts for Grades 1 through 5, please share them on Facebook, Twitter, and/or Pinterest. I appreciate it! creator and curator 1 thought on “List of Prompts for 1 -5 Graders” Ooohhhh… Penny… it is feedback such as yours that just warms my heart beyond measure! Thank you for sharing with me. Write on, Lily!! Ever so kindly, Jill Comments are closed.

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Online Undergraduate-Level Course Lyric Writing: Writing From the Title Authored by Pat Pattison Course Code: OSONG-221 Lyric Writing: Writing From the Title will teach you how the professionals approach the construction of songs: by writing from a central idea (the title). Starting with a powerful and effective song title, you'll learn to build complete lyrics from that title, explore how to set the title to the appropriate rhythm and tempo, and to place that title in the song's different sections to create the most powerful impact. Through this approach, you will learn different ways to brainstorm ideas, work with a variety of lyric writing elements, and develop effective tools to create an emotional connection with your listeners. By the end of this course, you will: - Find and develop a title - Understand what a title is and its function in the song - Identify rhythm, pitch and tempo of a title - Recognize and use different rhyming types - Develop verses and understand the functions of various song sections - Identify contrasting sections and rhythms - Complete a polished lyric Lesson 1: What Is a Title? - Understanding the Use of Titles in Songs Versus Poems - Understanding the Function of a Title in a Lyric - Identifying Two Types of Song Titles Lesson 2: Finding a Title - Understanding the Title as the Central Concept of the Song - Developing Strategies for Finding Titles Lesson 3: Developing a Title - Identifying Titles That Can Be Recolored by Repetition - Sketching Out Possible Sectional Development for a Title Lesson 4: Rhythm and Pitch of the Title - Identifying the Stressed Syllables of a Title - Identifying the Pitches of a Title Lesson 5: Tempo as a Brainstorming Tool - Preserving the Natural Shape of a Title - Setting a Title Rhythmically Against a Pulse - Extracting Various Meanings from the Same Title by Brainstorming Against Various Tempos Lesson 6: Developing Your Title Motivically - Deciding Where to Place a Title - Developing a Title's Motive by Using Various Developmental Techniques Lesson 7: Creating a Rhythmic Template - Creating a Section Based on a Title's Rhythm - Applying Developmental Techniques to Create Your Section Lesson 8: Brainstorming with Rhyme - Identifying and Finding the Various Rhyme Types - Recognizing the Vowel Sounds of the Stressed Syllables in a Title - Using Your Rhyming Dictionary as a Brainstorming Tool Lesson 9: Verse Development Techniques - Planning Your Verse Development - Approaching Central Sections of Songs More Effectively - Applying Your Recoloring Skills to One of Your Own Titles Lesson 10: Song Forms - Understanding the Functions of the Various Kinds of Song Sections - Recognizing Basic Song Forms - Sketching Lyric Outlines Lesson 11: Contrasting Sections - Rhyme Schemes as a Contrasting Device - Number of Syllables/Notes as a Contrasting Device - Line Length as a Contrasting Device - Note Values as a Contrasting Device - Position in the Bar as a Contrasting Device - Variations or Pieces of a Motive as a Rhythmic Contrasting Device Lesson 12: Putting It All Together - Applying the Course's Techniques to Finish Your Lyric - Improving Your Critical Skills by Helping Others to Polish Their Work Prerequisites and Course-Specific Requirements This course does not have any prerequisites. - Writing Better Lyrics (2nd Edition) by Pat Pattison, Writer's Digest Books - Songwriting: Essential Guide to Lyric Form and Structure by Pat Pattison, Berklee Press/Hal Leonard - Songwriting: Essential Guide to Rhyming (2nd Edition) by Pat Pattison, Berklee Press/Hal Leonard - The Complete Rhyming Dictionary by Clement Wood, Dell Publishing A basic audio recording tool that will allow you to record yourself and save the recording in MP3 format. You will have a tool to use for this purpose inside the learning environment. Alternatively, you can use software like Audacity (PC) or GarageBand (Mac) - A built-in microphone or an external microphone plugged directly into your computer (via built in ports or an external audio interface) After enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Student Deals page also features several discounts you can take advantage of as a current student. Please contact firstname.lastname@example.org for any questions. General Course Requirements Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. - Latest version of Google Chrome - Zoom meeting software - Speakers or headphones - External or internal microphone - Broadband Internet connection Pat Pattison is a professor at Berklee College of Music, where he teaches lyric writing and poetry. In addition to his four books, Songwriting Without Boundaries (Penguin/Random House), Writing Better Lyrics, 2nd Edition (Penguin/Random House), The Essential Guide to Lyric Form and Structure (Hal Leonard), and The Essential Guide to Rhyming (Hal Leonard), Pat has developed several online courses for Berklee Online. He has written more than 50 articles for various blogs and magazines, including American Songwriter, and has chapters in both The Poetics of American Song Lyrics (University Press of Mississippi) and The Handbook on Creative Writing (Edinburgh University Press). Pat continues to present songwriting clinics across the US, Canada, Australia, New Zealand, and Europe. His students include Grammy-winners, professional songwriters, and major recording artists, including Gillian Welch, John Mayer, Tom Hambridge, Joelle James, Karmin, American Authors, Ingrid Andress, Liz Longley, Charlie Worsham, Greg Becker, Justin Tranter, and many more. For Berklee Online, Pat has authored the following courses: Lyric Writing: Writing From the Title, Lyric Writing: Writing Lyrics to Music, Lyric Writing: Tools and Strategies, Creative Writing: Poetry, and Creative Writing: Finding Your Voice. He also co-authored the graduate course Songwriting Tools and Techniques. Read Less Andrea Stolpe is a multiplatinum songwriter, performing artist, and educator. She has worked as a staff writer for EMI, Almo-Irving, and Universal Music Publishing. Her songs have been recorded by artists including Faith Hill, Jimmy Wayne, Julianne Hough, and others. Andrea is the author and instructor of the course Commercial Songwriting Techniques, part of Berklee Online's songwriting program. Her books, Popular Lyric Writing: 10 Steps to Effective Storytelling, and Beginning Songwriting, describe how to apply a unique process for uniting our artistic voice with the commercial market. Andrea lives in Los Angeles, and continues to serve as a guest clinician for music organizations around the world. Read Less Cassandra is a singer, educator, writer and performer based in Sydney, Australia. Having graduated Summa Cum Laude from Berklee College of Music with a Bachelor of Music in Songwriting and Music Production, she currently lectures in the Music Department at JMC Academy Sydney as well as mentoring artists and teaching voice. Cassandra is the vocalist and co-songwriter for an indie folk duo, sagas, and is currently writing a book on vocal technique. As an educator, Cassandra is passionate about supporting students while they hone their craft, using tools and techniques to form strong emotional connections with their audiences through song, and amplify their artistry. She is keen to instill her love of creativity and songwriting in her students. Read Less When taken for credit, Lyric Writing: Writing From the Title can be applied towards these associated programs: Associated Certificate Programs Associated Degree Majors Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at email@example.com.

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The idea of multiple intelligences leads to new ways of thinking about students who have special gifts and talents. Traditionally, the term gifted referred only to students with unusually high verbal skills. Their skills were demonstrated especially well, for example, on standardized tests of general ability or of school achievement. More recently, however, the meaning of gifted has broadened to include unusual talents in a range of activities, such as music, creative writing, or the arts (G. Davis & Rimm, 2004). To indicate the change, educators often use the dual term gifted and talented. Qualities of the gifted and talented What are students who are gifted and talented like? Generally they show some combination of the following qualities: - They learn more quickly and independently than most students their own age. - They often have well-developed vocabulary, as well as advanced reading and writing skills. - They are very motivated, especially on tasks that are challenging or difficult. - They hold themselves to higher than usual standards of achievement. Contrary to a common impression, students who are gifted or talented are not necessarily awkward socially, less healthy, or narrow in their interests—in fact, quite the contrary (Steiner & Carr, 2003). They also come from all economic and cultural groups. Ironically, in spite of their obvious strengths as learners, such students often languish in school unless teachers can provide them with more than the challenges of the usual curriculum. A kindergarten child who is precociously advanced in reading, for example, may make little further progress at reading if her teachers do not recognize and develop her skill; her talent may effectively disappear from view as her peers gradually catch up to her initial level. Without accommodation to their unusual level of skill or knowledge, students who are gifted or talented can become bored by school, and eventually the boredom can even turn into behavior problems. Partly for these reasons, students who are gifted or talented have sometimes been regarded as the responsibility of special education, along with students with other sorts of disabilities. Often their needs are discussed, for example, in textbooks about special education, alongside discussions of students with intellectual disabilities, physical impairments, or major behavior disorders (Friend, 2008). There is some logic to this way of thinking about their needs; after all, they are quite exceptional, and they do require modifications of the usual school programs in order to reach their full potential. But it is also misleading to ignore obvious differences between exceptional giftedness and exceptional disabilities of other kinds. The key difference is in students’ potential. By definition, students with gifts or talents are capable of creative, committed work at levels that often approach talented adults. Other students—including students with disabilities—may reach these levels, but not as soon and not as frequently. Many educators therefore think of the gifted and talented not as examples of students with disabilities, but as examples of diversity. As such they are not so much the responsibility of special education specialists, as the responsibility of all teachers to differentiate their instruction. Supporting students who are gifted and talented Supporting the gifted and talented usually involves a mixture of acceleration and enrichment of the usual curriculum (Schiever & Maker, 2003). Acceleration involves either a child’s skipping a grade, or else the teacher’s redesigning the curriculum within a particular grade or classroom so that more material is covered faster. Either strategy works, but only up to a point: children who have skipped a grade usually function well in the higher grade, both academically and socially. Unfortunately skipping grades cannot happen repeatedly unless teacher, parents, and the students themselves are prepared to live with large age and maturity differences within single classrooms. In itself, too, there is no guarantee that instruction in the new, higher-grade classroom will be any more stimulating than it was in the former, lower-grade classroom. Redesigning the curriculum is also beneficial to the student, but impractical to do on a widespread basis; even if teachers had the time to redesign their programs, many non-gifted students would be left behind as a result. Enrichment involves providing additional or different instruction added on to the usual curriculum goals and activities. Instead of books at more advanced reading levels, for example, a student might read a wider variety of types of literature at the student’s current reading level, or try writing additional types of literature himself. Instead of moving ahead to more difficult kinds of math programs, the student might work on unusual logic problems not assigned to the rest of the class. Like acceleration, enrichment works well up to a point. Enrichment curricula exist to help classroom teachers working with gifted students (and save teachers the time and work of creating enrichment materials themselves). Since enrichment is not part of the normal, officially sanctioned curriculum, however, there is a risk that it will be perceived as busywork rather than as intellectual stimulation, particularly if the teacher herself is not familiar with the enrichment material or is otherwise unable to involve herself in the material fully. Obviously acceleration and enrichment can sometimes be combined. A student can skip a grade and also be introduced to interesting “extra” material at the new grade level. A teacher can move a student to the next unit of study faster than she moves the rest of the class, while at the same time offering additional activities not related to the unit of study directly. For a teacher with a student who is gifted or talented, however, the real challenge is not simply to choose between acceleration and enrichment, but to observe the student, get to know him or her as a unique individual, and offer activities and supports based on that knowledge. This is essentially the challenge of differentiating instruction, something needed not just by the gifted and talented, but by students of all sorts. As you might suspect, differentiating instruction poses challenges about managing instruction. Davis, G. & Rimm, S. (2004). Education of the gifted and talented, 5th edition. Boston: Allyn & Bacon. Friend, M. (2007). Special education: Contemporary perspectives for school professionals, 2nd edition. Boston: Allyn & Bacon. Schiever, S. & Maker, C. (2003). New directions in enrichment and acceleration. In N. Colangelo & G. Davis (Eds.), Handbook fo gifted education, 3rd edition (pp. 163–173). Boston: Allyn & Bacon. Steiner, H. & Carr, M. (2003). Cognitive development in gifted children: Toward a more precise understanding of emerging differences in intelligence. Educational Psychology Review, 15, 215–246.

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In the past two decades there have been some amazing scientific breakthroughs in understanding how the brain works. Advances in technology have enabled scientists to see and isolate what physically happens in the brain at the cellular level when new tasks or problems are addressed. And here’s what they found: The more people learn and the faster people learn, the more the neurotransmitters in the brain strengthen and grow. New connections form and the neurons transmit faster and more accurately. This is not supposition by scientists. New imaging techniques have enabled scientists to track each of the 85+ billion neurons in the brain and the trillions of connections they make. The results have been surprising. Instead of the brain being “static,” as scientists previously thought, they now know we can actually “build” brains. This has huge implications for learning and education. In the past, we only thought we could “fill up” a brain. We could teach it about things and have it experience things, but the capacity of the brain would remain the same through it all. We thought the brain was simply a genetic gift we were either stuck with or blessed with. Now we know the brain is like a muscle that can be physically increased and strengthened with exercise. People learn to learn by learning. They learn to think by thinking. The more complex and stimulating the learning, the more the brain changes and adapts to handle even more complex learning in the future. The entire process is not all that different from building muscles by lifting weights. It really doesn’t matter what you lift—bar bells, sand bags, canned vegetables–because the benefits are derived from the exercise itself. The same is true for brain building. It’s not the content of the learning that matters, but the nature and intensity of the workout. What does this mean for homeschool teachers? First, we should not spend 13 years of our children’s lives entirely focused on transferring content from books and curriculums to the brains of our children. We will literally put our children’s brains to sleep by slowing down the neural activity. Instead, we should challenge them daily with new and complex activities that stimulate their minds and, ultimately, lead to new brain development. Sound hard? Not really. There are thousands of activities and pursuits that build brain activity better that traditional school lessons. Just look for activities and tasks that require the brain to: - Process new information - Analyze and evaluate information - Apply learning to new situations - Make decisions quickly Some formal school lessons can touch the tip of the iceberg when it comes to building brainpower, but it takes more complex activity than just “studying” to really boost brain function. Here are some of my favorites: 1. Organized Sports Organized sports build the brain because they require players to constantly be incorporating new information into old to make rapid-fire decisions about how to play a game. Competition and team-based elements escalate learning. 2. Playground and Lawn Games (Unorganized Sports) Games like tag, hide-go-seek and other recreational sports aren’t as good as team sports because they are less complex and are typically played at a much slower pace. But they are still good mental workouts. 3. Music Creation Creating music requires mental and physical dexterity and boosts many specific brain functions, including attention, decoding, recognition of patterns, creativity, visual discrimination, auditory processing, and memory. The cognitive benefits of playing a musical instrument have often been studied and the results can be found here. Listening to music also has cognitive benefits, but not as many as creating it. 4. Card Games Card games teach more than just math skills. They boost brainpower as players consider strategy based on how the game unfolds from one moment to the next. Card players must make a new decision each time a card is played in a game. Good card players actually play several games at the same time because they understand and consider what other players are thinking and doing throughout the game. 5. Strategy Board Games These hold similar cognitive benefits as card games. Among the best? Dominos, Chess, Checkers, Risk, Mastermind, Scrabble, Backgammon, Settlers of Catan, Axis and Allies, the list goes on and on. 6. Video and Computer Games (Strategy and Simulation) Don’t let popular sentiment about computer games sway you. Most carry some cognitive benefits and many carry a lot. Strategy and simulation games are the best. Check out their cognitive benefits here. 7. Video and Computer Games (Brain Building) The full cognitive benefits of these are debated, but most studies are showing at least some considerable benefits from playing computer-based games that exercise specific brain functions. The popular web site Lumosity currently has 60 million users, including myself. Based on my own experience, these games are beneficial. But the benefits are limited by very defined objectives and lack of broad-based thinking required. Schools destroy the cognitive benefits of reading by requiring students to answer questions about what they have read when they finish. Smart kids quickly figure out they need to isolate pieces of information and notate possible test answers when they read, rather than engage in the open-ended, creative process of embracing a complex story as it unfolds. When people read for pleasure, they explore and interact with the story, developing new ideas as they go along and predicting the outcomes as the details of the plot are unearthed. This is higher order thinking that builds the brain. Read more about the cognitive benefits of reading for pleasure here. 9. Watching Video, Television, and Film Similar to the benefits of reading, stories played out on the small and large screen stimulate brain interaction with the plot and characters. Obviously, complex and sophisticated video stories require much more brain function than others. Keep in mind; some shows require so little brain function they may be of no cognitive benefit at all. Also, compared side by side with reading, visual media is typically not as beneficial. Readers have the advantage of being able to slow the story down in order to explore and interact more with the characters and plot. They also must use more creativity to fill in all the visual details of the printed story. 10. Telling or Writing Stories Communicating a story, event or an idea takes a lot of brainpower. An experience must be recalled or created. It must then be ordered and organized in a manner that makes sense. Finally, it much be delivered with impact. Encourage children to write and tell stories. The more creative the better. Today, there are many ways to tell stories–journaling, letter writing, email, creative writing, blogging, videos, or the old-fashioned way, which is sharing with family around a dinner table. Any art activity that encourages people to be creative has cognitive benefits. The more open-ended and creative the project, the better. But even coloring books build brains because they require attention, discrimination, and a modicum of creativity. 12. Creative Play Playtime can be the most important, brain-building time of the day. Any play that involves moving, thinking, creating, imagining, and/or the five senses is superb. Think cowboys and Indians, princesses and action heroes! Avoid toys. 13. Performing Arts Drama, dance, vocal music, and other performing arts are all wonderful platforms for building brain function. As I look through this list of 13 activities two thoughts and two questions come to mind. First, these are activities that most children would classify as fun. So why frustrate children with boring school lessons and homework when they can be engaging in activities that not only are more fun, but also build the brain better anyway? Second, for most children, even homeschoolers, these 13 activities are typically done AFTER school. It seems a shame to keep children at the kitchen table all day “doing school” and then hoping they’re not too tired later to participate in the activities that would teach and build their brains far more. Maybe homeschool parents should pencil into their schedules the activities listed here FIRST, and then do traditional school lessons in the time they have left over? Until next time…Be fearless. One thought on “Thirteen Splendid Activities to Build the Brain (Homeschooling in a Virtual Age Part 4)” How about meditation? Amazing for the brain.

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Submitted by: Christina Maxwell and Christopher Sonn Using visual and creative methods, we can engage people in thinking about social justice and their place and responsibilities within it. Art can be an engaging way to encourage people with privilege to work towards social justice. Critical thinking and engagement with art is needed. Privilege is a social or structural advantage or benefit that society gives to some people and not others. Those who benefit from privilege are often blinded to the fact that their privileges may be unearned and unjust. Verbal conversations about privilege can be met with anger, guilt, and resistance. This research supports using visual and creative methods to engage people in thinking about social justice and their place and responsibilities within it. Political art can educate, evoke emotions, expose relationships of unequal power, and remind people that working towards social change involves a lifelong commitment. In a time when the value of community arts is questioned, this research provides evidence that the cultural and political impacts of socially engaged art should not be underestimated by funding bodies and government organizations. “A focus on advantaged groups is necessary as the dismantling of racism and other forms of systemic injustice requires those in privilege to actively be involved in critical thinking and depowering processes.” We studied how white Australian audiences were impacted by a political theatre performance. The performance consisted of different types of art forms (such poetry, dance, music, and quotations) to illustrate the past and present experiences of Africans in Melbourne, Victoria. How Did A Community Psychology Perspective Inform Your Work? The performance investigated in the current research presented holistic and strengths-based depictions of Africans in Australia. This directly challenged some of the existing stereotypes of this community. White attendees were able to compare and contrast their own biases against these new narratives to consider or incorporate a more balanced perspective. Similarly, these attendees were observed to position themselves and these narratives within larger contexts and settings, connecting individual stories of discrimination or privilege to national level policies. Surveys were given out to interested audience attendees after the performance over three different sessions. The survey consisted of 15 questions and asked demographic information and reactions to the performance. Only the responses of the attendees who indicated on the survey that they identified as white were included in the current research. - Survey responses provided evidence that attendees were reflecting on their own white privilege and their biased pre-conceptions of Africans in Australia. - Political theatre can encourage audiences to examine and question their privilege and power. - Artistic methods that accompany messages can help draw people into a narrative so that they can listen with intention. What Does This Mean For? Practice: The community arts have a role to play in working towards social change and should not be undervalued. We need now to understand how to attract potential attendees to benefit from these performances. Social Action: Groups with historical and continuing privilege need to take responsibility and action for their part in upholding social injustices. The political arts are one way in which these groups may start or continue a lifelong dialogue with their privilege. Original Citation: Maxwell, C. & Sonn, C. (2020). The Performative is Political: Using Counter‐Storytelling through Theater to Create Spaces for Implicated Witnessing. The American Journal of Community Psychology. Early View. https://doi/10.1002/ajcp.12493

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Perspective - (2022) Volume 10, Issue 3 Received: 19-Aug-2022, Manuscript No. FLPSA-22-77951; Editor assigned: 23-Aug-2022, Pre QC No. FLPSA-22-77951(PQ); Reviewed: 12-Sep-2022, QC No. FLPSA-22-77951; Revised: 20-Sep-2022, Manuscript No. FLPSA-22-77951(R); Published: 28-Sep-2022, DOI: 10.51268/2736-1861.22.10.069 African dance expresses similar sentiments not only for worship, but also for social communication. It is also used to instill virtues, values, and even social etiquette lessons, and to help individuals mature and celebrate. There is a common reason why dancing is so important. It is an experience that takes us beyond the material into the immaterial; it is just a way of expressing ourselves when words are not enough. By getting confidence in the midst of hardships and difficulties, the energetic fire of childhood, and the serenity of calm and peaceful years. We call it as cultural or social dances in Africa are movements that embody our cultural values and standards. There is a story, and it's not just about learning different types of moves. One dance move tells a story that is how one culture tells another culture and tells its way of life. African dance is linked to Africa's rich musical traditions expressed in African music. African dance has a unity of aesthetics and logic that is evident even in the dances of the African diaspora. To understand this logic, it is important to delve deeply into the common elements of dances from various cultures, from East to West Africa, North Africa to South Africa. Africa covers about one-fifth of the earth's land area and about one-eighth of its population. Africa is divided into various independent countries and protectorates. Africans belong to multiple ethnic groups and come from many cultural backgrounds with rich and diverse ancestry. There are over 800 ethnic groups in Africa, each with their own language, religion and way of life. Traditional African dance Traditional African dance is an important element of Africa's cultural heritage, a vivid expression of the region's philosophy and a vivid reminder of the richness and development of its culture over the centuries. More powerful than gestures, more eloquent than words, richer than letters, expressing people's deepest experiences, dance is a complete and unique language.It is an expression of life and joy. In recent years, several regional modern dance companies have been rich in innovation and links to the past. The definition of dance has been expanded to include urban black dance forms of breakdance and hip-hop known for their artistry and expressiveness. All-female companies like Urban Bush Women formed, and a company dedicated exclusively to hip-hop dance, Pure Movement Dance Company. Tap dancing has found a new audience. Tap dancers who once danced in relative darkness are also recognized and encouraged. They reveal the legacy of women challenging male tap dancers step by step. Created and performed by African Americans, the dance has become a staple of American dance. Contemporary dance companies founded by black tour nationally and internationally. Traditional African dances are part of the life of African communities. Westernization has gradually influenced dance traditions, but most communities still practice various styles of tribal dances. In African communities, traditional African dances are mainly Used as a tribal unifying element, it is primarily used for gatherings, storytelling sessions, and entertainment. Dance styles are usually different and passed down from generation to generation. Below are some of the surprising and fun facts about African dance, but before we do, let's take a look at its history.

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Discuss the contribution of Victorian women novelists to the development of the English novel. Women writers and female characters had been part of novel-writing since the time of Aphra Behn, and it is commonplace that women were the main readers of the genre in the eighteenth century. After Sir Walter Scott made the novel popular worldwide, it was, for two decades, seen largely as a men’s genre. Women writers were expected to write the kinds of the novel which George Eliot was to condemn in an essay as “silly novels by lady novelists” – the sub-genres of romance, fantasy, and sensation. But several of the major figures of the Victorian novel are women, and the heroines they created began to throw off the victim’s roles that male authors had created. It is a fact that the great tradition of novel writing was set up by Fanny Burney in imitation of the classical masters of the English novels like Richardson and Fielding. The tradition was continued honestly by Mrs. Radcliffe in Gothic romances and Mrs. Mitford in her science-fiction. There were also some other prominent women novel-writers quite popular in their time, such as Mrs. George, Mrs. Trollope. In fact, with Miss Austen the tradition of novel writing by women is found finally established and was continued with equal warmth and zeal, with a high degree of standard and popularity in the Victorian age by the Bronte sisters, “the pioneers in the fiction of that aspect of the human soul” as opined by Edward Albert. Apart from them, Mrs. Gaskell and George Eliot marked historical advancement in the amplitude of situation, range of theme, character portrayal, and humor in Victorian fictional literature. The Bronte sisters, Charlotte, Emily, and Anne are distinctly romantic in temperament, exploring in their novels extremes of passion and violence. Charlotte Bronte: Charlotte is noted for four significant novels – Jane Eyre, Shirley, Villette, and The drive Professor. Her novels, all of them, are found impelled with her personal experiences of life which were hardly pleasing to her. Besides intense subjective strain, Charlotte’s novels contain other features such as impulsiveness and a note of revolt against patriarchy. She is deemed to be the first woman novelist to show human impulsiveness and write of life from the woman’s point of view. She strikes a revolutionary sentiment for women against the conventional order, of pioneering the novel of emancipation of the repressed womanhood In Jane Eyre, Charlotte Bronte sends out a signal that ordinary women can experience deep love and begin to take responsibility for their own lives. The second Bronte sister. Emily Bronte wrote less than Charlotte, but was in some ways, the greatest of the three sisters. Her one novel Wuthering Heights is unique in English literature. It is a novel that contains a degree of emotional force and sophisticated narrative structure, not seen previously in the history of the English. literature. It moves in a tragic circle from relative peace and harmony to violence. destruction and intense suffering, and finally back into peace and harmony again. It is a tare piece of fictional artistry and is an unsurpassable work for its grace of lyrical poetry and magical sublimity. “Emily had attained”, as Samuel C. Chew observes. “the mystical experience in its entirety” in that singular achievement. The youngest of the Bronte sisters, Anne is less known. Her qualities as a novelist have been much underrated because she shows less vehemence in her approach than her prominent sisters. Yet her Agnes Grey is a moving personal record and reveals the power of observation. In the works of George Eliot, the English novel reached new depths of social and philosophical concern and moral commitment. For some twentieth-century critics, Virginia Woolf and F.R. Leavis among them, her writings are seen to have brought the novel to new heights of maturity. She shares with the greatest European writers of her century Balzac, Flaubert, Dostoevsky and Tolstoy a concern for her characters vulnerability and weakness in the face of ‘progress and the moral imperatives of duty and humanity. Her works include Adam Bede, The Mill on the Floss, Romola and Middlemarch, Eliot has a great importance in the history of English fiction for her interest in psychological analysis of the inner consciousness. According to David Cecil. “Her portraits are primarily portraits of the inner man.” Mrs. Gaskell stands apart from the Bronte sisters. In the words of David Cecil. “Her sense of humour and deep sympathy are obvious manifestations of her serenity.” Her novels are all marked by the objective view of the real world around them. Her first novel Mary Barton is a vivid presentation of the hard life of the workers under the exploitations of the industrial masters. But Gaskell is outstanding for her novel Ruth where she is concerned with moral problems and psychological complexity. All the Victorian women novelists contribute a lot to the enrichment of English fiction. Their works are as much the product of imagination and social observation as of the intellect. They are found to be deeply concerned with the primal feeling of womanhood and the inward workings of the human souls at large.

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For far too long, the ELA community treated reading and writing a bit like rival siblings. Everyone knew the two were related, but many believed they were better off taught separately. Curricula often focused on reading, while writing was cast aside as secondary, the Harry to reading’s William. Today, we know we had it wrong. The two literacies not only belong together but also get along splendidly when taught in tandem. Indeed, a recent report from Education Week renews the call to connect reading and writing instruction, beginning in the earliest grades. But what does this look like in practice? The following tips and activities can help you create a reading-writing connection in your classroom. How can I connect reading and writing? 1. Use the same terminology for writing and reading. When writing fiction, students should use the words of literary analysis: character, setting, plot, theme, and so forth. So, too, when reading nonfiction, students should use the traits of writing: ideas, organization, voice, word choice, sentence fluency, and conventions. By using a common vocabulary, you not only avoid confusion but also help students see themselves as writer-readers and reader-writers. 2. Use common graphic organizers. The graphic organizers that help students gather details during prewriting can also help them analyze details after reading. For example, if students use a Venn diagram to prepare to write a comparison-contrast essay, have them also use a Venn diagram to analyze a comparison-contrast essay. 3. Write the forms you are reading, and read the forms you are writing. Plan your reading and writing time to complement each other. If you are reading short stories, write short stories. If you are writing expository essays, read expository essays. Each activity deepens the other. 4. Use reading to demonstrate writing techniques. Use literature to show the traits, concepts, skills, and techniques students can use (or learn to use) when they write. For example, when you want students to learn how to create narrative tension, introduce excerpts from short stories that use this technique. Then lead a discussion of how the authors do what they do. When teaching about answering objections, select editorials that do just that and discuss how the answers strengthen the writers’ positions. 5. Use writing to improve reading comprehension. When students learn about literary techniques and then use them in writing, they internalize the concepts. So, if you want students to understand a literary technique such as foreshadowing, have them write a paragraph that uses foreshadowing. What activities enhance the connection? Activity 1: Spot the Text Structure Teaching about effective text structures is crucial both for reading and writing. Introduce the Read STOP Write method and the following activity to raise students’ awareness of common text structures. Activity 2: Reading as a Writer Close reading leads to good writing. By reading as a writer, students can discover strategies for their own writing. Have students work on this minilesson to focus on the decisions and techniques authors use to communicate. Activity 3: Which Draft Is Better? To develop new writing skills, students need something to emulate. You can have students read models of strong writing to explore new genres and prepare to write. You can even use models to help your students revise. For instance, have students complete “Which Draft Is Better?” to compare two models, choose a favorite, and apply features of their choice to their own writing. (The activity includes two sample models. Feel free to refill the columns with different readings of your choosing.) Activity 4: Modeling with the Masters You probably know that writing about reading improves comprehension. But did you also know that mentor texts can teach new strategies for writing? Have students reserve a space in a journal or notebook to record "mentor gems." Mentor gems are special words, sentences, passages, or techniques that stand out in books and mentor texts. As an activity, have students pick a mentor gem and model a particular skill from it, completing the "Sentence Models with the Masters" minilesson. The best integration of reading and writing in your classroom comes from you and your students. Programs can go only so far. They are repositories of models and assignments, but you and your students are the reader-writers and the writer-readers who bring the language-arts community to life.

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By Spy Uganda Martin Luther King Jr. Was one of the most influential figures of the 20th century, leading the Civil Rights Movement and fighting for racial equality and justice. His life and legacy continue to inspire and teach valuable lessons to the world today. As the world continues to remember and celebrates this great icon, here are 10 lessons we can all learn from his life and legacy: 1.The power of nonviolence King’s philosophy of nonviolence was central to his Civil Rights activism. He believed that peaceful protest and civil disobedience were the most effective ways to bring about change. His successful use of nonviolence as a means of social change serves as a reminder of the power of peaceful protest in creating lasting change. 2. The importance of education King understood the importance of education in fighting for civil rights. He himself was an educated man, holding degrees from Morehouse College, Crozer Theological Seminary, and Boston University. He believed that education was a powerful tool for empowering marginalized communities and breaking down barriers to equality. 3. The transformative power of love King’s message of love and unity was at the heart of his activism. He believed that love had the power to overcome hate and bring about social change. He famously said “Hate cannot drive out hate, only love can do that.” His message of love continues to inspire and guide many in their efforts to create a more just and equitable society. 4. The importance of coalition building King understood that the Civil Rights Movement could not be successful without building coalitions and partnerships with other groups and individuals. He brought together people of different races, religions, and backgrounds to work together towards a common goal. This legacy serves as a reminder of the importance of coalition building in creating lasting change. 5. The power of speaking up King was a powerful orator and his speeches continue to inspire and motivate people to this day. He used his platform and voice to speak up for those who were marginalized and oppressed. His speeches remind us of the power of speaking up and using our voices to create change. 6. The importance of perseverance King’s fight for Civil Rights was a long and difficult one. He faced many obstacles and setbacks, but he never gave up. His perseverance in the face of adversity serves as a reminder of the importance of staying the course and continuing to fight for what is right, even in the face of overwhelming odds. 7. The power of grassroots movements King understood that true change comes from the ground up. He organized and empowered ordinary people to take action and make change in their own communities. His legacy serves as a reminder of the power of grassroots movements and the importance of empowering individuals to take action. 8. The importance of empathy King believed that empathy was crucial in the fight for civil rights. He understood that true understanding and change come from being able to put ourselves in other people’s shoes and to feel what they feel. His legacy serves as a reminder of the importance of empathy in creating a more just and equitable society. 9. The power of storytelling King’s speeches and writings were powerful tools in his fight for civil rights. He used storytelling to connect with people, to make them understand the realities of discrimination and to inspire them to take action. His legacy serves as a reminder of the power of storytelling in creating change. 10. The importance of hope King believed that hope was essential in the fight for civil rights. He understood that people needed to believe that change was possible, in order to be motivated to take action. His legacy serves as a reminder of the importance of hope in creating a better future for all. Martin Luther King Jr.’s life and legacy continue to inspire and teach valuable lessons to the world today. His message of nonviolence, education, love, coalition building, speaking up, perseverance, grassroots movements, empathy, storytelling, and hope serve as a powerful reminder of the possibilities of change and the importance of working towards a more just and equitable society. By learning from his example and applying these lessons to our own lives, we can continue to strive for a world that is more equal and fair for all. He will always be remembered as one of the most important figures in the fight for civil rights and his message will continue to inspire generations to come.

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3 Important Lessons that Picture Books Can Teach All Students About ResilienceMarch 9, 2023 Today’s guest post is by Carolee Dean, M.S., CCC-SLP, CALT, author of Story Frames for Teaching Literacy: Enhancing Student Learning Though Storytelling Mental health is a growing concern for all students—and young people with learning disabilities often suffer from anxiety, depression, frustration, stress, and low self-esteem even more than their peers. These emotional factors complicate learning when students avoid tasks and have difficulty taking risks. Students who are resilient tend to have better outcomes in both their learning and social-emotional development. Can resilience be taught through stories? If so, what lessons do they offer? Almost all stories center on a character facing a problem or challenge and overcoming it. Someone reaching their goals against astronomical odds is part of what makes stories so exciting. Today’s blog post explores three picture books appropriate for all ages that are featured in Story Frames for Teaching Literacy: Enhancing Student Learning Though Storytelling. While this book focuses on using narratives to develop many core skills necessary for reading success (such as good oral language, vocabulary, grammar, syntax, and understanding of text structure), many of the titles were selected specifically because they also teach resilience. Read on to discover 3 important lessons that picture books can teach students about perseverance and determination. Lesson #1: Failure is an essential part of success. Six Dots: A Story of Young Louis Braille, written by Jen Bryant and illustrated by Boris Kulikov, tells the story of how Louis created the Braille writing system when he was a fifteen-year-old student living at the Royal School for the Blind in Paris. Many students will likely relate to Louis’s feelings of disappointment about not being able to read like his sighted peers and being picked on by the older boys. Louis leaves home at the age of ten to live at the School for the Blind, where he eventually began working on a code that he and his peers could use for reading and writing. One of the illustrations shows Louis surrounded by a sea of crumpled papers, evidence of his many failed attempts to create the code. This book reinforces the valuable lesson that risk-taking involves failing at least some of the time. It’s important for students to learn that failure and rejection are essential to discovery, invention, and success. Any professional author could talk about their early stories that didn’t quite work, or provide a long list of rejection letters that they received before finding a publisher for their book. Those who give up never experience success. Those who persevere in spite of failure and rejection are the ones who are remembered. True stories about people like Louis Braille, who persevered in order to improve his own life and the lives of others, teach this concept in a way that few things can. Lesson #2: Modeling kindness and perseverance can make a big difference. Thank You, Mr. Falker, written and illustrated by Patricia Polacco, is a personal account of the author’s early struggles with dyslexia and the teacher who helped her celebrate her artistic talent and find help for her learning challenges. In the book, Trisha hides in the stairwell at school in total despair as she tries desperately to avoid the bullies that call her stupid and humiliate her in front of her peers. Mr. Falker, Trisha’s teacher, helps her by modeling both kindness and perseverance. He doesn’t tell Trisha that “sticks and stones can break her bones, but names will never hurt her.” Students have a hard time believing that when they are the object of scorn and bullying! Instead, he empathizes with her feelings, stands up for her in class, and gives her personalized supports to help her succeed. As Trisha and Mr. Falker persevere together, she learns to read—and later goes on to a highly successful author and illustrator. From this book, both students and teachers can learn about the lifelong impact a person can have by modeling kindness and resilience. Sharing stories of our struggles the way Patricia Polacco has done can also help others. Many teens who have struggled in school help other students by sharing stories of both their challenges and successes through programs like Yes! Colorado. It empowers students twelve and older with dyslexia to become “ambassadors” who share information about dyslexia with the public and serve as role models for other young people with dyslexia. Lesson #3: People with disabilities can progress toward their goals and succeed in life if they are willing to work hard and they have the right supports. Emmanuel’s Dream: The True Story of Emmanuel Ofosu Yeboah, written by Laurie Ann Thompson and illustrated by Sean Qualls, starts with a baby in Ghana born with a disfigured leg. His father leaves the family because he believes his son is cursed, but his mother names him Emmanuel, which means “God is with us.” Emmanuel must hop on one leg two miles each way to get to school. He learns to balance on crutches so that he can play soccer, and his friends even teach him how to ride a bike. After his mother dies, he rides a bicycle 400 miles around Ghana to raise awareness about people with disabilities. Emmanuel is instrumental in helping to change the laws in Ghana to give people with disabilities more rights. There is something that happens when a person becomes determined to succeed. Once they get into motion, the momentum of their extreme effort sometimes carries them far beyond where they planned to go. People who stutter become actors, people with dyslexia become writers. Boys with one leg ride hundreds of miles on a bicycle. With the help of supportive people and environments, the very thing that was their greatest challenge can often become the seed of their greatest victory. And sometimes when those supports don’t exist, someone like Emmanuel goes out and raises awareness to ensure that people get the assistance they need to reach for their dreams. GET THE BOOK Find activities, lesson plans, writing templates, and more exploring these three titles and many others in Carolee Dean’s book, Story Frames for Teaching Literacy: Enhancing Student Learning through the Power of Storytelling. About the Guest Poster Carolee Dean, M.S., CCC-SLP, CALT is a speech-language pathologist, dyslexia therapist, an award-winning author of young adult fiction and the creator of Story Frames for Teaching Literacy. This year she is devoting her personal blog to exploring additional books for children about resilience—find out more here! Write a Comment Your email address will not be published. Required fields are marked * Post a Comment

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We all know that encouraging literacy in our children is important, but do you know why that is? Reading is a vital developmental steppingstone for every student. By learning how to read your child then has the tools for advanced comprehension among other skills. Long-term reading has advantages. Lifelong readers are more likely to be more creative, think critically in all situations, and are able to better prioritize their time. Keep reading to learn tips on how to turn your reluctant reader into a lifelong reader. Tip #1: Start Them Early Your student reader will not magically learn to love reading because you will it to be so. Habits like this take time to develop, and you need to start them on the right path for them to develop a love of reading. Start out by reading to your children often when they are young. This way they develop a taste for storytelling and will be more eager and engaged when it comes time to learning how to read on their own. Tip #2: Give Them Choices When picking out books from your local library or your home library, let your child pick what books they want to read. Keeping a child engaged in a story is so important to keep them reading, so that’s why if they show interest in a book you should jump on the opportunity to let them read it. If the book is beyond their literacy level, this is great opportunity for you to read with your child and turn each reading into a learning session. This is all about taking the time to explain definitions and meanings to your student reader in a way that feels less like school and more like fun facts about a topic that interests them! Tip #3: Supplement The Reading If your reluctant reader is stubborn in their pursuit not to enjoy reading you may need to supplement what they read with a fun activity or game. That’s admittedly a lot to ask out of a parent who has a lot on their plate. Ziptales can help with that! Ziptales is an online language arts website offering teaching and learning tools for students and teachers at all levels of the elementary school. Ziptales was created by teachers to enhance children’s reading and writing skills. We offer a ‘blended’ learning solution to the challenge of literacy. When children can read, the key task is to keep them motivated and excited by the desire to read. Ziptales is proven to make reading an enjoyable experience, and to raise skill levels! To learn more about what we do, visit www.ziptalesusa.com.

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In June we are reading Ruth, I & II Samuel, and I Chronicles. We will finish Judges and continue our journey into Pslams. Judges tells the story of the judges of Israel. In the Jewish canon Judges is the second book in the section known as “former prophets” and in the majority of Christian canons is the second historical book. The modern use of the word judges is associated with interpretations of the law, but in Judges the judges didn’t only deal with legal matters. The judges were also military leaders, religious leaders, and warriors. I know we are reading the Bible in chronological order, but please note that Judges isn’t written in chronological order. You’ll want to pay attention to what is going on in the narrative as you read. Ruth is the story of a Moabite widow who through either chance and luck or God’s providence (you decide) would become King David’s great-grandmother. Biblical scholars don’t know who wrote this text during the Second Temple Period. As we read Ruth we should look for the theme of redemption and pay attention to how the women are treated, not only by the men but also by other women. I & II Samuel I & II Samuel were originally one book named after the prophet Samuel. The text was divided in half when the Septuagint was created. The Septuagint is an early translation of the Hebrew scriptures into Greek. It wasn’t divided for theological purposes, but rather to make the book shorter. It’s often abbreviated LXX because it contains seventy books. For our discussion here, we will discuss them as one unit. Scholars are divided on when this text was written; It’s likely that it was edited over a period from the pre-exilic period through the post-exilic period. The storytelling in Samuel is extraordinary. As we read we should pay attention to the ways in which the stories are told. You’ll learn about Samuel and King David in these texts. I & II Chronicles Just like Samuel, I & II Samuel were one book. When Jerome created the Vulgate (Latin translation of the scriptures) he divided the text into two. Because we are only delving into I Chronicles this month this discussion focus on I Chronicles. I Chronicles begins with a very long list of chronology (don’t let it bog you down). Once we work our way through the complicated chronology we get to read about the reigns of David and Solomon (this narrative carries into II Chronicles). A note for reading about King David in Samuel and Chronicles, “As king, as husband, and as father, David has the potential for great success and for horrible failure. He fulfills these potentials. He is the faithful servant of God whose sin leads to rebellion and plague; the loving father who does nothing to avenge his daughter’s rape; and the strong king whose own son rebels against him. As the most well rounded person in the OT, David shows all the glory and tragedy of which people are capable.” (II Samuel Introduction by Carol Grizzard in The New Interpreter’s Study Bible, pg 440) Psalms is a collection of poetry that expresses the human condition in all of its holy messiness. There are Psalms of praise and lament. Some Psalms are written from a communal perspective, while others are written from an individual perspective. Some Psalms are peaceful and others contain violent images of God’s wrath. Psalms is unique in the canon because it is the only book we have that is composed solely of poetry/hymns. As we read through Psalms you’ll notice the word Selah. Scholars do not know how to translate this word and we don’t know what it means, but scholars posit that it is evidence that Psalms was used as a sort of hymnal. We will also come across the word shehol. Don’t confuse shehol with a Christian hell; Shehol was where all of the dead went. The authorship and dating of Psalms is tricky. Modern scholars are confident that David wrote few if any of the Psalms and that the order our canon has for Psalms was likely not put together until sometime in the first century CE. Below are a few questions to help guide you as you read. There are no right answers to any of these, they are here to help us reflect. Questions to Guide Us Throughout This Practice - What stood out to you in the readings? - What did you notice about God? - Did anything in the readings make you feel uncomfortable? - How does what you read impact your life and your faith? Questions to Guide us Through Psalms - What is the role of community in Psalms? - How do we use the Psalms in our community? - As we read through Psalms, think about which themes you resonate with. Why do you think you resonate with that theme? Questions to Guide Us Through Joshua - Did anything in Joshua make you feel uncomfortable? If so, why? - What parallels do you see between Moses and Joshua? - If you wrote an Exodus story when we read Exodus, did you add events that are in Joshua? If so, what did you include? Go back and revise your retelling if necessary. Questions to Guide Us Through Ruth - Do you relate to any of the characters in this text? - If you were Ruth would you have stayed with Naomi? - Do you think the women in this text are treated fairly? Why or why not? Questions to Guides Us Through Samuel - What is the role of government in Samuel? - What can we learn about our relationship with God from Samuel? - What can we learn about the human condition in Samuel? - Did you have a favorite story in Samuel? If you have a reading partner take some time to talk about your favorite stories. Questions to Guide Us Through I Chronicles - Compare the narrative of I Chronicles with that of Samuel? - What theological themes are present in this text? - What is the relationship between God and Israel in this text? How does the relationship between God and Israel develop throughout the text? Daily Reading and Podcast Links The hyperlink for the reading will take you to Bible Gateway*. The hyperlink “podcast” will take you to the podcast that matches the reading.** June 1|Reading | Podcast June 2|Reading | Podcast June 3|Reading | Podcast June 4 |Reading |Podcast June 5 |Reading | Podcast June 6 |Reading | Podcast June 7 |Reading | Podcast June 8 |Reading | Podcast June 9 |Reading | Podcast June 10|Reading | Podcast June 11|Reading | Podcast June 12|First Reading |Second Reading |Podcast June 13 |Reading | Podcast June 14|Reading |Podcast June 15 |Reading | Podcast June 16 |Reading | Podcast June 17 |Reading | Podcast June 18 |First Reading |Second Reading| Podcast June 19 |Reading | Podcast June 20 |Reading | Podcast June 21 |Reading | Podcast June 22 |Reading | Podcast June 23 |Reading | Podcast June 24 |Reading | Podcast June 25 |Reading | Podcast June 26 |Reading | Podcast June 27 |Reading | Podcast June 28 |Reading | Podcast June 29 |Reading | Podcast June 30 |First Reading |Second Reading|Podcast *Bible Gateway has updated to the Updated Edition of the NRSV. If you would like to use the old NRSV you can find it online at oremus. **The sign language videos have not been updated to include this month’s readings.

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In this interactive module, students will learn about the effects of marijuana on the developing brain and use this information to help them (and their friends!) make informed and responsible decisions when confronted with peer pressure to use marijuana underage. This resource supports and enhances educators’ implementation of the Ask, Listen, Learn: Breaking down the Myths of Marijuana Digital Exploration and helps connect the module to topics being taught in the classroom.Download Part eight of the Ask, Listen, Learn underage drinking prevention program addresses the effects of cannabis on the developing brain. It is important for kids to have the knowledge and tools they need to say “NO” to an array of risky behaviors. Students build decision-making skills by reflecting on the rippling effects caused by the decisions they’ve made recently. Using a “decision tree” and goal-setting activity, students will explore the distinction between split-second decisions and thoughtful decisions. Students consider what it means to be responsible throughout the constant changes we experience in life. A group collaboration activity lets students embrace responsibility by developing their own formula for making smart and healthy choices. Students will investigate the parts of the developing brain most affected by marijuana use. They will create an infographic that highlights how these developing brain parts function regularly and they will conclude by discussing the increased harm associated with adolescent marijuana use. In this activity, students will explore why and how marijuana and alcohol are more harmful for adolescents than for adults. They will then apply what they learn as they create a series of short and engaging video clips that explain the science behind these substances to teach their peers about why they are harmful for young people. Students will research the effects of marijuana and alcohol on the developing brain and body and will play a game that challenges them to apply what they have learned. They will ultimately consider how these substances could affect their ambitions, and they will caution their future selves about their effects. Students will delve into the recommendations for minimum age requirements for cannabis use and how these recommendations lead to legislation. They will then simulate the role of elected officials to discuss and debate another topic: the importance of health education in schools. Separate cannabis facts from fiction in this classroom activity that challenges students to explore the role of the endocannabinoid system and how its neurotransmitters are affected by THC, a chemical compound found in cannabis. Students will apply what they learn to draft a creative writing piece. Encourage student collaboration around the short-term and long-term effects of cannabis on the developing brain. This activity compels young learners to work together to develop refusal and exit strategies rooted in their research plus create an original slide video that shares these strategies with their peers.

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Public Speaking and the Performing Arts The Poetry Show – Students across all grade levels memorize great and enduring works of poetry, enabling the rich language and thought of master poets to be embedded into their hearts and minds. These poems are brought to life on stage in a yearly show in which students apply elements of vocal delivery and theater arts, drawing upon a range of fine arts experiences through the incorporation of props and costumes. By engaging in this process year after year, students develop teamwork, self-confidence, and dramatic expression. Project Presentations – Beginning in the earliest grades, students are required to create and present projects in reading, social studies, science, and our Signature Programs. Through a scope and sequence of skills in public speaking, project design, and unique creative presentations, students build up confidence in public speaking before difference audiences. In this way, public speaking becomes a familiar non threatening experience.The Explore Program – In seventh grade, students have the opportunity to explore a topic of interest pertaining to any subject. Applying all the steps of the research process learned systematically in earlier grades, they proceed through the steps independently with a view toward a demonstration of their findings. Students present their projects through a medium of their choice while also giving an oral presentation to classmates. Speech Fest – Selecting and interpreting great speeches from history or Shakespearean monologues, seventh and eighth grade students speak before judges in a public presentation. Students gain practice in public speaking as well as receive feedback on vocal delivery, interpretation, and use of body language to communicate effectively.Graduation Speech – To demonstrate the public speaking skills acquired through the years, each student composes a culminating speech. Eighth grade students reflect upon their experiences at Birchwood; summarize what they have learned about becoming a great person; and write and deliver their speech before family, faculty, and students. Spider and Cricket Magazine Contests – Young writers are fascinated with the opportunity to create engaging fiction, fantasy, folk tales, adventures, poems, history, and more.Scholastic Art & Writing – The Alliance for Young Artists & Writers supports this prestigious middle school contest .Creative Communication – Poetry, essay, and short story writing contests that are important “confidence builders” for young students as almost half of the entries are selected for publication.Power of the Pen – Crafted for seventh and eighth grade Ohio students, teams of six hone their imagination and writing skills writing impromptu creative narratives. WoodMath Toolboxes – Developed at Birchwood, this simple program helps students become fluent with computational skills, accelerates math learning, and lays a foundation for advancement in mathematics.Math Olympiads – A series of five contests provides grades 4-8 students training in creative problem-solving skills.Continental Mathematics League – A series of five contests for grades 2-8 students teach how to apply basic math skills to complex logic and reasoning problems.AMC 8 – This 25-question exam for middle school students promotes the development of problem-solving skills .Noetic Learning Math Contest – A biannual math problem-solving contest for grades 2-6 students that encourages an interest in math , develops problem solving skills, and inspires students to excel.MATHCOUNTS – Enriches middle school mathematics as students compete individually or as part of a team.Ohio Mathematics League – Grades 5-8 students prepare for a 30-question, 40-minute exam and compete against some of the best math students in the state. Bridging Engineering, Science and Technology BEST Medicine Fair – Beginning in sixth grade students with "superior” projects from a local or district science day are accepted.Northeastern Ohio Science and Engineering Fair – Affiliated with the Intel International Science and Engineering Fair, the goal is to get young adults interested in science and engineering .Broadcom MASTERS – A national competition for grades 6-8 students to inspire young scientists and engineers .District Science Days – Overseen by the Ohio Academy of Science and held throughout Ohio.State Science Day – Highlights the top 10% of Ohio student research and engineering projects. Students may compete if they receive a superior at both their local and district Science Day. National Chemistry Week – Community program of the American Chemical Society that teaches advanced content and provides for experimentation and critical analysis.Ohio Science Olympiad – Students in grades 4-6 demonstrate their STEM skills in this premier science competition National History Day – This U.S. government-sponsored program introduces students to the historical method beginning in sixth grade. Students conduct extensive primary and secondary research and present their work at the district contest. Those who qualify move on to the state and national level. Inspirational Openings – Inspirational Opening time is a 15-minute period at the beginning of the day in which teachers model character and virtue through literature, simulations, or videos regarding biographical and historical events. This daily schoolwide practice is informed by the research of Robert Coles on the effect of stories on the moral imagination and the Lawrence Sternberg on the cultivation of moral reasoning.Day-to-Day Instruction – Our focus is always to cultivate a child’s reasoning according to the seven moral virtues, so that “right” behavior is supported by knowledge and understanding . In support of these efforts banners, admonitions, directives, and instructions fill the classrooms and hallways to remind children ”to know the good, to love the good, and to do the good.” The research of William Damon and Carol Dweck have guided our approach. Leadership Program – Building upon the foundation of daily instruction, the Birchwood Leadership Program, educates seventh and eighth grade students about leadership skills and provides opportunities to practice these skills. Students select school responsibilities that match their interests, assist in maintaining the school building, and help foster a positive school atmosphere. Students choose from jobs such as helping younger students pack up at the end of the day, computer maintenance, recycling, gardening, librarian, office help, hallway bulletin boards, and more.The Ben Franklin Initiative – This program is an extension of our eighth grade character development program and an authentic capstone of our creative problem solving program. Beginning in the fourth quarter of seventh grade, it is an opportunity for students to learn skills that promote independence, self-reflection, responsibility, collaboration, goal setting, and planning. It speaks to the best intentions of young teens and inspires them to fulfill their potential. Creative Problem Solving (CPS) – Birchwood recognizes the ability to think creatively is an essential life skill that empowers children to thrive and flourish. Birchwood also recognizes creative thinking skills can be taught and developed. All children participate in CPS. This program teaches children to apply creative problem-solving to personal and group challenges and includes strategies from project-based learning and design-thinking programs.Future Problem Solving (FPS) – Creative Problem Solving culminates in middle school with Future Problem Solving Program (FPS) . Students study futuristic topics, work in groups to evaluate problems and challenges, and brainstorm potential solutions and action plans.

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How to Help Fifth Graders Write an Introduction to a Research Paper 26 SEP 2017 Fifth-graders must learn the importance of the "wow factor" when writing introductions for their research papers. Some have worked on creative writing assignments, cause-and-effect papers and book reports, but research papers are a whole new ballgame. When helping children write introductions for research papers, encourage them to present their topic and goals in a concise manner but allow room for creativity. Remind them that the goal is to spur readers' interest in the topic, so they must grab their attention right off the bat. Encourage your students to brainstorm ideas for their introductions before they actually start writing. On a separate piece of paper, ask them to write down a dozen descriptive words or phrases that are very specific to their topics. For example, if a paper is about the bombing of Pearl Harbor, they might write "early hours in the morning," "misinformed military officers," "no warning," "panic in the ocean," "Japanese attacks," or "sinking of the Arizona." They can use these key words to formulate sentences to introduce their research. 2 Add A Creative Slice Research papers generally are designed to be informative, serious and well-organized, but there's nothing wrong with encouraging children to spruce up their introductions with a little creativity. They might start with a famous quote, create a vivid visual image or use an attention-grabbing fact to start their paper. For example, if a student is writing about the history of baseball, he might start with "Fenway Park in Boston is the oldest American League park still hosting games today." Follow-up sentences should briefly link the introductory sentence with the purpose of the paper. 3 Treasured Transitions Some fifth-grade introductions are disjointed and lack coherent thought progressions. Help your students create a list of common transition words that help introductions flow more smoothly. Transition words are also useful on other types of writing assignments but are especially important on research papers to help students connect ideas, thoughts, statistical information, quotes, citations and facts. Words and phrases such as "in addition to," "also," "similarly," "on a similar note," "unsurprisingly," "as a result" and "consequently" help students tie their ideas, facts and sentences together. 4 Practice Makes Perfect Fifth-graders must learn the value of first drafts, second drafts and final copies, so they can edit, rewrite, modify, change and adapt their research paper introductions as they go. Continued research might give students a new slant to their topics or provide additional introductory material that is fresh and exciting. Students aren't stuck with their original introductions, so encourage them to make amendments as they see fit. They might even re-draft their introductions after their papers are completely written so they can highlight special points. Allow students to read each other's introductions and make suggestions -- peer input is valuable.

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LoranoCarter+ Reading: What It Is and How It Can Enhance Your Literacy Are you looking for a way to improve your overall literacy skills? If so, you may want to consider utilizing LoranoCarter+ reading systems. These reading systems combine different literacies and approaches to help children and adults learn to read better and more accurately. In this blog, we will explore the many benefits of LoranoCarter+ reading systems, how they work, and their various applications. What Is LoranoCarter+ Reading Systems? LoranoCarter+ reading systems are comprehensive, research-based reading systems tailored to meet a wide variety of individual needs. They are designed to help boost students’ reading comprehension, fluency, and overall literacy. These systems use multiple approaches, including phonemic awareness exercises, phonics instruction, and guided reading, to help students become more successful readers. Benefits of LoranoCarter+ Reading Systems There are many benefits to using LoranoCarter+ reading systems. Here are some of the primary advantages of using these systems: - Improve Reading Skills: LoranoCarter+ reading systems are designed to help improve students’ reading comprehension, fluency, and overall literacy. - Address Different Learning Styles: The reading systems use multiple approaches to address different learning styles, which can help students become more successful readers. - Personalize and Customize Learning: LoranoCarter+ reading systems can be customized and personalized to ensure that students get the most out of every lesson. - Increased Engagement: The use of multimedia, interactivity, and storytelling make reading more engaging and meaningful for students. How It Works LoranoCarter+ reading systems work by combining different literacies and approaches. For example, the system might utilize phonemic awareness exercises, phonics instruction, and guided reading to help students become more successful readers. Students learn to recognize and pronounce letters, decode words, and understand vocabulary. The reading systems also incorporate interactive activities, such as games, to keep students engaged. Examples of LoranoCarter+ Reading Systems Here are some examples of LoranoCarter+ reading systems that you can use to help improve your literacy: - Alphabetical Order: This system helps students recognize the letter names and sounds of the alphabet and practice ordering them. - Phonemic Awareness: This system focuses on phonemic awareness exercises and activities to help students identify and differentiate the individual sounds in words. - Vocabulary Development: This system is designed to help students learn new words, build their vocabulary, and understand how to use them in a sentence. Q: How do I use LoranoCarter+ reading systems? A: The reading systems can be used in a variety of different ways. First, you’ll need to identify the areas in which your student needs to improve. Next, decide on the best approach for the student. Finally, implement the reading system activities in order to help the student become a better reader. Q: Who is LoranoCarter+ reading systems suitable for? A: LoranoCarter+ reading systems are suitable for both students and adults. The systems are designed to meet a wide variety of individual needs, so they can be used by anyone who wants to become a better reader. Q: What are the benefits of using LoranoCarter+ reading systems? A: LoranoCarter+ reading systems can help improve students’ reading skills, address different learning styles, customize and personalize learning, and increase engagement. Additionally, they can help students learn to recognize and pronounce letters, decode words, and understand vocabulary. In conclusion, LoranoCarter+ reading systems are comprehensive, research-based reading systems tailored to meet a wide variety of individual needs. They combine different literacies and approaches to help children and adults become better readers and enhance their overall literacy skills. Whether you are a student or an adult, LoranoCarter+ reading systems can be a beneficial tool to help you become a more successful reader.

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As the atmosphere warms, flying creatures are contracting and their wingspans are developing, as indicated by another investigation. Specialists investigated 70,716 examples from 52 North American transient winged creature species gathered more than 40 years. The flying creatures had kicked the bucket subsequent to crashing into structures in Chicago, Illinois. The creators state the examination is the biggest of its sort and that the discoveries are essential to seeing how creatures will adjust to environmental change. “We found almost all of the species were getting smaller,” said lead creator Brian Weeks, an associate educator at the school for condition and maintainability at the University of Michigan. “The species were pretty diverse, but responding in a similar way,” they said. “The consistency was shocking.” They said investigations of creature reactions to environmental change regularly center around shifts in land range or timing of life occasions, similar to relocation and birth. In any case, this examination recommends body morphology is a significant third angle. “That’s one major implication,” they said. “It’s hard to understand how species will adapt without taking all three of these things into consideration.” The discoveries indicated that from 1978 to 2016, the length of the flying creatures’ lower leg bone – a typical proportion of body size – abbreviated by 2.4%. Over a similar time, the wings stretched by 1.3%. The proof recommends warming temperatures caused the abatement in body size, which thus caused the expansion in wing length. “Migration is an incredibly taxing thing they do,” Mr Weeks stated, clarifying that the littler body size methods less vitality accessible preposterous to finish their long voyages. They says the flying creatures well on the way to endure relocation were the ones with longer wingspans that made up for their littler bodies. The researchers aren’t actually certain why hotter temperatures cause feathered creatures to contract. One hypothesis is that littler creatures are better at chilling, losing body heat all the more rapidly because of their bigger surface-territory to-volume proportions. Mr Weeks said the assortment of examples was the aftereffect of a “herculean effort” by Dave Willard, co-creator of the examination and an ornithologist at the Field Museum in Chicago. In 1978, they began strolling around structures in the mornings during spring and fall relocation to gather feathered creatures that had crashed into structures. Winged animals typically relocate around evening time and are pulled in to the counterfeit light from structures, causing deadly impacts with windows. Countless flying creatures are evaluated to be murdered in building impacts every year. “He didn’t have this study in mind,” Mr Weeks said. “He just thought it could be useful in the future.” Throughout the years, numerous volunteers and researchers added to the assortment endeavors. Mr Willard estimated every one of the 70,716 examples himself utilizing similar techniques, “the gold standard” for this kind of information, as per Mr Weeks. The paper was distributed in the diary Ecology Letters. It expands on a developing assortment of proof that proposes creatures are contracting as the atmosphere warms. In 2014, specialists saw that elevated goats showed up as contracting because of warming temperatures. That year, another examination discovered lizards had contracted quickly because of environmental change. Hueman Donaldson is an author and public speaker. He graduated with a dual degree in Business Administration and Creative Writing. He has worked as a marketing manager for tech firm.He has written over 250 extensive articles for different news sources. Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Gazette Maker journalist was involved in the writing and production of this article.

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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. 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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GRAPHIC NOVELS BUILD EMPATHY AND SERVE AS 'GATEWAYS TO LITERACY' July 10, 2017 admin Innovation, Art, Reading, Education, GEMS World Academy Chicago, Literacy, Visual Learning Parents and educators can find it challenging to get children of all ages motivated and excited about reading, especially in the digital age. A growing body of research shows that graphic novels (long-form comic books), for decades viewed as an enemy of "serious" reading, actually have the power to turn a young student into a "super reader." In addition, graphic novels, when paired with study of traditional prose fiction, can help build empathy, educators say. GEMS World Academy Chicago is among the schools that have used graphic novels across a variety of age groups to get students engaged with reading. Graphic novels have been assigned as class reading in multiple grades, and they are popular selections in student book clubs. The combination of visuals and text that graphic novels offer fits well with the school's International Baccalaureate curriculum and interdisciplinary approach, which encourages students to build empathy and look at problems through multiple lenses. The visual effect According to the Yale Center for Dyslexia & Creativity, the universal appeal of graphic novels among a diverse range of students makes them a "grand equalizer" when it comes to reading. Although they employ classic elements of narrative storytelling like the hero's quest, the visual elements and comic book format can make them more accessible and less intimidating, especially for struggling readers. On a practical level, the combination of illustrations and text help to engage visual learners and thinkers, who account for up to 65 percent of the population. In addition, educators have found that complementing stories and texts of varying levels of complexity with images also helps to improve vocabulary, visual literacy, reading comprehension and confidence among students struggling in language arts. And while it might sound counterintuitive, teachers have found that reading graphic novels actually encourages young readers to slow down and absorb the material, where they might skim or gloss over straight blocks of traditional prose. The American Association of School Librarians' Conference and the Common Core State Standards Initiative have outlined the benefits of incorporating graphic novels in elementary education curriculums for students of various ages and grade levels. From Batman to Faulkner Many adults tend to associate comic books and graphic novels with the superhero stories they are most famous for, but educators across the country and around the world use them to teach everything from Shakespeare to Jane Austen. Parents and educators new to the concept may wonder if introducing young readers to graphic novels in the classroom will hinder or discourage students from reading traditional novels in the future, but experience suggests otherwise. Like traditional children's literature, graphic novels have been found to introduce students to more complex themes and narrative devices that actually work as a gateway to more advanced texts in the future. 'Gateway to literacy' In order to help combat misconceptions and to highlight the benefits of graphic novels in education, the American Library Association established the Great Graphic Novels for Teens and Core Collection of Graphic Novels annual lists. In order to gauge the quality and suitability of graphic texts for young students, credible reviews from established literary institutions such as Kirkus Review, Booklist and School Library Journal are available to help parents, teachers and librarians best serve student needs. Educators have also found that benefits can also be found beyond English class. The skills and learning tools that students gain from comic books and illustrated stories can also be applied to the rest of their curriculum and study of subjects like history, art, science. In the words of Art Spiegelman, author of the Pulitzer Prize-winning graphic novel Maus: A Survivor's Tale, "Comics are a gateway drug to literacy."

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There is a strong connection between creative expression and the growth of young children. Research has shown that children who were given a chance to express themselves through art, writing, and other forms of creativity display improved academic, social, and psychological skills. Consequently, early childhood education initiatives are now emphasizing the benefits of imagination and self-expression, offering a safe environment for children to investigate their curiosities, communicate their ideas, and use creative problem-solving. Below this, we described some of the essential benefits of creativity and self-expression in children. Kids who engage in imaginative activities have a greater aptitude to cooperate in groups and better social proficiency. They are able to express their thoughts and team up with their classmates, leading to a more thorough comprehension of each other. Creative activities also aid children in honing problem-solving capabilities and the capacity to bounce back, which can be useful for dealing with disagreements. Tips for educators: When kids participate in creative activities, they not only foster their creative thinking but also sharpen their logical thinking, which consequently betters their academic proficiency. This technique makes the educational content significantly more significant and long-lasting as it enables children to relate it to their own thoughts and hobbies. Giving children the opportunity to explore their passions and engage in artistic activities can boost their self-confidence. As they delve into creative projects, they discover their strengths and interests. Educators play a crucial role in promoting this self-assurance by creating a nurturing and accepting atmosphere that promotes experimentation and taking risks. Tips for educators: Storytelling is a fundamental piece of early learning. It permits kids to express themselves, investigate their interests, and employ their imagination. Educators can help children sharpen their verbal and written language aptitudes by encouraging them to make up their own stories based on their own encounters. The teacher can give prompts to get the children to consider what they might want to say in their stories. For instance, the educator could inquire as to whether there was a time when they felt courageous or capable. After the children have imparted their stories, the educator can give input and comfort. Artistic activities like drawing and painting are great ways for children to explore their imagination and express their feelings. Not only do these activities help them to hone their artistic talents, but they also provide a platform for them to communicate their emotions, interests, and ideas in a visual format that can be shared with others. When students are displaying their artistic talents, it is beneficial for teachers to offer direction and assistance, as well as set the right expectations. By encouraging children to investigate their creative side, they may cultivate an admiration for the fine arts that will endure for years to come. Practical arts and crafts allow children to explore interests and engage in creative activities while also learning important life skills. They are able to practice problem-solving skills, explore new topics, and create items that are useful and meaningful. Educators can evaluate the progress of the kids when they are involved in art and craft projects, which helps them to recognize which areas need more attention. This way, the children are able to enhance their skills while having a good time. Here we give you a list: 10 ways to teach creativity in the classroom 7 way to encourage creative expression 2. Click on “I need a new Password” in the bottom right as shown in the image below. 3. Enter your email address into the email field and then click on “Send Me” 4. This should send an email to the email address entered from KidKare Enrollment Portal with a link to reset your password. Click on the blue link 5. Enter your new password into the fields below and click “Go” 6. Now you can go back to the login page and login with your email as the username and your new password! Follow the instructions below to download and install Minute Menu CX. You can install Minute Menu CX on as many computers you need. The same link provided in this article can also be used by centers to install their version of the software. For system requirements, see System Requirements. 1. Click here to download Minute Menu CX. 2. Depending on your browser settings, the file downloads automatically, or you are prompted to save or run it. 3. The installation wizard opens. Click Next and follow the on-screen prompts to complete installation. We strongly recommend that you install Minute Menu CX in the default location and that you do not change any of the options during installation. 4. Once the installation process is complete, click Finish. Minute Menu CX opens automatically, and you are prompted for your password. 5. Enter your user name and password. You should have received this information from Minute Menu or (centers) from your food program sponsor’s main office. 6. Click Login. To access Minute Menu CX in the future, double-click on your desktop. You are prompted for login information each time, unless you check the Remember Login and Password box when logging in. To see which version of Minute Menu CX is installed on your machine: 1. Open Minute Menu CX. 2. Click the Help menu and select About Minute Menu CX. The About Minute Menu CX dialog box opens. The version number displays at the top. To upgrade Minute Menu CX: 1. Open Minute Menu CX. 2. Click the Administration menu and select Upgrade Software. The installation wizard opens. 3. Follow the on-screen prompts to install the upgrade. Note that you must upgrade CX on each individual machine on which it is installed. Just enter your email address below and we’ll set up a free 30 day trial just for you. We believe in the application so much, that we know you’ll love it.

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18. Feb. 2021 The February 2021 issue of the National Geographic magazine devoted to viruses and how they shape our world pictures the three-dimensional structure of phage P68. The structure was determined by PhD student Dominik Hrebik from the structural virology group of Pavel Plevka from CEITEC. Despite the common knowledge that viruses are agents of disease, many of them actually bring adaptive benefits and life without them would not be possible. Being natural predators of bacteria, bacteriophages have long been considered as potential therapeutic agents that could be used against antibiotic resistant bacteria. Scientists in Pavel Plevka’s research group study three dimensional structures of viruses. These structures help scientists to explain the mechanism of how the bacteriophages attack and destroy bacteria. This type of information is key for the development of new therapies against antibiotic resistant bacteria. Researchers from Plevka’s group reconstructed entire structures of several bacteriophages, including the Phage P68, which has been pictured in the newest National Geographic issue. Plevka lab is one of the few research laboratories that characterized complex structure of entire bacteriophage, and this is why the group was approached by the National Geographic editors, who were interested in publishing the image. Viruses also live in oceans, and as National Geographic explains, there are more viral particles in the oceans than stars observable in the universe. “As a zebra shark cruises by, a diver at the Aquarium of the Pacific in Long Beach, California, displays an image of a bacteriophage, a type of virus that infects bacteria. Harmless to plants and animals, bacteriophages are critical for healthy marine ecosystems. The Earth’s oceans teem with these and other viruses. The aquarium’s Tropical Reef Habitat and Soft Coral Garden hold 367,166 gallons of water, with an estimated 5.32 quadrillion viruses. If lined up side by side, those viruses would circle the Earth almost eight times,” says the description under Dominik Hrebik´s image of Phage P68 in National Geographic. “I am really happy that our phage structure made it into the National Geographic magazine and now even readers from outside of our scientific community from all over the world can find out about our research,” says the author of the phage structure, Dominik Hrebik. The editors decided to use the phage image in the ocean because bacteriophages are well known also for their ability to contribute to the stability of ocean microflora. National Geographic is one of the most widely read magazines of all time. It is the world's premium destination for science, discovery, and adventure. The magazine uses the power of science, exploration, education, and storytelling to illuminate and protect the wonders of our world. For more than 130 years the National Geographic Society has defined some of the critical challenges of our time, driven new knowledge, advanced new solutions, and inspired positive transformative change. The magazine is well known for its distinctive appearance and dramatic photography. National Geographic is issued in nearly 40 local-language editions and has a total reach of more than 30 million readers. Do you want to learn more about viruses? Read the newest National Geographic issue HERE. Phone: +420 54949 6271, +420 775 351 405

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When is the first day of winter? How is the winter solstice celebrated across the world revealed The first day of winter for the year 2022 is December 22. It is called the winter solstice or the hibernal solstice. It occurs when one of the earth’s poles is tilted to the farthest point from the sun. It is also the shortest day of the year, which automatically makes the night of the winter solstice the longest. Each December, the hibernal solstice marks the official initiation of the Northern Hemisphere’s astronomical winter. Following the solstice, the days start getting longer as the nights get shorter for the next six months. Celebration of the Winter Solstice in different cultures across the globe Usually falling just a week prior to Christmas, the winter solstice is celebrated in different manners around the world. Ancient people depended on their precise knowledge of seasonal cycles for their survival. Thus, they marked the first day of winter with ceremonies and celebrations, and symbolized it as an opportunity for renewal. Here are some of the ways in which people around the world celebrate the solstice even today: In Japan, the first day of winter is called Toji, and it comes with a few interesting customs. In keeping with tradition, kabocha - winter squash is eaten. It’s one of the few crops that were available in ancient times during winter. Many people also take a hot bath with yuzu fruits because they believe it refreshes the body and spirit, warding off any illness and soothing the dry winter skin. Stonehenge gathering, England Nobody knows exactly why the Stonehenge circle on the Salisbury Plain was built, but it’s proven that the circle does mark the change of seasons by tracking the movements of the sun and the moon. This historical monument is also believed to be a place of spiritual inspiration. According to archeological research, winter solstice festivals were celebrated here. So, to carry out the tradition, many people gather here at dawn after the longest night of the year to witness a magical sunrise. In China, celebrating winter solstice is a family affair and involves a grand meal which includes a special dessert called tang yuan, a type of rice ball. The solstice is also connected at its roots to the Chinese philosophical concept of yin and yang. Dongji, South Korea In South Korea, the first day of winter is also known as "Little new year." They celebrate the day by eating a traditional dish called patjuk, which is a red bean porridge. The South Koreans consider red to be a lucky color. So, the patjuk is eaten to ward off bad spirits and embrace good wishes for the next year. They also wish for snow on this day, as they believe that cold weather on the first day of winter brings an abundant harvest. Newgrange gathering, Ireland The Newgrange Stone Age passage tomb in Boyne Valley, Ireland, is a 5,200-year-old prehistoric monument. On the day of the hibernal solstice, a small crack above the tomb's entrance fills with light during sunrise, gradually traveling throughout the chamber and illuminating it. This magical luminous effect lasts for 17 minutes. Visitors gather at the temple to watch the sunrise. Locals speculate that the phenomenon announces light’s triumph over darkness and marks the birth of the new year. Soyal, Hopi Tribe, U.S. The Hopi tribe is a group of indigenous people from northern Arizona in the U.S. They have a religious tradition where they honor Kachina (or katsina). Kachinas are ancestral spirits that represent the natural world. Hopi people celebrate the winter solstice as part of this tradition. The tribal chief leads the Soyal ceremony. The tribe welcomes the sun’s journey to the summer path after the longest night of the year with ritual dances. The festivities also include prayers, gifts for children, storytelling, and singing. They often make Kachina dolls and prayer sticks for the celebration.

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Since the beginning of the written language, the reader's perception of a literary work has been based on their interpretation of how the story was portrayed. Differing points of view within the story generate diverse interpretations among readers. From Shakespeare to Faulkner, the aspect of differing viewpoints allows each story to convey contrasting feelings to the reader. In Eudora Welty’s Why I Live at the P.O., she uses a first-person view to reinforce this idea. The attitude of the narrator, sister, is biased in many respects to further her agenda. The slanted viewpoint of sister contributes to the story through her need for personal attention, the empathy the reader has for sister, and the inaccurate representation of the entire story. Eudora Welty’s life was impacted by books. At the age of nine Welty’s mom got her a library card, and said she could read any book child or adult, except one. Welty always checked out the maximum number of books, and rushed home to read them and quickly get more books. Welty’s language conveys the intensity and value of these experiences, because she is well-spoken and description about her early experiences of reading books. Welty is an exquisite writer when it come to her syntax and spelling. Welty’s good syntax and punctuation may be a result of her early reading, effecting her writing in a positive way and also most people write how they speak. Sara Gruen’s Water for Elephants describes self discovery of life, love, and the struggles of living in the middle of The Great Depression. She paints Jacob Jankowski's as a miserable elderly man in a nursing home telling the adventures of his youth in the circus; full of grief, abuse and love. There are two quotes, “When two people are meant to be together, they will be together. It’s fate.” and, “Life is the most spectacular show on earth.” These sum up the book's themes of true love and that life is full of unending adventure, illusion, and discovery. Leon Rooke shares the quality of love in his short story, “A Bolt of White Cloth”. Rooke shows that love has the ability to produce the greatest happiness in the lives of people, but hardships must follow in order to achieve this love. Love comes in many forms as it is an emotion that can be expressed differently varying from person to person. Rooke uses magical realism by introducing an Eastern stranger that sells white cloth with magical qualities. The price, however, is love. This stranger is the bearer of happiness as he travels determining whether a person has expressed a great deal of love and hardship in exchange for his cloth. The characters discuss the types of love that exists in the world. The reader can easily submerse themselves Eudora Welty uses many literary elements in her short story, “A Worn Path,” to allow the reader to stay engaged throughout its entirety. Although there are many literary elements present in this story, there are three that Welty focuses intently on. She uses elements such as imagery, symbolism, and motifs to draw the reader’s attention. It is important for an author to write their story in a way that can be understood but also enjoyed. In “A Worn Path”, Welty focuses in on the elements, such as, symbolism, motifs, and imagery and writes a story that has great meaning and can be discovered by the reader when looked at carefully. The Kite Runner is a novel that tells the story of a man becoming his true self and his experiences as he proceeds his journey. Amir, a man from Afghanistan who lived in the slums of his country traveled throughout the globe in search of inner peace from a troublesome childhood. Guilt from various fights with Afghanistan’s superior social classes, an accessory to a crimes and the witnessing of his close friend’s violent rape while he stood stagnant; haunt Amir. “Human nature is like water. It takes shape of its container” is a quote beautifully worded by Wallace Stevens about the effect of human nature. Human nature would be the general characteristics that are shared by individuals of certain civilizations. The characteristics mainly consist of feelings, psychology, and behaviours. Although these characteristics may shape up a human being, there are many different many experiences an individual may go through which may result in disputes. In the novel 1984, written by George Orwell and Never Let Me Go, written by Kazuo Ishiguro, readers are shown the ramifications of human nature and the many different ways human nature co-exists in both dystopian novels. 1984 is a well-known dystopian novel that revolves around the protagonist, Winston Smith. Smith faces oppression in Oceania, while being watched by Big Brother, the Ruler of The Party. In 1984, Smith is seen as daring and rebellious throughout. Another comparable dystopian novel is Never Let Me Go. This narrative is about human clones, particularly, Kathy, Tommy and Ruth, and their experiences that are based on their fate. Human nature displays the repercussions of inevitable fate, psychological manipulation and uniformity in both dystopian novels. Human nature are general views that are colored by the influences of people an individual is surrounded by. Donkeyskin is a fairy tale about a princess who faces difficult challenges but manages to overcome them in the end. The King’s wife dies and with the intention of keeping the king unmarried for the rest of his life, she makes him to promise that he will marry an awesome woman like her. The situation forces the king to propose to her daughter who is even better than the queen. The tale focusses on the idea that good can always triumph over evil. It revolves around the flight of the princess to escape the awful marriage to his father (Perrault, 1977). Love is unconditionally caring about someone else that you care more about yourself. Love may give us joy, and happiness, but it also brings the worse out in us. In Celeste Rita Baker’s short story Jumbie from Bordeaux, the author presents love and the price paid for love through the indirect characterization of Jumbie, his aunt, and parents. Love in this novel was the very core of optimism for many characters. A character who gained the most out of the love of others Eudora Welty was an American novelist whose books centered around the American South. Welty is famously known for her book, The Optimist 's Daughter, which she earned a pulitzer prize for in 1973. In Welty’s memoir, “One Writer’s Beginnings” she reminisces on her childhood memories during the early 1900s in Jackson, Mississippi. Her memoir focuses on her early life with reading and the impact it had on her life. The intensity and value of Welty’s early experiences with reading and books is displayed through her descriptions of the librarian, Mrs. Calloway, her own experiences with reading, and the descriptions of her mother’s influence on her life as a reader. Eudora Alice Welty was an American short story writer and novelist who wrote about the American South. Welty was born on April 19, 1909 in Jackson, Mississippi and wrote the shorty story “A Worn Path” in 1941. Welty was awarded the presidential medal of freedom among numerous awards including the Order of The South. Eudora Welty passed away on July 23, 2001 in Jackson, MS at the age of 92, Welty lived a great life. In the story “A Worn Path,” by Eudora Welty, Phoenix Jackson’s characterization, symbolism/imagery, and conflict are shown while she is on a journey to get some medicine for her grandson. “Desiree’s Baby” is a twisted and heart wrenching story that takes place during a time of great racial inequality. The Devil seems to be very busy throughout the world as he escalates situations and spews lies into the thoughts of men, tearing them from their beloved families. The story “Desiree’s Baby” summons up a very saddening irony that the prejudiced Armand learns that it was his mixed parentage and not that of his wife which produced their mixed-race child whom he detested and rejected. There are many times humans act differently because of someone else. The outlooks of human behaviors depend on the negative or positive influences that surround a person. People act the way they are because of the external forces that affect them. Likewise throughout history, many authors and poets create their work of literatures based on the external forces. Often times, the message that these authors and poets reveals not only has universal themes, but also can connect to people’s life stories. The external forces in the poem “Sir Gawain and the Green Knight” translated by John Gardner particularly relate the story of my own life.

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Since we first arose, humankind has created materials out of animal remains. This exhibit explores objects created for a variety of different uses from cultures throughout the globe. Some of the objects are outdated and some still very much in use. What unites them is that they all incorporate animal parts in their construction. What is the connection between the object’s function and the animal used? Why are some considered ceremonial while others simply tools? Are there similarities between objects created across the world from each other? This exhibit reveals the purposes of these objects, both obvious and obscure. Feather and fur, tooth and nail, the objects on display show the many ways that people have looked at an animal and found a creative use for them. Early 20th century, Kenya Hide, wood, twine, shell, pigments The shield’s maker used wood for the frame and handle, and cow leather for the outer covering. The materials were not particularly valuable, but the intricate designs were meaningful. Each shield displayed the prestige of the person wielding it within their lineage, a family network that collectively owned vast herds of cattle. Once important protection for hunters and warriors, contemporary Maasai no longer use these shields. Late 20th century, Guinea Bissau Wood, horn, glass, yarn, twine, pigments The Dugn’be buffalo mask is part of a contemporary masquerade tradition in Bidjogo communities. Many artificial materials are used in its construction, though the horns are real to emphasize the animal’s power. There are many different buffalo masks within this society representing different “coming of age” periods. The Dugn’be masks are used exclusively in the initiation rituals of young men into adulthood. With this mask, they perform a wild dance that evokes a buffalo, representing the initiate’s lack of control and need to be tamed. Late 19th century, United States (Alaska) This ivory knife was used by Yup’ik children, primarily little girls, to draw stories in the snow. Players might depict objects in a game similar to Pictionary. These knives are not sharp and were only used for entertainment. Yup’ik children still play storytelling games; however knives made from walrus or sperm whale ivory have been replaced by mass consumer goods like plastic butter knives. Mid-20th century, Botswana Ostrich eggs have traditionally been used as canteens by the San people while traveling or foraging. Ostrich eggs are also very nutritious, equivalent to about two dozen chicken eggs. Acquiring an egg is not easy because ostriches can slash with their long talons. Successful hunters will locate an ostrich nest and either wait for the vigilant adults to leave or use a high risk strategy of scaring it away. Mid-20th century, Nigeria These cupping horns were used in medical treatments that bring blood to the surface of the skin via suction. Practitioners make a small incision on their achy body part, then light a small fire in the animal horn and place it over the wound. The dying fire creates a vacuum that draws blood to the skin. Practitioners give many explanations to why this is helpful despite no evidence of a specific medical benefit. The use of these has increased in recent times. In the United States, some kinds of cupping have become popular with athletes, such as Olympic swimmer Michael Phelps. Late 19th century, United States This deerskin robe was worn by a female child for a curing ceremony. The Comanche believed that the deer and buffalo which provided hides were part of a spiritual network that included humans. Wearing hides let people take on the animals’ valued qualities, like toughness. The central hourglass-like shape surrounded by the colorful border is an indication of the robe’s ceremonial purpose. Early 20th century, China Ivory (elephant), wood This particular elephant tusk depicts carved lions, elephants, and a small building. Chinese ivory carving was an artform as well as a booming business for centuries. The artform demands great skill, and only about ten percent of apprentices would became professional carvers. Asian and African elephants became critically endangered during the 20th century because of the ivory trade. In 2017, China officially banned all commercial processing and sale of elephant tusks. However, market demand for ivory continues to threaten herds. Late 20th century, Mexico Wood, hair, teeth, pigments This colorful tiger mask is part of a traditional costume used in the “the dance of the tiger” throughout southern Mexico. The dance likely originated in the Aztec Empire or earlier, though the name “tiger” is a recent invention. Earlier masks were likely modeled after jaguars, the large cat native to Mexico. During the dance, the tiger attacks farmers’ crops and attempts to destroy them until the entire community chases it away. This tiger mask doesn’t actually contain any materials from a cat: the teeth and whiskers are from a wild boar. Late 19th century, United States (Alaska) Hide, teeth, glass, copper, string This caribou hide belt is adorned with beads, buttons, and two rows of caribou teeth as well as fox teeth. In total, there are 221 sets of caribou incisors and 23 fox teeth. It is likely that single Yup’ik hunter killed these animals. While men were, and continue to be, the primary hunters in Yup’ik society, it was women that wore these belts. If the belt had passed through enough generations, it acquired healing powers that were accessed by striking the afflicted area. Late 19th century, Canada Hide, wood, ivory (marine), hair, string This model is made of wood and sealskin in the same fashion as a life-sized Inuit kayak. The Inuit used kayaks for hunting seals and other aquatic arctic mammals. These replicas were made for Moravian missionaries who established trading posts beginning in the 18th century. Moravian missionaries would trade European goods for these souvenirs and send them to their friends and families. Kayaking became popular in Europe in the 19th century and became an Olympic sport in 1936. Late 20th century, Papua New Guinea For many cultures in Papua New Guinea, daggers carved from a femur bone were both close combat weapons and status symbols among men. Warriors who carried these daggers possessed exemplary fighting skills. This dagger is made from the bone of a large, flightless bird called a cassowary. Cassowaries are the deadliest birds in the world, capable of killing humans with clawed kicks. Some daggers were made from human femurs, carrying the highest social status. Though no longer used in combat, cassowary bone daggers are still used ceremonially. Late 19th century, Sudan Hide, steel, wood, ivory (elephant), bone, teeth, string This sword and scabbard was likely created in Sudan, indicated by the shape of its pommel. It was used for personal protection, but its most unique characteristic is its scabbard. It is made from an entire small crocodile, still present with bones and teeth. Crocodiles were used symbolically during the Mahdist Revolution in Sudan during the 1880s. Crocodiles used as equivalents for dragons, a symbol of power in Islamic Sufi tradition. Many weapons were taken out of Sudan as war souvenirs after the British re-colonized Sudan in 1898. Early 20th century, Democratic Republic of the Congo Feathers, palm fiber Dozens of hat styles were in vogue within the Kuba kingdom’s traditional court. This hat woven with iridescent bird feathers was considered to be a flashy, young person’s style. The hat’s maker has creatively emphasized the feathers’ sharp angles to make a visual statement. Though colorful and eye-catching, the hat doesn’t signify social prestige or military rank as some other hats do. Older and wealthier courtier would likely opt for a more conservative hat. What about Endangered Species? The objects in this exhibit show the diverse ways that human societies have exploited animals as natural resources. Many of these objects are decades old and were produced in societies with plentiful animals and a healthy ecosystem. Unfortunately, many could not be made today as the animals they originate from are threatened or endangered. Habitat loss, climate change, and pollution have all contributed to vanishing wildlife population, but over-harvesting—especially for export—is also a concern. In the early 1960s, international discussion began focusing on the rate at which the world’s wild animals and plants were being threatened by unregulated international trade. The solution came in the form of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), an international treaty that regulates and prohibits the trade of protected species. The objects on display containing elephant ivory or tropical bird feathers are legal because they were created before 1970 when CITES went into effect. Many countries enact additional laws to protect wildlife from humans, such as the US law that prohibits harvesting marine ivory from whales and walruses, but carves out an exemption for Alaskan Native communities. This exhibit was curated by WFU intern Robby Outland (’21). It was on exhibit from March 1, 2021 to April 14, 2022.

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Our picks for books, videos, websites, and other social justice resources 34.2 An Indigenous People’s History of the United States for Young People By Roxanne Dunbar-Ortiz, adapted by Jean Mendoza and Debbie Reese (Beacon Press, 2019) In this adaptation of Roxanne Dunbar-Ortiz’s influential book, curriculum developer Jean Mendoza and children’s literary critic Debbie Reese provide young people with a history of the Native people whose lands were colonized by Europeans and their descendants over the past 400 years. The authors lead readers from the Spanish conquest of Mexico to the Standing Rock protests of the Dakota Access Pipeline. An Indigenous People’s History represents a fundamental challenge to the countless U.S. history textbooks that celebrate “liberty,” “freedom,” and the “the rise of the American nation,” but fail to recognize the humanity — or often even the existence — of the Indigenous peoples who were here first, and are still here. How much more clearly can our students see the history of this country when we put Indigenous people’s lives at the center? Words No Bars Can Hold: Literacy Learning in Prison By Deborah Appleman (W. W. Norton & Company, 2019) Deborah Appleman’s outstanding scholarship on literacy instruction spans decades. In this book, she writes about teaching college literature and writing courses in a high-security prison. But her revelations about the transformative power of education also speak to the necessity of changing teaching in our schools. As Appleman notes, “The incarcerated students reflected much of what we have learned in recent literacy research about the importance of providing literary texts that reflect the realities of the lives of the students. . . . [W]hen students see themselves reflected in the texts that are assigned, they are more likely to complete assignments and experience more academic success.” Words No Bars Can Hold is filled with Appleman’s teaching stories, research, and reflections republished from her blog about her work, as well as the poetry and discussions of her incarcerated students like Zeke, who wrote, “Writing offered me a conduit to communicate my experiences with the world. It was not therapy, but it could speak for me in ways nothing else could. It also offered me some evidence that I was still a feeling and empathetic human being.” Appleman’s book is important, not just for those who teach in prisons, but also for those who want to understand how to break the school-to-prison pipeline. Migrant Child Storytelling This website “is for any migrant child from any part of the world who has a story to tell.” But it is also for educators who want to hear these stories and share them with our students. This is a children’s place. Without any adult interpretation, the website offers stories and drawings of how children experience the trauma of migration, like Yonas’ harrowing journey from Eritrea to Calais, France; smugglers told them, “If you don’t have money, we will take a kidney.” But there are also tender vignettes from daily life — Zeinab’s “happiest day” in a children’s park in Afghanistan; Alexis’ admiration for the “smart” rabbits in Belize. These stories remind us of children’s resourcefulness and resiliency, and can be hopeful as well as grim. No doubt, the website’s limitation is that it offers no broader social context about child migrants’ stories and drawings. But students can use these portraits to generate questions for further research, and the intimacy of the stories and images will give urgency to that research. Climate Change Books Greta’s Story: The Schoolgirl Who Went on Strike to Save the Planet By Valentina Camerini Available in English, Spanish, and Italian (Simon and Schuster UK, 2019) This thoughtful, unofficial biography gently tells the story of Greta Thunberg’s childhood in which she was diagnosed with Asperger’s syndrome, an illness that in some cases leads people to focus on just one thing. Greta focused on climate change — watching videos and reading everything she could find. In time, Greta became so depressed that she didn’t talk, read, or hardly eat for two months. Her parents helped her deal with her depression while she challenged her parents to radically change their lifestyle — her mother was an international opera singer and Greta convinced her never to fly on airplanes again. The biography describes the first day she struck without her parents’ permission and continues through her speech at the World Economic Forum in Davos, Switzerland, and the March 15, 2019, international climate strike. It includes a glossary and timeline. Try to find a way to buy a class set of this book and use it to not only teach about climate change, but also to discuss issues not often discussed in classrooms such as Asperger’s syndrome, depression, conflicts with one’s parents, and the role of individual initiative and mass action by youth. Our House Is on Fire: Greta Thunberg’s Call to Save the Planet Written and illustrated by Jeanette Winter (Beach Lane Books, 2019) This award-winning 80-year-old author and illustrator of The Librarian of Basra: A True Story from Iraq, has created another powerful children’s picture book. With short sentences, multiple protest signs, and beautiful drawings, Winter tells the story of Greta and how she sparked a worldwide children’s march. The book concludes with Greta asking “CAN YOU HEAR US?” and “WHAT WILL YOU DO?” all in 216-point type. The End of the Wild By Nicole Helget (Little Brown and Company, 2017) This is a plot-driven story about Fern, an 11-year-old girl upset with the possibility of a nearby forest being destroyed by a fracking operation. The book’s sensitive treatment of immigrants, poverty, foster children, and the death of a parent will hold children’s attention. Fern, who ends up doing her school STEM project on fracking, feels conflicted between the damage caused by fracking and jobs it’s providing to her low-income community. Although the book connects fracking with the destruction of nature around the fracking site, it does not connect it to the larger problems of global warming and earthquakes, poisoned water, and health problems, nor does Fern ever discover that people around the country are building social movements against fracking. Nonetheless, this book could be useful in a literature circle, whole class reads, or a read-aloud as the personalities of each of the child protagonists come alive as the conflict reaches its climax. With supplemental materials, the book could spark deeper discussion and learning about the dangers of fracking, conflicting points of view about the issue, and the growing global movement against fracking. (For teacher background on fracking, we recommend Amity and Prosperity: One Family and the Fracturing of America, by Eliza Griswold; and anything by biologist Sandra Steingraber.) By Mariame Kaba, Illustrated by bria royal According to author Mariame Kaba, 2.7 million children under the age of 18 have an incarcerated parent. In an author’s note, Kaba says that she wrote Missing Daddy because of her frustration finding materials that can help children deal with the “loss, grief, and trauma” of having a parent incarcerated. The young narrator’s father went to prison when she was just 3. Sometimes her classmates can be cruel — “You know your daddy’s a criminal so that makes you one” — but she is surrounded by a loving family and an understanding teacher and counselor. This poignant book will help not only young children who find themselves in this circumstance, but will also sensitize classmates and educators themselves. Missing Daddy is a warm and necessary book.

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Tips for implementing coding activities in STEM classes What are the benefits of coding for students? There are multiple reasons as to why students must familiarize themselves with coding and ICT. Coding fuels the creative potential of students and improves their observation skills. Through coding, they are exposed to a logical way of thinking, and through their mistakes, they discover new ways of solving a problem. Additionally, coding entails several different activities and disciplines such as robotics, computational thinking and visual programming. This means that there are many ways to involve students with varying interests and of all levels. Encouraging students to explore and discover their full potential and creativity will result in them becoming more confident and even entrepreneurial. Coding will enable them to understand the ‘making and building’ process better, and eventually turn their ideas into reality with several initiatives around the world investing on how to create a new generation of STEMpreneurs. Coding in STEM education How is coding linked to all STEM disciplines? We use programming in order to tell a computer what to do, but understanding computer science would not be possible without science, technology, engineering and math. There are many reasons as to why STEM programs increasingly use more programming courses in their curriculum. Python is needed in order to understand data science and algorithms, coding is getting more and more relevant in life and natural sciences and without programming skills there would be no pioneers in engineering and robotics. Training materials that will help you integrate coding in your class Teachers in every country, regardless of the subject they teach or their experience with programming, are encouraged to incorporate coding in their lessons. They can either design and implement their own activities, or visit the EU Code Week website and download the training materials that experts from all over Europe have created. Those lesson plans are free, and they can be further adapted to the needs or level of each class. Teachers who wish to gradually introduce their students to the various coding concepts, can try out activities that do not require Internet connection or even electronic devices with the training module Unplugged Coding. Science teachers are welcome to explore the Learning Bit about Robotics and Tinkering and introduce their students to microelectronics and robotics. In addition, students should be taught that very much like the actual coding process, their ability to analyse and think critically should be structured in a way that breaks down bigger problems into smaller parts, a process that is called decomposition. Those principles can be applied in every STEM subject and are fully unveiled in the training module about Computational Thinking. Teachers who wish to introduce their students to an easy programming language may familiarize themselves with visual programming and try out the Introduction to Scratch training module. An opportunity for all teachers to innovate and experiment Apart from students who will be experimenting with coding, the creativity of teachers is also challenged as they are called to design lesson plans and activities that could combine physics, programming, history and storytelling! Teachers of various subjects can inspire and encourage their students to get involved with programming, triggering an interest for STEM subjects that are considered to be the most demanding. Sounds ambitious or impossible? Coding has many similarities with storytelling as both follow a logical sequence of events or actions and rely on developments. Teachers can consult the training module Creating Educational Games with Scratch and create their own multidisciplinary projects. Why not design a game on Scratch where the characters are inspired from the most important scientific figures or polymaths in history, and discuss Newton’s Laws, mathematical principles and philosophical dilemmas? Scratch allows learners to customise their characters (sprites) but also their game projects, incorporating a variety of content that can range from mathematical operations to text, the possibilities are truly unlimited. At the same time, students are being introduced to visual coding which offers the opportunity to learn and create in a collaborative, fun and engaging way. No matter what the chosen coding activity will be, it will surely allow students to experiment and express their own unique ideas, embrace innovation and improve. Author: Eleni Myrtsioti, European Schoolnet Tags: coding, EU Code Week, STEM, teaching resources I like how you mentioned that coding activities in STEM Classes can help students have a more in-depth view of their role in the world. My sister is a 5th-grade teacher and she was telling me last night about how she was thinking about having her students learn more about STEM. I’ll make sure to pass this information along to her so she can know more about the benefits of students learning it!

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The academic curriculum requires you to go in-depth and explore various elements depending on the type of paper. Expository writing is one such drafting format that is highly in demand in various professions. Its key purpose is to share the facts rather than storytelling. Moreover, an expository paper is meant to present an idea through proper assessment. In this blog, we will discuss all crucial aspects of expository paper writing. Further, we will discuss the different types of expository writing. Get ready for some highly useful tips to enhance the quality of your expository assignments. Read Also: Shorthand writing Expository Writing Definition Expository writing follows the strategy of digging in and gathering the factual evidence to explain, expose or elucidate a claim. Moreover, the primary purpose is to look into an idea and evaluate the evidence to investigate a particular subject. Generally, you can spot expository writing examples in newspapers, essays, magazines, instruction manuals, textbooks, and even encyclopedia articles. Hence, it is a part of our daily life. Unlike fiction, expository papers follow a fact-driven approach. It is a significant part of the academic curriculum. It requires the writer to look at everything from a neutral viewpoint. Read Also: Heading Writing The Major Purpose Of Expository Writing An expository paper aims at providing a logical explanation of an idea. It offers a well-balanced and goal-oriented description of a subject. Thus, it helps in answering and simplifying even the most complex matters It is crucial to maintain clarity through proven and widely available facts. There is no need to share your opinions. Expository writing only values clearly stated points powered by proven claims. Therefore, the expository style of writing is utilized in science, business, journalism, and other important fields. Read Also: what is SEO writing Different Types Of Expository Writing When it comes to composing an expository paper, there are various forms involved. The prime goal is to share information on any topic, issue, subject, or idea through available facts. Let us dive deeper and define expository writing according to its various forms. 1. Problem and solution In this type of writing, a problem is presented, followed by sharing a resolution. The solution is backed up by strong logic, data, and claims. 2. Cause and effect This format sheds light on the occurrence of something and its results. You need to present a well-explained description of a topic. Do not forget to cover every minute detail. It could be about anything, including a person, an object, an event, a place, etc. It follows more of a creative approach. 4. Compare and contrast It is one of the major types of expository writing. You need to take two subjects into consideration. Furthermore, look into them to spot the differences and similarities that exist in between. As the name suggests, a classification paper further breaks down into different categories. You need to build an outline to explain the step-by-step process to perform and conclude a task. One of the best examples is food blogs. Read Also: Medium Writing The Most Effective Ways To Draft A Powerful Expository Essay By now, we have discussed what is expository writing and its different forms. Let us now look at the essential elements to keep everything together. - One of the key factors for a quality expository essay is a strong thesis statement. Make sure to keep it crisp, short, and direct. Besides, introduce the thesis within the introductory paragraph. - Further, it is vital to maintain a good transition throughout the write-up. This technique ensures there is a logical development of ideas. Moreover, this approach allows room for a well-structured paper. - Introduce a primary idea in each one of the paragraphs. Not only it improve the engagement but also addresses several aspects that might resolve the reader’s issue. Doing this brings clarity to the subject. However, it is essential to link the ideas logically. Moreover, connect the thesis with the body to maintain the flow of the central idea throughout. - Make sure to back up your write-up with significant facts or stats. - It doesn’t hurt to explore your creative side. Although, the expository writing format doesn’t offer much scope for creative writing, yet you can explore the artistic writing techniques. Keep the content interesting to retain the reader’s attention. - In the conclusion, it is crucial to address the issue through evidential claims. As you wrap up, leave a lingering question to the reader’s imagination. Avoid adding any new information at the end. In fact, you can present the synthesis of your essay or share a solution. Related Post: Creative writing Useful Tips For Effective Expository Writing Here are some tips to ensure your expository paper will turn out to be highly effective: 1. Don’t wait for the right moment Sometimes people get stuck at the introduction and wait for the right idea to strike their minds. It is better to start anywhere while following the outline. Once you begin, the ideas will keep flowing. Then, you can organize the information in a structured and meaningful way. 2. Maintain clarity Instead of juggling around the ideas, you should put forth the idea clearly. It is important to ensure that the language is easily understandable. 3. Follow The Facts If you go through a well-written expository writing sample you will find that they follow a reasonable approach. All the facts, data, and statistics are clearly stated. Moreover, several authentic sources are used for gathering the data. Doing this strengthens the subject. 4. Be careful with the tone: You must be mindful of the tone and voice of your paper. It creates a huge impact on the outcome. How To Outline An Expository Essay? An expository essay divides into three major segments. Doing this helps in improving the effectiveness, quality, and clarity of the paper. 1. Introductory paragraph Start out by introducing the key idea of the essay. A thesis statement is further included in the introduction. 2. Main body The body consists of 3-5 paragraphs, as per the subject of your essay. Each paragraph follows a specific topic sentence that describes the goal. You need to support the propositions with relevant examples and evidence. Moreover, maintaining a transition among the sentences is important. The final, yet crucial section of an expository essay. Provide an overview of your thesis in the conclusion. Do not forget to either propose a solution, summarize your points, pose a question or encourage the audience to take an action. Expository essays are an integral part of academic as well as professional writing. Thus, it is always best to understand its basics before working on the write-up. You should always proofread the content to identify the errors and make the necessary changes in your copy. Content writing services experts in the market can also help you with guaranteed successful results.

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LEARNING HOW SCIENCE CAN BE FUN? Kids are highly curious about the world around them. Any parent knows that at a very early age kids begin to ask lots of “why” questions. Their questions have to do with real life and are therefore important to them. Kids are also astute observers. They automatically observe, think, and do. In naturally seeking real answers to their real questions kids progress further into the learning process. As a result, they begin to develop science skills such as observing, classifying, reasoning, and predicting. What is Science? Science is the study of the world around us. Chemistry, Physics, Biology and Environmental Science are just a few examples of the sciences that surround us every day. As per the general perception, Science is considered to be complex & least exciting for a kid, full of theories, hypotheses, observations and practical investigations. All these are supplemented with typical monotonous lectures in the school in most cases. Moreover, it is very difficult to attract the attention of students and make them understand the concepts of science. Kids are very fast learner and they have inherently inquisitive mind and hence if parents can ensure right direction, learning science can actually be simple, instead of being complex. Why Kids Should Learn Science - Science helps children develop key life skills, including an ability to communicate, remain organized and focused, and even form their own opinions based on observation. Science also helps children develop their senses and overall awareness. - Children are hands-on learners, and the world around them provides so many natural opportunities. That is why you should never underestimate the power of learning through play. Interacting with their environment will support their intellectual development. - Children are primed for learning, and what they learn while they’re young can impact their interests later in life. Studies have shown that students begin to develop an interest in science, technology, engineering, and mathematics (STEM) during the elementary years. Having an interest and knowledge in these subject areas provides future career opportunities. How Learning Science can be Fun This has been probably the most engaging ways to teach students for years in most cultures around the world. Students like to hear stories and it often leads to retention. Whatever they are being told in a story format, it is likely they will understand it better, relate to it better and remember it for a longer period of time. Teachers and parents can incorporate storytelling in while teaching different topics of science. In role playing, students get to play the role of a person influenced by an issue, both intellectually as well as physically. This method has proved to be very effective in helping students learn new concepts with much ease and improved retaining capacity. This has been a effective strategy in the physical world and currently many teachers are adopting this in the classroom settings. It is a proven fact that visuals hold the power of staying longer on our minds than words. If students are taught the complex scientific facts with a visual treat, it is likely they will be able to grasp it faster and longer. The multi-sensory experiences like drawings, diagrams and pictures help students to understand and memorize the concepts better while surfacing its practical application too. Sports Based Learning Applying their learning using their interests like sports and other games could prove to be really beneficial in teaching them real life science. With the game of football or cricket, students can inquire into concepts like motion, speed, acceleration in a very engaging manner. While this will help students to learn physics, it will also inculcate the spirit of the sports among them. There are various interesting online courses available which helps with experiential learning of a subject. With the help of 3D learning, detailed diagrams or illustrations of plants or body system can be shown to the students to help them understand it better. Technology is fast changing in the world and with the advent of AR / VR, learning will be much more interesting for kids. Parents need to stay updated with the latest developments and apply the technological innovations to teach their kids complex scientifical concepts with much ease.

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Each day, kindergarteners will be challenged to develop their skills across the curriculum. Oregon State Standards outline the concepts students are learning throughout the year supported by developmentally appropriate best practices to meet the needs of diverse learners. ENGLISH LANGUAGE ARTS & LITERACY Explicit instruction in the foundational reading skills is provided through individual, small group and whole group learning experiences. Through the integration of Common Core English Language Arts Standards (Source: ODE Standards website: Oregon English Language Arts and Literacy), research based practices and the Houghton Mifflin Harcourt Into Reading curriculum, students are instructed in all areas of literacy learning: - Child demonstrates awareness that spoken language is composed of words and their smaller segments of sound. Print and Alphabet Knowledge - Child demonstrates an understanding of how print is used (functions of print) and the rules that govern how print works (conventions of print). - Child identifies letters of the alphabet and produces correct sounds associated with letters. Phonics & Word Recognition - Child demonstrates knowledge and application of beginning phonics and word analysis skills in decoding CVC words. - Child reads common grade-appropriate high-frequency words by sight. Comprehension and Text Structure - Child demonstrates an understanding of narrative text structure through storytelling/re-telling and identifying story elements: character, setting, major events. - Child demonstrates an understanding of informational text structure through identifying main idea and key details of a text. - Child asks and answers questions about a book that was read aloud. - Child writes for a variety of purposes using increasingly sophisticated representation, conventions, organization and topic development of narrative, informational and opinion modes. Attending and Understanding - Child attends to communication and language from others. - Child understands and responds to increasingly complex communication and language from others. Communicating and Speaking - Child varies the amount of information provided to meet the demands of the situation. - Child understands, follows, and uses appropriate social and conversational rules. - Child expresses self in increasingly long, detailed, and sophisticated ways. - Child understands and uses a wide variety of words for a variety of purposes. - Child shows understanding of word categories and relationships among words. Mathematics provides a foundation for the learning of science and technology as well as for the interpretation of quantitative information in other subjects. It teaches how to reason logically and develops skills that students can carry into other disciplines and many situations in real life. Mathematics helps students understand how the world works while exposing them to some of its unanswered mysteries. Ensuring all students develop a solid foundation in mathematics is our challenge. (source: ODE Standards website: https://www.oregon.gov/ode/educator-resources/standards/mathematics/Pages/MathStandards.aspx) Lake Oswego uses enVisionMath for kindergarten, which addresses Common Core rigor in a way that's easy for students to understand. Kindergarten math curriculum covers these Common Core Standards: Counting and Cardinality - Child knows number names and the count sequence. - Child recognizes the number of objects in a small set. - Child understands the relationship between numbers and quantities. - Child compares numbers. - Child associates a quantity with written numerals and begins to write numbers. Operations and Algebraic Thinking - Child understands addition as adding to and understands subtraction as taking away from. - Child understands simple patterns. Number and Operations in Base Ten - Child works with numbers 11 to 19 to gain foundations for place value. Measurement and Data - Child measures objects by their various attributes using standard and non-standard measurement and uses differences in attributes to make comparisons. - Child classifies objects into given categories; counts the number of objects in each category and sorts the categories by count. (Limit category counts to be less than or equal to 10.) Geometry and Spatial Sense - Child identifies, describes, compares, and composes shapes. - Child explores the positions of objects in space. THE GREAT BODY SHOP is a comprehensive health education curriculum which is sequential, developmentally appropriate, culturally sensitive, and medically accurate. The lessons align with Oregon’s Health Education Standards and are embedded with social-emotional learning. Social Studies is an on-going interactive curriculum that is integrated throughout the kindergarten day. The National Geographic language arts program is packed with activities that promote community, awareness, positive social clues, vocabulary development and discovery of the uniqueness of the people and environment around us. MYSTERY SCIENCE is a curriculum aligned with Next Generation Science Standards (NGSS) and supports Common Core. It features rigorous lessons in science and enginerring that inspire students to love science. Each Mystery begins with a question that is explored through hands-on scientific investigations, discussion questions, engaging videos and experiences that connect to real-world phenomena and include the following disciplinary core ideas: - From Molecules to Organisms: Structures and Processes - Earth’s Systems - Earth and Human Activity - Motion and Stability: Forces and Interactions - Engineering Design All students visit the library to hear stories and check out books. Parents are encouraged to share the book with their child. Kindergarten students in Lake Oswego receive music instruction from a music specialist. A planned, balanced program includes creative rhythmic experiences, listening, appreciation, participation in singing games and dances, and having opportunities to play instruments. Kindergarten students in Lake Oswego receive physical education instruction from a P.E. specialist. A planned, balanced program includes the opportunities to develop fine and gross motor skills, cooperation, participation, good sportsmanship, self-control, listening skills, and practice following game rules.

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Let us take a jog down memory lane. Think about your favourite story or novel. What is the first thing you remember about the book? There is a very good chance, it is one of the main characters of the book. Memorable characters can make or break a story. Let us learn how to develop characters while writing a story. Development of Characters In any well-written story, the plot line is supported by some strong well-developed characters. And it is not just the main hero character, but even the supporting characters must be well written and fleshed out. Let us take a look at a few pointers we can keep in mind when writing characters for a story. Physical Characteristics of the Character The first thing you must focus on is the name you want to give a particular character. The important thing is that the name is memorable and relevant to the character. For example, if your character is a detective, then a name like Daniel Storm seems more appropriate then a run of the mill name like John Smith. The next step would be to determine the age of the character. Whether it is an adolescent boy or an old lady or a young child on his sixth birthday, the age of the character is essentially a very important detail of a story. And then you move on to their physical attributes depending on their age. Giving your character some unique physical characteristics will make the character stand out and be memorable. For example, the scar on Harry Potter’s forehead was such a smart move by the author. It tied up the whole story together beautifully. Browse more Topics under Writing - Descriptive Essay - Diary Entry - Formal Letters - Informal Letters - Letter Writing - Non-Classified/Display Advertisements - Story: Setting Developing a Backstory A complex and engrossing backstory just makes a character that much more engaging and believable. You must give the writer a reason for your characters current behaviour or motivation, and this is done via their backstory. A good place to start developing a backstory would be the character’s childhood. The family background of a character is also important. For example, if your protagonist is a lost soul, then his backstory could be one of his family abandoning him in unusual circumstances during his childhood. Take for example the backstory of Huckleberry Finn, and thus his lack of decorum and stability in his story. There are other factors you can also focus on when developing a backstory for a character, like his nationality, his schooling or even his relationship status. All these can be used to add layers to the characters personality. The Character’s Intentions and Motivation Here is where we will develop the crux of the story. Every good story must have a conflict. Whether you provide a resolution to this conflict or not, can depend on the story. But a good conflict is a necessity to give the story a purpose. Now this conflict can be an internal struggle the character faces. Say for example the character, Alex, must choose between living with his Mom or his Dad after their divorce. The conflict here is the choice he must make. It is his inner dialogue and struggle. To show and write his thoughts will be a part of his backstory. Another aspect you can include is the hopes and dreams of the character. This will give the readers a clear indication of what motivates the character to do or not do something. For example, you may have a character tired of the hustle bustle of his important job, and he is looking for a quiet place to pursue his dreams of being a piano player. This is what pushes him to finally quit his job. So as you can see, character development is a nuanced job and has many aspects to it. A well-developed character will take the story forward flawlessly and leave the reader with a lasting impression. Solved Question for You Q: A/An __________ character is one in whom the main character confides and thus helps reveal the latter’s personality, thoughts or intentions. Ans: The correct answer is “D”. A confidant or confidante is a character of the story who the protagonist will confide it. It will be a character the protagonist trusts and considers a friend.

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CRITICAL LENSES OF LITERATURE Adapted from Critical Encounters in High School English: Teaching Literary Theory to Adolescents By Deborah Appleman What is a Critical Lens? Literary criticism is an attempt to evaluate and understand the creative writing, the literature of an author. Literary criticism is a description, analysis, evaluation, or interpretation of a particular literary work or an author's writings as a whole in an attempt to expose the hidden ideologies embedded in those texts. Critical Lenses are different perspectives through which the reader can “view” a text. A necessary first step in understanding Literary Criticism is the acceptance of multiple perspectives in literature as valid interpretations of text. This means there is no “single theory, perspective, or “truth” about… literature we read together and how we teach it.” (Applebaum 10). In other words, there are multiple correct answers… so what matters in determining the validity of an interpretation is how you support your answer. Multiple Perspectives: Remember This? Do you see the rabbit or the duck? Do you see the old woman or the young woman? Two Sides to Every Story The True Story of the Big Bad Wolf The Different Lenses Gender Social Power/ Marxist Criticism Biographical Archetypical Reader Response Formalist Historical Postcolonial Structuralist Deconstructionist Psychological Some lenses lend themselves to certain texts better, but there is no “right” lens to read with each text. Examines the gender roles and power structures at play in the literature Are there female or homosexual characters present in the work? What might the absence/ or limited appearance of these characters imply? (Why do no girl hobbits go on Frodo’s adventure?) Are the female or homosexual characters characterized in largely positive or largely negative ways? Is it stereotypical? Are they given characterization at all? What might this imply? Do the female or homosexual characters play an active role in determining their fate? Or are they largely objects that require action from male characters? Marxist Criticism Examines the portrayals of social class and power structures within the text Which characters in the work are from higher social class? Which are from lower? Who has the money, power, or advantage in the story? Who does not? What are the results of this? How do the different class portrayals work to reproduce or maintain certain social beliefs and practices? The word “archetype” means a recognizable pattern or model in storytelling from around the world. This is thought to reflect “universal, even primitive, ways of seeing the world” (Applebaum 142). We can recognize archetypes in the kinds of stories told, the themes or situations apparent in them, and the kinds of characters that appear in them. Some of the best stories play against the archetype to create “surprises” for the reader. How is the hero similar to heroes from other stories? How is the villain? Sidekicks? What common themes or situations can we see between this story and other stories we’ve read? What common symbolism is apparent in this work? Reader Response Criticism Assumes that the reader is responsible for making meaning from a story, and downplays the author’s role in the process. The reader’s relationship to events within the text or ability to relate to experiences within the text is an important part of the reading experience. How did this text make you feel? What parts were you able to identify with? What did it remind you of? Each of these questions is a valuable part of the reading process. Historical Criticism Assumes that readers should know the historical context (circumstances) of the time during with the author wrote or the setting of the story. How does the historical setting of the story influence the events of the story or the themes that are present? How does the context of the times during which the author wrote influence these factors? Assumes the literature written by colonizing forces (I.E. Western Literature) downplays or minimizes the effect of colonization, or somehow justifies the colonization of that population. How are colonized people portrayed if referenced in text? What cultural conflicts exist? How are they resolved? How are the colonized portrayed as “Others” within the text Postcolonialists will look at the “Others” perspective in the story, and try to find the counter-narrative embedded in every story. The Big Bad Wolf’s version of events, for example. Critical Lenses of The Lion King Feminist/Gender: Can be viewed as the helpless role females have in society. The female lions are used to provide food and care for the young yet it is the males that have all the power. When Mufasa dies his power transfers to either his son or his brother. His wife is never even considered. Nala is also clearly “stronger” than Simba yet she is considered inferior. Marxist: Can be viewed as the upper class (lions) trying to maintain power over an unhappy lower class (hyenas). The lower class resents the privileges of better food and hunting grounds that the upper class maintains. This conflict causes a rebellion, which disrupts the normal social order causing chaos and destruction. Psychoanalytic: Can be viewed as a classic case of sibling rivalry—Scar is savagely jealous of his much stronger and might I say better looking older brother. Can also be viewed as the classic struggle to overcome feelings of guilt or inadequacy—both of which Simba has after the death of his father. Narratology: Simba represents the classic hero quest. Simba suffers from a loss of a father figure and must go off on a journey to grow into his destiny. During his journey he meets tricksters (Timon/Pumba) who also act as his helpers and finds a mentor (crazy monkey with a stick). Nala also acts as the herald as she upsets the sleepy equilibrium in which the Simba has lived and starts his growth. He then has enough strength (mental and physical) to overcome the villain and restore everything to order. © 2023 SlidePlayer.com Inc. All rights reserved.

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- Why communication skills matter? - What is creative therapy? - Benefits of creative therapy - Creative therapy techniques that improve communication skills Effective communication skills are important in almost every aspect of life and can lead to better relationships, stronger careers, and increased productivity. Good communication skills allow one to get their message across clearly and effectively, while poor communication skills can lead to misunderstandings, frustrations, and conflict. In a work setting, good communication skills can help your child build strong relationships with their colleagues and clients, which can lead to better collaboration and increased productivity. In personal relationships, these skills can help them better understand and connect with others, leading to stronger and more fulfilling relationships. Overall, effective communication skills are essential for success in one’s personal and professional life. A major contributing factor to strong communication skills is the use of creative therapy. Creative therapy is a form of psychotherapy that uses various forms of self-expression, such as art, music, writing, and movement, to help individuals explore their thoughts and emotions. The goal of creative therapy is to help individuals understand and work through difficult emotions and experiences, as well as to promote personal growth and self-awareness. Creative therapies can be used to help people of all ages with a wide range of psychological and emotional issues. For example, art therapy may be used to help children who have experienced trauma express their feelings in a safe and nonverbal way. Similarly, music therapy may be used to help individuals with depression improve their mood. Creative therapies can also be used to help individuals with developmental disorders, such as autism, improve their communication and social skills. It is important to note that creative therapies are usually provided by therapists who have specialized training in a particular modality (art, music, writing, or movement) and have a strong understanding of the underlying psychological principles and techniques. Creative therapy works by allowing the individual to explore and process difficult feelings, thoughts, and experiences. It can help individuals connect with their emotions and inner selves, gain insight and clarity into their problems, and develop new ways of thinking and behaving. Creative therapy is often provided in addition to traditional talk therapy, which allows one to explore and understand different aspects of themselves in a unique and holistic way. This can help reduce resistance to therapy and increase the chances of making lasting changes. Creative therapy can be beneficial for children in a variety of ways. Some of the main benefits include: 1. Emotional expression: Children may have difficulty expressing their emotions verbally, but creative activities such as drawing, painting, and sculpting can help them communicate their thoughts and feelings in a nonverbal way. These activities provide many avenues of self-expression for them. 2. Stress relief: Creative activities can provide an outlet for children to release pent-up emotions and tension, which can help to reduce stress and anxiety. 3. Self-esteem and confidence: When children create something that they are proud of, it can boost their self-esteem and confidence. This can be particularly beneficial for children who may struggle with self-doubt or insecurity. 4. Problem-solving: Many creative activities require children to think creatively and come up with solutions to problems. This can help develop problem-solving skills and critical thinking abilities. These activities also enable a child to step out of their comfort zone and think of things from different perspectives. 5. Socialization: Creative therapy can also be a great way for children to socialise and interact with others. Group art or music therapy sessions can be a fun and safe way for children to bond with their peers and build relationships. Creative therapy can also provide a child with a safe environment where they can meet other kids who think or behave like them. 6.Learning and Understanding: Being involved in creative activities allows kids to understand and learn the process of creative thinking and experience the sense of accomplishment that comes with it. They develop fine motor skills, their spatial awareness improves, and they learn to be patient and persistent. It’s important to remember that creative therapy can be tailored to meet the specific needs and interests of each child and can be a fun and engaging way for children to work through any challenges they may be facing. Some creative therapy techniques that help kids come out of their shells and improve their communication skills are: Children can use art materials to express themselves and communicate their thoughts and feelings through drawings, paintings, and other forms of art. One creative art therapy technique for developing children’s communication skills is the use of storytelling through art. This can involve having the child create illustrations to accompany a story they have written or verbally shared, or creating a collaborative story through a series of drawings created by the child and therapist together. This can help the child express themselves more effectively through visual means, as well as provide a non-threatening way to explore and communicate their thoughts and feelings. Play therapy is a form of psychotherapy that uses play as a medium for children to express their thoughts and feelings. It allows children to communicate in a non-verbal and non-threatening way and can be especially helpful for children who have difficulty communicating verbally. During play therapy, a child is typically given access to a variety of play materials, such as dolls, action figures, art supplies, and games, and is encouraged to play in any way that they wish. The therapist observes and interacts with the child as they play, using the child’s play to gain insight into their thoughts and feelings. Through play therapy, children can learn to express themselves, communicate their needs and wants, develop social skills, and learn problem-solving strategies. It can also help them process and cope with difficult experiences or emotions, such as grief, trauma, or anxiety. It is often used to help children who have experienced trauma, have behavioral problems, have difficulty with communication and social interaction, or have experienced some mental health diagnosis as well. Overall, play therapy is beneficial for children for a wide range of issues and can help them develop their communication and other life skills. 3. Drama therapy: Drama therapy is a creative therapy technique that uses the medium of role-playing and storytelling to help children and adolescents develop their communication skills. Drama therapy can also help children develop social skills, such as cooperation and empathy, as well as improve their self-esteem and self-awareness. Techniques used in drama therapy for kids include role-playing, improvisation, and storytelling, as well as the use of puppets, masks, and other props. It is usually led by a licenced drama therapist who is trained to facilitate these activities to reach specific therapeutic goals. Children can use music to communicate their emotions and experiences and to improve their listening and verbal skills. Creative music therapy can help children develop their communication skills in a number of ways. One key way is by using music as a nonverbal means of expression. Children who have difficulty expressing themselves verbally can use music to communicate their emotions and thoughts. Additionally, music therapy can help children develop their social skills by encouraging them to interact with others through musical activities. This can help children learn to take turns, share, and work together. Music therapy can also help children develop their language skills by incorporating verbalization and vocabulary building into therapy sessions. Overall, the use of music therapy can provide children with an enjoyable and non-threatening way to develop their communication skills in a way that traditional speech therapy cannot. 5. Dance therapy: Dance therapy can help children develop their communication skills in a number of ways. Some of the key ways that dance therapy can help children improve their communication skills include: Dance therapy can help them become more aware of their own emotions and communicate them more effectively through body language and facial expressions. Through mirroring and partner work, children learn to understand the emotions and behaviours of others and express them through movement. This can help them to develop empathy and to communicate more effectively with others. Dance therapy often involves group work and partner work, which can help children learn how to work effectively with others and to communicate effectively with their peers, thus inculcating in them the spirit of teamwork and cooperation.

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Types Of Writing For Students When it comes to writing, there are various types of writing for students and while some of these may be fairly obvious and simple, others are not and require more detail and knowledge than what students are used to. Some of these various types of writing for students are something that they are familiar with because they have had to do it since kindergarten or first grade. Other types of writing for students are relatively more advanced in nature and these are the ones that students need to familiarize themselves with. One of the various types of writing for students is creative writing. This type of writing requires the student to use his or her own imagination to write a story, poem or such like to be able to explain and put what he/she is imagining or thinks of a topic in writing. So they may be given a topic that is about, say, Aliens or Dinosaurs, for example, and then, they would be required to write a story about these. They are to express their knowledge and imagination via this form of writing on paper. Essay writing is another of the many types of writing for students. An essay may be about something factual, which students have been taught about or something fictitious, which they have an idea about. So, they may be required to write an essay on ‘Myself’ which is an example of a factual essay because the student explains himself through words and tells what he or she does or does not like and such like. This is more of an autobiography but a less mature version of it. Such writing is taught to students in their younger years and in lower classes. Then, another of the various types of writing for students is academic writing. Academic writing, as the name suggests, has more to do with a course or a topic related to a course which the student would have to research upon and find material for from different sources. This material can be found online, in books, journals, articles or textbooks as well. The idea is to carry out thorough research and then, come up with a well-explained and thoroughly researched material regarding a topic. So supposedly someone may be required to write about ‘English in Japan’- they would have to be able to carry out research to be able to come up with a good academic piece. Descriptive writing is also included in these types of writing for students. As the name of this form of writing suggests- it merely requires students to describe something or someone. The focus is more upon the description than conversations between characters. Mostly similes, metaphors and references are used to describe something or someone. A good example of these types of writing for students is Oscar Wilde’s ‘The Picture of Dorian Gray’ which is full of description and the focus on conversation is relatively less. There are many other types of writing but these are just some examples.

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The bodies of all living things have cells. However, cells cannot function properly without the presence of certain substances, such as lipids. Lipids are a group of naturally occurring molecules that include animal fats, vegetable fats, certain vitamins, triglycerides and phospholipids. At first glance, triglycerides and phospholipids appear very similar. But they have slightly different chemical structures and serve differing functions. TL;DR (Too Long; Didn't Read) Triglycerides and phospholipids are both lipids that serve certain functions in the body. However, they differ slightly in structure and function. Triglycerides have glycerol and three fatty acids, which makes them fats. Phospholipids are not fats, since they have glycerol, two fatty acids and phosphorus. Phospholipids are more essential to the formation of lipid bilayers, which maintain cell membrane structure, than triglycerides are. Fat cells store triglycerides, while phospholipids help break down fats in the body. Structure and Functions of Triglycerides Triglycerides are a kind of fat found in the bodies of both plants and animals. In plants, triglycerides appear in oils such as peanut oil, while in animals triglycerides live in fat cells. In both plants and animals, triglycerides share the same structure. A single triglyceride molecule has glycerol and three fatty acids. Triglycerides serve several functions in the body. First, they help maintain the structure of cell membranes by forming a lipid bilayer. This helps keep the inside and outside of cells separate, so organelles cannot drift out of the cell, and foreign substances cannot get in, except under special circumstances. Triglycerides, like all fats, also store energy. When an animal or human eats, any calories from its food, which are not used right away get converted into triglycerides and stored in fat cells. In humans, high concentrations of triglycerides can lead to more visible body fat, as well as an elevated risk of certain diseases, such as heart attack and stroke. Besides storing energy, triglycerides, like all fats, also provide some thermal insulation, which is particularly important for animals and humans living in cold environments. Because body fat cushions some internal organs, it can help absorb shock and protect organs, in the event that an animal or human is badly injured. Triglycerides also help to give food its flavor. Structure and Functions of Phospholipids Phospholipids are similar to triglycerides, but they do vary slightly in form and function. While triglycerides have glycerol and three fatty acids, phospholipids have glycerol, two fatty acids and a phosphate. Phosphates are molecules with charges and have oxygen and phosphorus. Because fats must contain three fatty acids by definition, phospholipids are not fats, as triglycerides are, despite their similarities. Like triglycerides, phospholipids are crucial to the formation of lipid bilayers, which help maintain the structure of cell membranes. However, phospholipids have a more rigid chemical structure than triglycerides do, so they make cell membranes tougher and help them to hold their shape better than triglycerides alone could. Fat cells do not store phospholipids. Instead, phospholipids help break down fats during the digestive process. In the small intestine, bile is an alkaline fluid that helps to break down food. Phospholipids exist in bile and specifically help to break down fats. Most animals, including humans, can make enough phospholipids on their own that they do not need to seek out phospholipids in food. This is not the case with triglycerides, which are an essential nutrient, and make up the bulk of an animal's fat intake. About the Author Maria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.

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Childhood is a critical time in a person’s life because it is a time of rapid physical and mental development. Children between the ages of three and seven are especially important because they reach critical developmental milestones that lay the groundwork for their future physical, mental, and social-emotional development. A person’s height and weight increase during this age range, as do their motor skills and coordination and balance. As children’s bodies develop and change, it is critical for parents and other carers to ensure that they eat well and get enough exercise. Children should be able to engage in age-appropriate physical activities such as running, jumping, climbing, and playing games. These activities can assist in the development of their gross motor skills, hand-eye coordination, and fine motor skills. Language, memory, attention, and problem-solving abilities all develop during this time. Children are naturally curious and eager to learn, and what they do now has a significant impact on how they learn and think in the future. Parents and other carers can aid a child’s brain development by providing an engaging environment that encourages exploration and learning. This can be accomplished by having children read books, play educational games, and engage in activities that encourage critical thinking and problem-solving. Self-awareness, empathy, and social skills are all important aspects of social and emotional development at this age. Children learn how to interact with others and understand their emotions. They also learn to control and express their emotions. Parents and other carers can aid a child’s social and emotional development by providing a safe space for them to express themselves and form positive relationships with others. Engaging in social activities with peers, modelling appropriate social behaviours, and providing emotional support and guidance are all examples of this. Overall, the childhood development period for ages 3 to 7 is a critical time in a child’s life that lays the groundwork for future growth and development. Parents and other adults who care for children must ensure that they receive proper nutrition, encourage physical activity and play, create a stimulating and caring environment that aids cognitive development, and promote healthy social and emotional growth. Children are more likely to reach their full potential and develop into healthy, happy, and well-rounded individuals if this is done. Childhood is a time of rapid growth and development, especially between the ages of 3 and 7 years. During this period, children experience significant physical, cognitive, social, and emotional changes. Understanding these changes is critical for parents and carers who want to help their children develop during these critical years. Children grow significantly physically between the ages of 3 and 7 years. They gain coordination, better balance, and greater control over their movements. Fine motor skills develop in children, allowing them to manipulate objects with greater precision. Gross motor skills improve as well, and children gain confidence in running, jumping, and climbing. It is critical to engage children in physical activities to help their bodies grow and develop. Kids can improve their coordination, balance, and strength by dancing, jumping, and participating in sports. Development of the Mind: The process by which children learn, think, and solve problems is known as cognitive development. Children’s cognitive abilities develop rapidly between the ages of 3 and 7 years. They become more capable of understanding complex ideas and concepts. During this time, children’s language skills also rapidly develop. They begin to form complex sentences and learn new words. As they try to make sense of the world around them, children become more curious and begin to ask more questions. It is critical to keep children busy with activities that encourage learning and exploration in order to help them develop their minds. Reading books, playing educational games, and encouraging children to ask questions are all excellent ways to help them learn and grow. Social and emotional growth: Social and emotional development teaches children how to interact with others and deal with their emotions. Children become more social and begin to form friendships between the ages of three and seven. They also become more aware of their own and others’ emotions. It is critical to encourage children’s social and emotional development by encouraging them to express themselves and interact with others. Teaching children to be kind and respectful of others can help them make good friends. Parental involvement is essential during this time. Parents should provide children with a safe and nurturing environment that allows them to explore and learn about the world. As they develop their social and emotional skills, children require guidance and support. In conclusion, the years between 3 and 7 are very important for a child’s growth and development. During this time, children go through significant physical, cognitive, social, and emotional changes. Parents and carers can help children develop by encouraging physical activity, engaging them in learning and exploration activities, and providing a safe and nurturing environment in which they can develop positive social and emotional skills. Some additional points to consider regarding childhood development for children aged 3 to 7 years: Physical development: At this age, children’s gross and fine motor skills are rapidly developing. They practise running, jumping, climbing, throwing and catching balls, drawing and writing with pencils, and manipulating small objects. Parents and other adults who care for children should ensure that they have opportunities to play and be active both inside and outside. They are becoming more inquisitive and curious, asking numerous questions and attempting to comprehend how the world works. It’s important to provide opportunities for exploration, discovery, and problem-solving, such as through puzzles, games, and creative play. Social and emotional development: Children of this age are also gaining social and emotional skills. They are learning to communicate their wants and feelings, to share and take turns with toys, and to make friends. It is critical to provide opportunities for social interaction and to teach children healthy emotional management. Language development: Children’s language skills are rapidly developing during this stage. Every day, they learn new words and phrases and begin to use more complex sentence structures. Reading to children on a regular basis, encouraging conversation and storytelling, and providing opportunities for language development through games and activities are all important. Independence and self-care: Children in this age group are becoming more independent and learning basic self-care skills, such as dressing themselves and using the toilet on their own. It is critical to encourage and support children’s growing independence while also providing necessary guidance and supervision. Overall, the age range of 3 to 7 years old is critical for children’s development in many areas. Parents and carers can help children reach their full potential and develop the skills they need to thrive by providing a safe, supportive, and stimulating environment.

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30 January to 5 February is National Storytelling Week 2023. During this time, teachers will share stories with you, their tips for storytelling, and encourage you to read more in your free time. But why is storytelling important, and why is there a whole week dedicated to it? Why storytelling in English is important By reading and listening to stories in English, we can become better storytellers ourselves. In everyday conversations, we often tell someone a story about something that happened to us or someone we know. Listening to stories can help us express and explain ourselves better. We can understand the structure of a story and learn new language in context. We can also learn how to make our own stories engaging and enjoyable. Storytelling allows us to practise important skills such as understanding and making conclusions. Sometimes, the message in a story may not always be 100% clear, so we need to use our prediction skills to understand the true meaning of the story. Storytelling can also teach us about different cultures and traditions and gives us the opportunity to share our own experiences. Tips for storytelling in English There are some storytelling techniques you can use to make your stories fun and interesting. Here are our top tips for storytelling: 1. Make sure your story is an appropriate length Think about the age of the audience. - Will they be able to listen for 10 minutes, or would a shorter story be more appropriate? - Will they be able to read a whole page of your story, or would a short paragraph be better? 2. Make sure the reader/listener understands the language Whether you’re telling a story about yourself or reading a story to someone, think about the language you’re using. - Will the listener understand? - Will you have to explain some of the words? - Will the reader have to look them up in an online dictionary? 3. Use pauses You can pause before you say a funny or surprising part of your story so the listener can think and guess what you’re going to say, before you say it. That way, the listener will feel engaged and a part of the story. They will also want to continue listening, as they’ll be interested in what happens next. If your audience is reading your story: - use … to add suspense - use ! to show excitement or surprise You can also ask the reader questions to think about, e.g. Can you guess what happened next? 4. Make it fun! Choose stories that are interesting for the listener, and that they will enjoy listening to. If you tell a story about yourself, don’t be afraid to make it funny. You could use your body language and facial expressions. Many people say they understand a story through showing as much as they do telling. You can also use your voice to show your emotions and add fun. For example, you could speak at a higher pitch to show surprise, or speak in a deeper voice to add fear. 5. Read and listen to stories An excellent way to practise your storytelling skills is to listen or read other stories as much as you can. By doing this, you can pick up some storytelling techniques from other people, to use next time you tell a story. Now, it’s your turn! Share a story about yourself or someone you know. It can be a true story or made up. Use your creativity and the tips above to make your story fun and engaging. Read more about creative writing in English to help you structure and plan your story. Billie Jago is an ELT writer and teacher trainer, specialising in digital & assessments. She is the founder of the professional development podcast ELTcpd and co-founder of the digital ELT content agency, otterelt.

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POP Cultures: New Zealand (Maori) Official Name: New Zealand Indigenous Peoples: Māori (tangata whenua – the people of the land) Official Languages: Māori, English Political Status: Citizens of New Zealand Population: 500,000 Māori (living in New Zealand) Greeting: Kia ora History and geography Before World War II, most Māori lived with other members of their tribes in rural areas of New Zealand. During the 1940s, many young Māori not eligible for military service worked in industries in the cities. From the 1950s, there was a growing demand for labor in the cities, and by 2013, 84% of Māori were living in towns or cities. Most headed to the cities in search of work, but they were also hoping for money, fun and adventure. Initially, some Pākehā (New Zealanders of European descent) resisted the migration of Māori, but over time, friendships developed and intermarriage increased. The government encouraged Māori to leave rural areas, and to adapt to European society. By the 1960s, there was a generation of young Māori who had been born in the cities. Many did not know about their tribal roots. Ancestors of Māori arrived on canoes from Pacific islands before 1300 AD. Settling first on the coast, they hunted seals and moas (large birds). Then they also began to grow food, and some moved to the forests. They lived in small tribal groups, with a rich culture of spoken stories and strong traditions of warfare. Their ancestors and the gods of the natural world were very important. The arrival of Europeans from the early 1800s had a major effect on these early communities. Among the newcomers were missionaries, and many Māori became Christians. They learned to read and began trading, especially in pigs and potatoes. In 1840 the Treaty of Waitangi established British law and government, but it could not prevent warfare in the 1840s and 1860s, as Māori sought to defend their lands and local authority. After the wars, Māori lost land through confiscation and sale, mostly to British settlers. In the first half of the 20th century, important leaders such as Āpirana Ngata and Te Puea Hērangi worked to make life better for Māori and to revive the culture. There was a new interest in the language and in arts such as carving and weaving. After World War II many Māori moved to the cities in search of jobs. In the 1970s and 1980s groups protested about their rights to land, and helped promote the language and culture. Important events were a march down the North Island to Parliament in 1975, setting up the Waitangi Tribunal in 1975 to look at land claims, and protesters occupying Bastion Point in Auckland in 1977–78. In 2004, there were over 500,000 Māori people, mostly living in cities. There were kōhanga reo (preschool language nests) and schools using the Māori language, a Māori television station and 20 radio stations, 16 Māori members of Parliament, and many creative projects in film, music and art. Arts and culture Māori are well known for their fierce dances. Kapa haka are traditional Māori dances performed by a group standing in rows. Tribes’ reputations were based on their ability to perform haka (dances) and the expertise of the haka leader. There are many different types of haka, appropriate for different occasions. Waiata (songs) are also an important part of kapa haka. Traditionally, the first kapa haka was associated with the chief Tinirau. He told a group of women to perform for his enemy, Kae. Māori storytelling, carving and weaving are also important cultural traditions.

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Grade 5 Curriculum Religion Grade 5 students explore the Sacraments. The year is broken down into the three categories, Sacraments of Initiation, Sacraments of Healing, and Sacraments of Vocation. Students will continue to study the saints and strive to answer God’s call. Students will practice utilizing the bible to explore the Old and New Testaments. Liturgical seasons and traditions will be highlighted. Students will also participate in weekly liturgies and have various service opportunities throughout the year. Math In fifth grade math, we use Sadlier Math 2019. We start off the year by reviewing place value, addition, and subtraction, which we learned from fourth grade. We will use these skills to learn about place value with decimals and how it differs from place value with whole numbers. After place value and decimals, we will work on our multiplication and division facts and skills. These skills will help us to learn about fractions and how to add, subtract, multiply and divide them. We will spend a few chapters on these skills with fractions as they will be relevant in middle school next year. Once we have mastered our skills with fractions, we will work on decimals for the next few chapters. We will learn how to add, subtract, multiply and divide decimals. After we have worked with decimals, we will move right into measurement, geometry, volume, and working with graphs and data. While learning these skills, we utilize technology with videos and interactive computer games. We also use IXL every night to ensure that skills being taught in class are still present while at home. We do individual and group activities to enhance skills being taught. In our classroom, we learn skills that will help to prepare ourselves for middle school skills. Science In fifth grade science, we use the Nancy Larson program. This program gives us access to a variety of interactive videos, activities, and tools to learn about each topic. We start off this program by exploring the universe and all of the parts that make up the universe. After astronomy, we will break down chemistry and work on structure of matter and investigating matter’s interactions. When we have finished chemistry, we will learn about the Earth’s systems and different life cycles of the Earth. We will then learn about forces and motion as well as tools and machines. Our science program will provide students with their own booklets for them to work in and do activities. These booklets will have charts for students to fill in as well as different activities. We focus on key words and make sure we define them and highlight them in our books. Vocabulary Sadlier Vocabulary Workshop program uses a variety of tools to implement new terms into student’s vocabulary. Each unit (18 total) begins with a passage that introduces the new terms and how they are used and what they sound like. Other activities include synonyms and antonyms, matching definitions, pronunciation, parts of speech and how they are used in sentences. Each unit also helps students build vocabulary beyond the unit words such as learning word parts (prefixes and suffixes and roots to decode unknown words) as well as learning different meanings of figurative language such as idioms, proverbs, similes and metaphors. Grammar In Voyages in English, students learn a multitude of different ways of understanding grammar and writing. This includes analyzing, arguing, and applying methods of effective communication. Students learn a total of eight chapters with each chapter divided into eleven lessons. These lessons include nouns, pronouns, adjectives, verbs, adverbs, prepositions – conjunctions - interjections, sentences, and punctuation/capitalization. Bonus chapters also include multiple writing techniques such as: personal narratives, How-to articles, business letters, descriptions, book reports, creative writing, persuasive writing, and research reports. Reading The HMH Into Reading curriculum builds students’ understanding of academic vocabulary and real-world topics by using critical/strategic thinking and reading skills. Each module teaches students how to recognize and use citing text evidence, genre characteristics as well as increasing knowledge in various content areas to build/make meaning of the readings. Each Module is organized into central ideas and questions with five readings in each module. Central ideas for each module in fifth grade are: Inventors at work, What a story, Natural Disasters, Wild West, and Project Earth. Each story also ends with collaborative discussion questions as well as short writing exercises. Students complete summative essays at the end of each module by using the information and knowledge that they learned and apply those skills into writing assignments. Social Studies Each Chapter begins with the Big Questions where students are introduced to the topic, grounded in the instruction, and encouraged to draw upon and apply previous knowledge. A Jumpstart activity is designed to activate the topic at the opener in fun and engaging ways. Finally, the Sing/Rap about it feature introduces students to chapter vocabulary in the form of a song or rap. The Quest activity is an inquiry project that takes place over the course of the entire chapter. Students are presented with a real-world problem & students apply their knowledge and demonstrate their understanding in a final project (essay, discussion, presentation, physical/digital product. Reading checks are also provided to check for understanding of what was previously read, content vocabulary as well as increasing word skills, writing skills, Map and graph skills, critical thinking skills and literacy skills lessons in which students apply and demonstrate their learning. Specific areas learned are: The first Americans, Age of Exploration, Settling the Colonies in North America, Life in the Colonies, the American Revolution, A New Nation, Life in the Young Republic, Westward Expansion, Civil War and Reconstruction.

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Dance, music and theater programs may make frequent appearances on school budget-cut lists, but eliminating the performing arts from education could have costly effects for students. A 2012 report by the U.S. Department of Education revealed a significant drop in the availability of performing arts programs compared to a decade ago, reports the National Education Association. The performing arts not only provide opportunities for students to develop creative passions but also teach communication, language and leadership in unique ways that inspire individualism. Making Students Self-Aware Participating in performing-arts programs helps students develop a stronger sense of individualism, self-reflection and self-esteem. Participating in these activities helps them learn to commit to a task; prepare themselves emotionally, physically and mentally; and work toward the goals of mastering and sharing their skills. For example, musicians must commit to an individual practice schedule to aim for a successful concert, while actors must tap into the particular experiences of their characters to achieve a realistic performance onstage. As they engage with these skills, students learn to critique their abilities, recognize their strengths and weaknesses and make plans to acquire new skills. Improving Academic Performance Students who work individually to hone their performance skills ultimately reap the benefits of better grades and test scores. Students who participate in arts programs are more likely to take advanced math courses, graduate from high school and go on to college than those who don't, summarizes a 2012 report by the National Endowment for the Arts. Similarly, the organization Americans for the Arts reports that in 2012 students who took four years of performing arts courses in high school scored 100 points better than students who took less or no courses. Strengthening School Community The strong sense of individuality and high level of achievement associated with performing-arts education ultimately affects students' relationships to the school as a whole. Involvement with theater, music and dance creates strong relationships between students, teachers and advisers, reinforcing their identity within their educational community. Collaborating with other students in artistic settings can also provide opportunities to encounter different cultures by working with different types of music or plays of different subject matters. This can help students build higher levels of tolerance and understanding for others and become more willing to work with people who are different from them. Preparing for Future Careers While not all students involved with the performing arts may plan to pursue them professionally, the Arts Education Partnership states that participating in dramatic and musical programs can help them develop skills that are a growing necessity in the 21st-century workplace. Participation in the arts inspires greater creativity -- an increasingly valued skill in work environments; working with others as part of a music ensemble or cast of a play can create stronger communication and teamwork skills. In addition, the strong sense of individualism the performing arts inspires can help students grow up to be stronger career leaders. 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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Is There Another Way to Engage Learners in STEAM? Building on the acronym ‘STEM’ (Science, Technology, Engineering and Mathematics), ‘STEAM’ merges the arts. The significance of incorporating the arts into STEAM has been recognised more recently and its role should not be undermined. Without the arts, which includes roles like a web or graphic designer, you begin to wonder how successful organisations would truly be. Although mathematics and science remain popular study areas, it has been found that students are less involved, and potentially less interested, in the arts, technology and engineering. The digital arena rapidly evolving opens up new careers and encourages lifelong learning. Currently, STEAM roles typically fulfil the stereotype of being primarily a white male domain. This race and gender imbalance significantly impacts the success of STEAM; ways to combat and correct this should be an ongoing focus to achieve deeper integration, overlap and collaboration. Actively Using Digital Platforms Story-telling visuals in learning environments could illustrate a career journey; visuals could focus on women and the black, Asian and minority ethnic community. The story could highlight not only the individual’s success, but offer insight as to how they got to that stage of their career. Importantly, the content should not shy away from communicating failures and challenges along the way. This could be more relatable, encouraging and realistic for the individual watching. Through use of technology, West Calder High School in Scotland recognises the art of storytelling: the way it engages, motivates and impacts its audience. West Calder has utilised inspirational characters from a variety of sectors tailored to each department. For instance, writers in the English department, sportspeople near the gymnasium, and renowned scientists in the Science department. When using interactive graphics, techniques must be considered which ensure they are not passive, but engaging. Facilitating motion detectors could make the experience interactive and eye-catching. However, importantly, the content should be relevant as well as diverse. Utilising Collaborative Spaces Each year Space Zero – an organisation who specialise in designing learning environments – invest time and money into projects which they believe will provoke discussion and increase innovation. Space Zero have considered the idea of break out spaces near story-telling visuals to provoke discussion. Space Zero’s ideas have actively thought about ergonomics which facilitate options for relaxed discussion, observation opportunities through seating variation, and standing tables for brainstorming. West Calder High School additionally understand the significance of integration, overlap and collaboration across distinct fields to encourage discussion and generate interest. For instance, the mathematics and science department at West Calder provides a large singular learning space, with the option of folding screens to separate the disciplines. Evidence has indicated that the collaboration and overlap between the subject areas has generated more engaged learning. Constantly updating story-telling content, with spaces nearby to encourage discussion and collaboration, may stimulate new ways of thinking. Offering inspiring content could be the foundation for assisting the next generation to re-evaluate their career aspirations, and succeed in the ever-evolving digital arena.

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Cerebral palsy is a group of disorders affecting the ability to move, maintain balance, and posture, and sometimes includes related conditions like intellectual disability; vision, hearing, and speech problems; and seizures. It is caused by damage to the developing brain in infants or abnormal brain development in utero and is the most common motor disability in children. Children with cerebral palsy need lifelong medical care to address the varying symptoms they experience. Many will need therapy for physical and behavioral needs, assistive devices to help with daily living, and medication for the pain and other medical issues that result. While treatment for cerebral palsy is unique to each child, learning about treatment options and the expenses associated with cerebral palsy can help you determine whether you and your family are eligible to file a lawsuit to obtain compensation for your medical expenses. Common Types of Treatment for Cerebral Palsy Your child’s healthcare providers can develop a treatment plan for your child’s specific needs. Treatment options include a range of therapies, adaptive devices, medications, and surgeries to help your child live a better life. A physical therapist can determine the best course of treatment for your child based on their motor skills and mobility when they begin physical therapy. Physical therapy can help your child improve motor function with various exercises to enhance muscle strength, coordination, balance, and flexibility. They can also teach your child how to walk, sit, and use adaptive devices like wheelchairs. Braces, splints, and casts help support and improve your child’s movement and balance. For example, children with scoliosis due to cerebral palsy often wear plastic braces to correct the curvature of their spine as they grow. These devices encourage proper physical growth and enable children to perform daily activities more easily or with less pain. A child with cerebral palsy may benefit from occupational therapy by improving their ability to perform daily activities, such as dressing and going to school. The occupational therapist assesses your child’s fine motor skills and perception to help them develop the skills they need to become independent. During occupational therapy sessions, children practice positioning, reaching, grasping, and releasing objects. Speech and Language Therapy Speech therapy helps to improve muscle weakness in the face, jaw, and mouth by having your child follow swallowing and jaw exercises to strengthen the muscles. Muscle weakness, if left untreated, can create difficulties with eating, chewing, and swallowing, which can affect your child’s physical development with cerebral palsy. A speech therapist can also use sign language or a communication device to teach new ways to speak and learn how to articulate clearly. Speech therapy during your child’s school years emphasizes improving social skills and interaction through storytelling, repetition of sounds, and maintaining eye contact. Special Devices and Technologies Assistive technologies, such as crutches, wheelchairs, or communication devices, can make everyday life easier for children with cerebral palsy. Electronic communication boards allow children to verbally express their thoughts and feelings by choosing letters, words, and phrases on the screen. This can significantly improve the quality of life of young children who may otherwise be unable to communicate their needs. Children with severe cerebral palsy and limited arm, leg, and hand mobility can use high-tech communication boards equipped with eye-tracking software. These boards can let them choose a symbol or letter by using their eyes to help them communicate with others. Mobility aids like orthotic devices, walkers, crutches, wheelchairs, and lifts can help those with mobility limitations from cerebral palsy. Most assistive devices can be adjusted as the child grows or can be made to fit their specific needs. Mobility aids can increase a child’s independence and improve their quality of life. The doctor may prescribe your child various medications to treat physical and mobility conditions caused by cerebral palsy. These are available through oral administration or as injections into the affected muscles. Prescription medications can treat the following conditions: - Intestinal reflux - Urinary incontinence - Inflammatory respiratory conditions Surgical intervention may be necessary for children with severe symptoms of cerebral palsy. Surgery can relieve stiff muscles, correct a curved spine, reduce tremors, and improve balance and coordination. Successful surgeries can increase your child’s chance of living independently, but it is typically the last option for many doctors who wish to attempt various therapies before opting for an invasive procedure. Receiving Financial Compensation for Cerebral Palsy The medical costs for treating a child with cerebral palsy are high and typically only increase over time as your child grows, develops new symptoms or conditions, or new treatment options become available. The cost of medical care for a nonambulatory child with cerebral palsy can be up to $43,687 per year, with lifetime costs going upward to $1.2 million. The unexpected medical care that children with cerebral palsy require leaves many families unprepared. A study found 40% of families with children with special health care needs report heavy financial burdens. Medical negligence and errors during prenatal care or delivery often result in preventable brain injuries that can cause cerebral palsy. If you believe your child’s condition was preventable, you need an experienced Indiana cerebral palsy lawyer from Wagner Reese Law to help you file a lawsuit. Your lawyer can investigate the circumstances that led to your child developing cerebral palsy and calculate the costs of current and future medical treatment your child will need as they grow older. Your lawyer will consider all the expenses for therapy sessions, assistive devices, prescription drugs, and surgeries your child requires to cope with their condition. Begin Your Cerebral Palsy Lawsuit with Wagner Reese Wagner Reese’s experienced lawyers and network of expert medical witnesses can help you calculate your cerebral palsy settlement and file a claim to get the compensation you deserve to help pay for necessary medical costs. With experience representing families burdened with medical debt, we know how to hold healthcare professionals accountable for birth injuries. Call us today to schedule your free, no-obligation case evaluation.

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How to Promote Social, Emotional, and Character Development There’s no need for funding or special training to bring these approaches and strategies into your classroom right away. As more and more schools adopt social and emotional learning standards and realize that students’ college and career success depends strongly on their social, emotional, and character development (SECD), teachers are looking for guidance as to how to bring SECD into their classrooms every day. Whether or not your class has a systematic curriculum, students benefit when SECD is part of academics and classroom conversations and procedures. Members of our Rutgers SECD Lab have the good fortune of visiting many schools in New Jersey, across the nation, and internationally. Culled from our observations of what teachers are doing in many schools, each of the eight areas below includes a list of strategies that you can introduce into classroom and school routines without any funding or in-service training. 1. Be a positive role model in your words and actions: - calm yourself down when you’re upset, - use a problem-solving process to help you make decisions, - reflect on what you have done and try to learn from it, and - live a life of social commitment and concern for others. 2. Respond to real-life situations by: - showing measured reactions to students’ behaviors, - offering students choice and voice, - providing opportunities for students to give feedback to each other, - noting the consequences of their choices, and - providing second chances when appropriate. 3. Read to students and use literature: - share biographies and autobiographies to highlight character virtues and use of positive SECD skills, - examine current role models and those from history, - work with students to examine the advantages and disadvantages of the internet, and - explore the work of scientists, mathematicians, artists, musicians, first responders, public officials, and those working in other fields, the problems they were trying to solve, and the decisions they made along the way. 4. Encourage writing as a means of expression by: - teaching students a variety of emotion words to use in their writing, - encouraging students to think about choices and consequences and effects on self and others, - identifying students’ goals and aspirations and how these connect to their everyday behaviors, and - having students use a personal journal with or without feedback to record interests, needs, ambitions, feelings, attitudes, and emotions. 5. Have conversations about character by: - relating personal and family stories, - sharing and listening to students’ experiences, - highlighting examples of kindness and of caring students in and around the school, - discussing real-life and fictional dilemmas and the choices and values they require, - reflecting on what motivates people and why they act the way they do, and - commenting on and improving the critical thinking skills of students, including time management, goal-setting, questioning, brainstorming, problem-solving, and ethical decision-making. 6. Advocate for participation and service in school and in the community by: - providing many opportunities for contribution to the everyday classroom community, - encouraging students to become involved in school activities, - recognizing when students volunteer and help others, - encouraging students to engage in cultural events and share what they experienced, - encouraging involvement in physical activities such as sports or exercise programs or other co-curricular activities, and - encouraging classroom and school community service projects. 7. Promote mindfulness in students by: - having mindful moments in your classroom at the start of the day and during transitions, - giving time for reflection at the end of the school day, or the end of a class or unit, about what was learned, how students’ learning was supported, and what questions students have for the future, and - teaching a self-calming strategy students can use when they anticipate or find themselves upset in a situation, such as before tests and performance situations or when in a conflict with peers. 8. Help students make better decisions about their health and relationships by: - having them set goals for something they can do to improve their health (nutrition, personal hygiene, sleep patterns), and - having them set goals for something they can do to improve their behavior (controlling strong negative emotions, stopping harassment and intimidation of others, acting more kindly and helpfully, and being more honest). The more frequently you integrate these strategies into the learning and teaching as routines, the more habitual they will become for students. When this happens, you will be building students’ social, emotional and character development in ways that will nourish and create positive habits in their interpersonal and intrapersonal relationships.

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The alienation effect, also known as the ‘distancing effect,’ ‘verfremdungseffekt,’ or ‘estrangement effect,’ is mainly used in theatre. The play’s characters, setting, and plot devices are intentionally distanced from those following the story. The audience won’t trust or identify with the storyline. They might be consistently reminded that they’re watching actors and following a story that someone wrote. Explore Alienation Effect Definition of the Alienation Effect The alienation effect is a feeling of distancing that a playwright or author creates in their work. When it’s used successfully, the reader or audience member will be constantly reminded of the artificiality of the literary work. This might be through revealing the actors are people simply engaged in a job, the set as a series of materials, etc. The illusion of the performance is disrupted, ensuring the metaphorical “fourth wall” never exists in the first place. In some instances, the playwright might include stage directions and require the actor to engage with the audience or to act ironically. The term was coined by Bertolt Brecht, who is best-known for plays like “The Three Penny Opera,” “The Good Person of Szechwan,” and “Mother Courage and Her Children.” He used it in his 1936 essay, “Alienation Effects in Chinese Acting.” Brecht noted in this essay that the alienation effect occurred when the audience consciously rejected what they were seeing rather than identifying with the characters and plot subconsciously. Alienation Effect Techniques There are numerous ways in which a playwright or author might use the alienation effect in their work. These include: - Captions explaining what’s going on on stage/screen. - Actors summarizing events that have just played out. - Exposing set functions, like ropes, pulleys, and extras. - Screen projections or placards. - Actors interacting with the audience members. - Bringing audience members on stage. - Intentionally poor or ironic acting. - The actor steps out of their role. - The actor speaks the stage directions. Examples of the Alienation Effect “The Hostage” by Brendan Behan “The Hostage” is one of the playwright’s best-known works. It follows an IRA kidnapping of a British soldier. It was initially received with mixed reviews but is well-regarded by most critics today. The play is non-realistic and uses the alienation effect to ensure the audience remembers this. The character burst into song and dance at seemingly random moments. “Mother Courage and Her Children” by Bertolt Brecht This commonly performed play is a great example of the lamination effect. The story follows Anna Fierling and her children, who struggle to survive. Over the course of the play, Fierling loses all of her children. The play conveys the powerful message that some people don’t care who wins a war as long as there is a profit to be made. The play is considered to be one of the best of the 20th century and perhaps the greatest anti-war play ever written. This play is notorious for the different ways in which it can be performed, especially depending on whether it’s in English or German. The actors might verbalize their actions and intentions, focus single-mindedly on one scene and ignoring the broader storyline, and more. Gestus and Spass These are two other Brechtian techniques that are often found alongside the alienation effect. Gestus is a technique that refers to a character’s movements. It’s a movement that captures a moment rather than an emotion. This means that an actor’s gestures took on added meaning and were studied intensively before a play was performed. This relates to Brecht’s interesting in creating types of characters rather than individuals. His plays usually featured characters like “The Girl” or “The Boss.” These people evoked the feeling of a particular type of person, and their movements were an important part of the role. Brecht also used guests to convey meaning in contextually different situations. For example, hugging someone who just committed a terrible crime juxtaposed against refusing to hug someone whose just done a good deed. Spass is another literary technique Brecht is remembered for. The word translates to “fun” and is connected to Brecht’s interest in making the audience think and laugh. Despite the reputation many of his plays have as being serious, he also used comedic moments to break the tension. This was usually in the form of a song, using slapstick comedy. Why Do Writers Use the Alienation Effect? Writers use the alienation effect in order to force the viewer to analyze what they’re seeing/reading more critically. They should be less emotionally attached to the characters and storyline because they are constantly reminded it’s fake. The audience is incapable of sitting back and allowing themselves to be consumed by the story. It takes them to a different place, one that constantly reveals itself to be fictitious. When the audience is successfully alienated from the storyline, they’re able to look at the characters and plot objectively. This might help a writer, like Brecht, who is known for engaging with political and social themes, convey a particular opinion. It might also help readers better note a character’s (or type of character’s) hypocritical features. Is the Alienation Effect Good to Use? The alienation effect is a wonderful example of how modernist theatre evolved during the 1900s. The fact that writers like Brecht were willing to compromise the central tenants of theatre to try something new makes the effect well worth studying and using. Working to ensure the audience never believes one’s story is a risky endeavor to engage with. But, it allows for a unique experience, one that prior playwrights hadn’t achieved. Brecht used this effect by having his actors perform in a certain way. They might read the stage directions out loud, use placards, prompters, or illustrations. They might also speak ironically as if they didn’t really believe what they were saying. The individual is unable to subconsciously connect to the storyline. They are constantly reminded that the play is fictional. This means they are able to think more clearly about the characters and the content. Verfremdungseffekt, also known as v-effect, is used to separate the audience from the play. By using a wide variety of techniques, the playwright ensures the audience is incapable of believing in the reality of the play. They are constantly reminded it’s fake. Brecht used the alienation effect because he wanted to make his audiences think. Telling a story wasn’t enough for his plays. He wanted them to have an impact on the audience, especially when they dealt with political subjects. Related Literary Terms - Act: a primary division of a dramatic work, like a play, film, opera, or other performance. The act is made up of shorter scenes. - Dramatic Monologue: a conversation a speaker has with themselves, or which is directed at a listen or reader who does not respond. - Melodrama: a work of literature or a theatrical performance that uses exaggerated events and characters. - Surrealism: refers to a movement of literature, art, and drama in which creators chose to incorporate dreams and the unconscious and fuse reality and pure imagination. - Listen: Brecht and Epic Theater - Watch: An introduction to Brechtian theatre - Watch: Mother Courage and Her Children

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BONUS ONLINE CONTENT: Recovering the past Today the word “humanism” often gets a bad rap, used to describe a world without God and often coupled to the word “secular.” But in the 16th century, many humanists were deeply Christian. The imprint they left on the Reformation was a profound one. Why were humanists called “humanists”? Because they were concerned about what makes us human. In the Middle Ages, scholastic theologians like Thomas Aquinas (1225–1274) had argued that what made us human was that we could think: thus, Aquinas compiled a comprehensive, detailed, and precisely argued systematic theology. Humanist and biblical scholar Desiderius Erasmus (1466–1536) later mocked this approach in The Praise of Folly (1513): “They [the theologians] will explain to you how Christ was formed in the Virgin’s womb … The most ordinary of them can do this. Those more fully initiated explain further … whether ‘the Father hates the Son’ is a possible proposition; whether God can become the substance of a woman, of an ass, of a pumpkin, or of the devil, and whether, if so, a pumpkin could preach a sermon, or work miracles, or be crucified.” For those like Erasmus who became known as humanists, what makes us human is not precise theological explanations; they were fond of quoting a line from fourteenth-century Italian poet Petrarch, “It is better to will the good than to know the truth.” Instead, what makes us human is that we can talk—and talk beautifully. More than anything else, humanism was a kind of rhetoric—a way of speaking and writing that displayed eloquence, wisdom, and (in the case of Christian humanism) piety. Humanism arose in the Renaissance, which, broadly speaking, was a movement centered on Italy and focused on a renewed interest in classical antiquity—the great thinkers of Greece and Rome. Renaissance thinkers and artists valued and pursued beauty, learned classical languages, studied ancient philosophy, promoted the dignity of human nature, and emphasized freedom from authority. “Without Plato,” said the Florentine statesman Lorenzo de' Medici, “it would be hard to be a good Christian or a good citizen.” This statement has been called the manifesto of humanism. Later, Enlightenment thinkers looked back at the humanists as the forerunners of individualism and secularism. But in reality they were very concerned with exactly what Lorenzo said: how to be good Christians. Modern conservative Christians have the slogan “Back to the Bible;” Erasmus had a similar slogan: Ad fontes, “Back to the sources.” The phrase captures his age's hunger to recover something that had been lost, a golden era before the medieval “Dark Age” muddied the window of vision. If only we were more like ancient Athens or Rome, thought the humanists, our government and our society would not be so corrupt. If only we could learn to make art like the Greeks and Romans did, we could achieve ideal beauty. If only we could study the earliest biblical manuscripts in their original languages, we could understand what Scripture means. If only we could go back to the purer, simpler faith of the early church fathers, we could get closer to God. The humanists had boundless optimism about human potential (“A man can do all things if he will,” pronounced author Leon Battista Alberti), though they also recognized that free will could cut two ways. In his Oration on the Dignity of Man, Pico della Mirandola wrote that humans may use their unique, God-given freedom to rise to become like angels or sink to the level of beasts. For the humanists, exalting the beauty of the natural world and the inherent worth of human beings created in the image of God was a way of worshiping God himself. They believed in the ennobling effects of education and the continuity between the wisdom of antiquity and the truth of Christianity. Their delight in Latin and Greek literature extended not just to Plato, Cicero, and Caesar but also to early church fathers like Augustine and Jerome. Perhaps the most famous of all Christian humanists was Erasmus, often called the “prince of the humanists.” But many spiritual leaders and thinkers of the age were humanists: John Colet (1457–1519), Erasmus’s teacher; English reformer Thomas More (1478-1535); Martin Bucer (1491–1551), who led reform in Strasbourg; Jacques Lefèvre d'Étaples (c. 1455–1536), nicknamed the “dean of humanists” and a renowned biblical scholar who influenced Calvin; Calvin’s friend Nicolas Cop (c. 1501–1540); and Calvin himself (1509–1564), whose Geneva Academy curriculum emphasized classical languages and the humanities In their quest for the purity of the past, humanists stressed that Christianity was not a matter of endless ceremonies and rites but an inward affair of faith and individual conscience rooted in the example of Christ. In this and many other ways, they fed the fires of Protestant reform, particularly in northern Europe. Erasmus once wrote, “If you believe in what takes place at the altar but fail to enter into the spiritual meaning of it, God will despise your flabby display of religion.” Christian History’s 2015–2017 four-part Reformation series is available as a four-pack. This set includes issue #115 Luther Leads the Way; issue #118 The People’s Reformation; issue #120 Calvin, Councils, and Confessions; and issue#122 The Catholic Reformation. Get your set today. These also make good gifts. By Jennifer Trafton and Jennifer Woodruff Tait [Christian History originally published this article in Christian History Issue #115 in 2015]Jennifer Trafton was managing editor of Christian History and Biography from 2005-2008 and is a children’s book author, creative writing teacher, and artist. Parts of this article are adapted from her article “Painting the Town Holy” in our issue 91 on Michelangelo. Jennifer Woodruff Tait is the current managing editor of Christian History. BONUS ONLINE CONTENT: Covenant children Infant baptism in the ReformationJennifer Woodruff Tait and John Oyer Christian History timeline: Downloadable Reformation timeline Christian History's Reformation timelinethe editors A day at school Alcuin of York instructs Charlemagne's sonEdwin Woodruff Tait On the front lines of care in the early churchthe editors Subscribe to magazine Subscription to Christian History magazine is on a donation basisSubscribe Christian History Institute (CHI) is a non-profit Pennsylvania corporation founded in 1982. Your donations support the continuation of this ministryDonate

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Literacy truly is behind the majority of activities kids (and adults) enjoy, a fact that is important to illustrate to you student when they seem to be getting burnt out with reading and writing. Of course these things are best instilled through lived experiences and it is vital to remember that literacy is flexible as reading, writing, listening, thinking and speaking are all components of literacy. See below for fun tactics that will bring literacy to life! Art. Math. Science. Whatever Excites Your Student! Does your student love arts and crafts? Read a book and work together on an art project that ties to the book. Or, have your student read the directions for creating a craft they are interested in and then make it. Does your student love math? Work on story problems together. Use math and literacy skills to design and build an engineering project together. Does your student love science? Let them perform experiments that interest them, reading directions, developing hypothesis and recording results. Essentially, take what your student is excited about and subtly work literacy in! Family Game Night. An effortless way to get students reading and writing is to play a game they are excited about. Most games involve multiple forms of literacy: reading, listening, thinking, speaking and sometimes even writing! Even if the reading and writing is minimal, your student is still being exposed to literacy in a manner that is very fun and engaging to them. Bonus points for your student if they can read the directions and explain to the rest of the family! What to Read? Let your Student Choose! While there are many alternative ways to engage your student in literacy, don’t forget good old fashioned reading! The trick is to be open to letting your student read what interests them, be it comic books, the newspaper, magazines or picture books! Giving your student the freedom to choose what they would like to read as well as what they would like to read about will greatly enhance their excitement for reading. Further, make reading fun through incorporating tone and expression while you read. Make it funny, make it scary, make it meek, make it mean—all of it will be fun if you can get your student into it! Storytelling. Have a student full of imagination? Let them tell their own stories! The can write and illustrate a book. They can orally tell you a story. You can give them a list of vocabulary words that they need to include in their story and you can let those words themselves be based in student interest and silliness. You can work to create a story with them. Again, make it funny, make it scary, make it honest—play with it! We hope that these tactics give you some new and fun ways to bring literacy into your home. After your student has engaged in and enjoyed these activities, lightly remind them that they just had fun with literacy. And always be willing to walk away from an activity if your student is no longer enjoying it.

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As parents, we all want our children to be successful and happy, both now and in the future. One of the best ways to help your child reach their full potential is to provide them with opportunities for cognitive development through Cognitive Activities for Preschoolers. Preschool is a critical time for brain development, and activities that promote creative thinking can have a long-lasting impact on your child’s academic success, social and emotional development, and overall well-being. The Importance of Cognitive Skills Development in Preschoolers The preschool years are a critical period of brain development. During this time, the brain is developing rapidly, and the connections that are formed will last a lifetime. Research has shown that the preschool years are a particularly sensitive period for the development of cognitive skills, such as problem-solving, critical thinking, and creative thinking. Cognitive skills are important for a child’s academic success. Children who develop strong cognitive skills in their early years are more likely to succeed in school, and they are better equipped to handle the challenges of higher education. Cognitive skills are also important for social and emotional development. Children who develop strong cognitive skills are better able to regulate their emotions and handle social situations, which can help them build healthy relationships with peers and adults. Cognitive Activities for Preschoolers In this post, we’ll discuss the benefits of creative thinking and provide a few simple cognitive activities for preschoolers that you can do to encourage their imagination and creativity. Here are a few cognitive activities for preschoolers that you can do with your preschooler to promote creative thinking and cognitive development: Cognitive Activity 1: Brainstorming Brainstorming is a simple but effective way to encourage creative thinking. Start by asking your child a question, such as “What would happen if the sun suddenly turned purple?” Encourage your child to come up with as many answers as they can, without worrying about whether the answers are right or wrong. This activity helps your child to develop their creativity and think outside the box. Cognitive Activity 2: Imaginative Play Imaginative play is an essential part of childhood, and it’s an excellent way to promote cognitive development. Set up a play area with costumes, props, and other materials that encourage your child’s imagination. Then, step back and let your child take the lead. You’ll be amazed at the stories and scenarios that your child can come up with, and this activity helps your child to develop their creativity and problem-solving skills. Cognitive Activity 3: Artistic Expression Artistic expression is another excellent way to promote cognitive development. Provide your child with age-appropriate art supplies, such as crayons, markers, and finger paints, and let them explore their creativity. Encourage your child to experiment with different colors, shapes, and textures, and don’t worry about the outcome. This activity helps your child to develop their creativity and fine motor skills. Cognitive Activity 4: Problem-Solving Games Problem-solving games are an excellent way to promote cognitive development and critical thinking skills. There are many age-appropriate games that you can play with your preschooler, such as puzzles, memory games, and board games. These games help your child to develop their problem-solving skills, and they also provide an opportunity for quality bonding time with your child. Cognitive Activity 5: Storytelling Storytelling is an excellent way to promote creative thinking and imagination. Encourage your child to create and tell their stories, using props, costumes, or other materials that help them to bring their stories to life. This activity helps your child to develop their creativity, communication skills, and problem-solving skills. Cognitive development is an essential part of your child’s early years, and activities that promote creative thinking can have a long-lasting impact on your child’s well-being. As parents, we can encourage our preschoolers to develop cognitive skills through activities such as brainstorming, imaginative play, artistic expression, problem-solving games, and storytelling. By providing our children with opportunities to develop their creativity and critical thinking skills, we are setting them up for success in school and beyond. These activities also help children to develop a love of learning, curiosity, and a desire to explore the world around them. Through cognitive activities, preschoolers can gain confidence, independence, and a sense of self. It is essential to remember that every child is different, and their cognitive development will occur at their own pace. Encourage your child to explore and experiment with different activities and be patient as they develop their skills. Yumna is the lead author. She is a mom to two young children and have always been passionate about finding fun and educational activities for them. With her background in early childhood education, she strive to create engaging and age-appropriate activities that promote learning and development in toddlers.

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The beautiful changing leaves of fall can help capture students’ attention and make them excited to engage in meaningful math activities. I initially created these fun fall math STEAM activities for early elementary students, but I've tweaked my printable lesson plan so it works in grades 1–6. With these STEAM activities, elementary students will engage in topics related to life science, measurement and data skills in math, and using artistic representations examine and analyze data. Students will work individually or pair up to collect data. If you are lucky enough to live in an area with a variety of trees that change color in the fall, students can go outdoors to collect leaf samples. If not, students can use the downloadable leaf sets to organize and prepare graphs for this activity. Download a FREE Fall-Inspired STEAM Math Lesson for elementary students! STEAM activities for elementary students connect with many areas of the curriculum. Here are some of the connections you can use for this lesson. Within the life sciences, students are learning about the different parts of plants: roots, stems, leaves, flowers, and fruit. They are learning about the functions of these structures. Within mathematics, students are learning to analyze and represent categorical data. Within the realm of art, students are discussing color, and their choices about how they set up their bar graphs include choices about the visual organization of the page. Using artistic creations to communicate a concept or idea is an important part of the art curriculum. Within literature, there are many fall-themed books that would pair well with this STEAM lesson. In the lesson plan download, you’ll find a list of books appropriate for the different grade levels about leaves and fall. For creative writing, this post from Vocab Gal uses Haikus to discuss fall themes. Or you can complete the poem-writing activity provided in the download. This project is not resource intensive. Most of what you need is provided in the Fall-Inspired Math STEAM Lesson. These include: Leaf Samples– You will need to provide different samples of leaves and colors so that not every student’s graph comes out the same. If you live in an area that has fall foliage, you could collect your own leaf samples. If you don't have the ability or time to collect leaf samples, you can use the four different leaf samples provided in my download. Color Printer– You will need a color printer to take full advantage of the downloads. After all, this is about leaves having different colors! Colored Pencils or Crayons– Students will want to use colored pencils or crayons when creating their graphs. Sorting Chart, Pictograph, and Bar Graph Templates– You will need a variety of sorting chart, pictograph and bar graph templates. All of these have been provided in my download. Depending on the previous experience of your students with graphs, they might not need the templates. In that case, they can be used for differentiation opportunities for students with special needs. Other Materials– For students who are still in a concrete stage, you might want to provide scissors and glue so that they can cut out and physically manipulate the leaves to make their pictographs. Prior to class, review and select the leaf templates, sorting charts, and graphs your students will use for this lesson. Select which of the templates provided in my lesson plan are most useful for your students. You will also need to decide if you want students to complete these activities in pairs or individually. Are you interested in having them simply sort and count the leaves, create pictographs and bar graphs, or make comparisons between graphs? Do you want students to make a graph sorted by color or by leaf type. Alternatively, if your students have some experience with graphs, let them to decide how to sort the leaves and give them a generic, unlabeled template. Finally, do you want to give students a graph template or have them create their graph on their own. This will depend on your students’ level of experience with creating graphs and their skill at setting them up. Once you have identified your objective and the templates your students will need, print out individual copies for each student. Each student will need their own leaf sample template, sorting chart template, pictograph template, bar graph template, and poem writing activity worksheet. Prior to class you will also need to gather photos of color changes in foliage, select a fall-themed book for a read aloud, and plan question prompts. For more information regarding preparation, download my lesson. To keep this article word count down, I've provided all the details for the math STEAM activities in the Fall-Inspired Math STEAM Lesson. Download includes: The Fall-Inspired Math STEAM Lesson is packed with fun activities that encourage elementary students to integrate science, math, art, reading, and writing. Whether you are in an area that has beautiful fall foliage or not, you’ll find everything you need in my printable lesson plan to implement these fun STEAM activities for elementary students in your classroom.

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Over the years, literature of ancient Greece and Rome has affected art, religion, philosophy, science and mathematics, medicine, drama, and poetry profoundly. It has served as a basic model for the development of later European literatures and, consequently, the writings of the historians, geographers, philosophers, scientists, and rhetoricians are read today as sources of historical information and enjoyment. Alfred Whitehead, the famous British philosopher-mathematician, once commented that: “[A]ll philosophy is but a footnote to Plato” (Comptons Encyclopedia). A similar point can be made regarding Greek literature as a whole. The Greek world of thought was far ranging and ideas discussed today have been previously debated by ancient writers. In fact, until recently, in Western culture, an acquaintance with classical Latin (as well as Greek) literature was basic to a liberal education. Roman literature such as epic and lyric poetry, rhetoric, history, comic drama and satire (the last genre being the only literary form that the Romans invented) serve as today’s backbone for a basic understanding of expression and artistic creativity, as well as history. Greek comedies such as those of Naevius and Andronicus, as well as historical writings in epic poems (First Punic War), tell the story of Rome and its conquests and served as prototypes for Aroman epics. Later poets imitated early Roman writers as they used these early writings for springboards into further development of drama. For example, Plautus’s lively plays were a model for much subsequent European comedy and are still performed today (encarta. msn). Epic Greek poetry was exclusively in verse, but evolved from the folk ballads of early people of Greece who had an oral literature composed of songs about the actions of their heroes. Mythical and heroic events that are not celebrated in the Homeric works became the subject matter of a number of subsequent epics. Many of these epics, composed from the 8th century to the 6 century B. C. by unknown poets called the cyclic poets, concerned the Trojan War and war of the Seven Against Thebes. Historians have learned a great deal about Greek life through poems such as Hesiod’s major work Works and Days, which draws from everyday life of a Boeotian farmer (encarta. msn 2). Tragedy in drama as we know it today is said to have been originated in the 6th century B. C. by Attic poet Thespis, who is credited with spoken passages for actors to complement the lyric utterances of the chorus. Sophocles and Euripides, Greek playwrights, used psychological insight into their characterizations. Comedy, grouped in two divisions (Mid dle and New) from 400-336 B. C. and 336-250 B. C. replaced satire with social comedy which involved family types, plot and character development, and romantic themes. Menander was the chief writer of New Comedy and his work had a strong influence upon the Latin dramatists of the 3rd and 2nd centuries BC, notably Plautus and Terence. Extensive portions of many of these plays survive today. Plato and Aristotle were two major Greek philosophical writers. Plato developed some aspects of Socrates’ philosophy and expressed, in written dialogues, the philosophy later called idealism. They are also literary masterpieces, having many qualities common to poetry and drama. Aristotle, a pupil of Plato, wrote a large number of works on logic, metaphysics, ethics, rhetoric, and politics. These writings are read and analyzed by many people still today (encyclopedia. com). Greek culture was very widespread in the Mediterranean world during the Hellenistic Age, 4th century to 1st century BC. Literary schools that came into being and the greatest library of antiquity were located in Alexandria , Egypt . Alexandrian poetry concentrated on foreign customs, names of months, and local nomenclature. It was at this time that Callimachus perfected the epigram, literary didactic poems and pastoral poetry. Others followed him in pastoral verse that is cherished even today (encyclopedia. com). Theological writings after the fall of the Byzantine Empire in 1453 attacked the various heresies that arose during the first millennium of the Christian era. Accounts of saints’ lives were also published, i. e. , Acts of the Martyrs by Metaphrastes and Fathers of the Church by Saint Gregory of Nazianzus and by Cosmas of Jerusalem in the 86h century. These were filled with beautiful poetry, dramatic forces and easy flow of vividly descriptive colloquial idioms. Ancient Greek and Roman literature has affected literally every phase of societal intelligence over the years. As noted, this is evident in areas such as medicine, history, geography, philosophy, science and mathematics, drama, poetry, and religion. Even today, mankind frequently refers to early Greek and Roman writings for knowledge and expertise in directing their creative talents in a more precise and meaningful manner.

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Duration : 4-5 months They will learn: You will learn: Additional For Teachers How to conduct a whole phonic lesson in class How to prepare PowerPoints How to write a phonic lesson plan. Registration fee PKR 4700 per month Registration form : https://docs.google.com/forms/d/1ECUDEpqTXpY6Co5zELQDXWlAL__VscedEIuTc2GI0eA Mental Maths is an IQ based brain development program for kids and adults in which we teach students to use Japanese techniques to calculate on fingers and abacus There are 5 levels in total Level 1 has 8 formulas which includes formulas from +4 till -1. Level 2 has 9 formulas which includes formulas from +9 till +1. Level 3 has 9 formulas whicg includes formulas from -9 till -1. Level 4 is multiplication. Level 5 is division course outline for level 1 duration 4-5 months * Introduction to Mental Math. * Introduction to hands theory. * How to count numbers from 1 to 99 using both hands. * Introduction to House of 5 *What are formulas, why we need formulas and how we use them doing calculations. * How and when to use all the positive formulas (+4,+3,+2,+1). * How and when to use all the negative formulas * Introduction to Abacus. Does your child have creative and interesting story ideas but not sure how to write like their favourite author? Well, we have got you covered. Be it writing blogs, journalism stories, short stories or creating characters, now help your child unleash their imagination and guide them to write constructively with our Introduction to Creative Writing Course for Kids. Specially designed for kids aged between 6 to 8 and 9 to 11. This course is recommended for children who aspire to become a skilled and impactful writer. Course Outline for beginners ages 6 to 8 (Introduction to Creative Writing) 1. Picture Prompts 2. Scrambled Sentences 3 . Helicopter or Make Belief Stories 4. Story Sequence Course Outline for beginners ages 9 to 12 (Introduction to Creative Writing) 1. Picture Prompts. 2. Elements of Descriptive Writing 3. Narrative Writing 4. Independent Story Writing

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Project-Based Learning Creates Motivated Learners! Project-based learning is highly motivating for students of all ages. Project based learning is a cooperative process between the teacher and students. They build an ongoing series of learning engagements together. The teacher plans out the end-goal and envisions several pathways to achieve that goal. The students pick the pathways. The teacher plans in possible objectives and implements them throughout the process. This type of learning requires trust on the part of the teacher...trust in the process and trust that she will find opportunities to infuse learning objectives into the progression of the project. Teachers who are flexible, creative, and knowledgeable about the age and stage of their students thrive in teaching this kind of curriculum. Project based learning is most often used in the early years and primary. It can be integrated into the curriculum as stand alone time or even be the basis of a school`s whole curriculum. I'll share an example of a project I put together in Preschool with four and five year old students several years ago to illustrate how the process can go. Several years ago I taught a preschool class absolutely fascinated with birthdays. All of the children chatted constantly about their birthdays, what kind of birthdays they would have, and who they'd invite. During their free play they role played birthdays, they visited the writing center and made invitations, and they made crowns and decorations for parties. As a teacher I observed their enthusiasm and curiosity and decided to facilitate a stand alone project about planning a birthday party together. Posted below are some photos of learning engagements from the project (two thinking routines using graphic organizers and an early literacy meeting). I started by planning out the end-goal, have a birthday party in class with a beloved character from a story. Then I considered all of the objectives and learning engagements I could integrate along the way and how to differentiate them to fit the needs of my students. I considered student choice and made alternatives to all of my plans. I started by using read-alouds and storytelling to encourage discussion, assess background knowledge, and develop speaking and listening skills. Then I used interactive writing to write everyone's ideas for planning a birthday party to develop early literacy skills. Next, students drew pictures about how they wanted the party to look and shared these pictures with classmates (again developing communication and thinking skills). As you can see, the engagements and objectives all fit together step by step. We proceeded through the planning process of this transdisciplinary project and integrated art, language, and math objectives into the process. Students created decorations, invitations, baked a cake, and made a pinata. After a few weeks of planning and creating we celebrated Clifford's birthday! Project-based learning is highly motivating as students play an active role in their learning. A project can take on so many forms and integrate any, or all, subject areas. Give it a try!

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The Tunes of Pow-Wow Until the arrival of Europeans and Americans, followed by the advent of musical recording technologies, Inuit music was traditionally only used in spiritual ceremonies, often to ask the spirits for good luck in hunting, as well as in simple lullabies for children. Unlike most cultures, traditional Inuit music is remarkable for its stoic lack of work songs and love songs. They work well with vocal tunes and use the combination of different symphonies, that are unique to each tribe. Later, Inuit musical traditions were modified with the arrival of foreign sailors, especially those from Scotland. Traditional Inuit music is based around drums used in dance music and storytelling, plus a vocal style called ‘katajjaq’ in Inuktitut, Inuit throat-singing, which has become popular in Canada and abroad. The technical characteristics of Inuit music include story singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating movement. 'Katajjaq’ is a type of traditional competitive song, considered a game, usually held between two women. It is one of the world’s few examples of overtone singing, a very unique method of producing sounds vocally. When competing, two women stand face-to-face and sing using a complex method of following each other, so that one voice hits a strong accent while the other hits a weak one, melding their voices into a nearly indistinguishable single sound. They repeat brief motifs at staggered intervals, often imitating natural sounds, like those of geese, caribou or other wildlife, until one runs out of breath, trips over her tongue, or begins laughing — at which point the contest is concluded. These practices came to be over a period of centuries and have existed since, they are still relevant as vocal games, which are unique to the Inuit tribe. Additionally, there are more than a thousand Inuit artists, at present who are honing Katajjaq professionally, while keeping close to their ancestral roots. While they adorn solid significance to their vocal arts, the tribe is equally as invested in instruments. The main Inuit percussion instrument is the wooden frame drum called the ‘qilaut’ that is made from bending narrow strips of wood into a circular frame with a handle protruding. Originally, caribou skin was stretched across the frame. Nowadays synthetic membranes are used. These drums can reach three feet in diameter but are usually smaller. It is struck on the edge of the rim with a ‘qatuk,’ a wooden stick, wand or beater. The sound is a combination of the percussive whack on the wood and the resulting deep vibrations from the stretched membrane. The Inuit art of throat-singing, like Inuit drum dancing, has been enjoyed since time immemorial yet as other musical traditions, instruments and sounds arrived in Nunavut, they have been combined and merged with the expressive musical forms of the native people. Many Inuit enjoy the accordion and fiddle sounds introduced to them by whalers and fur traders. Acoustic and electric guitars are now played everywhere in the territory, producing folk, country, pop and rock music in Nunavut with a distinctly northern artistic flair. Sounding as if it were perhaps invented specifically for another modern musical form adored by youth, the Inuktitut language is brilliantly suited for hip hop lyrics! At specific times of the year — such as when the sun returns to end the long, dark winter night, at the beginning of springtime and when summer finally arrives — communities all across Nunavut stage celebrations and games. These events include traditional Inuit performing arts, like storytelling, throat-singing and drum dancing, while also staging traditional Inuit games, which are athletic competitions of strength, agility, dexterity and stamina based on critical skills honed for excellence in hunting and arctic survival. These festive events often feature live music, dancing, theatrical performances and circus acts, plus they include communal feasts of traditional Inuit foods that are prepared for one and all to enjoy. In its truest sense, they are the heart and soul of the tribe combined together, to form a mosaic of all that they are, The tunes of Pow-Wow. 1. Inuit Culture/Art (2019, June 14) | Kataqjjaq Throat Singing 2. BBC Travel (2021, April 15) | A revival of Indigenous throat singing

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In guide 4.4, we looked at different styles of narration. In this guide, 4.5, we’ll continue to look at other aspects of narration. This time, we'll look at the concepts of narrative distance, tone, and perspective. Narrative distance is most likely the most unfamiliar concept to you out of the three, so we’ll spend the most time on it. First, let’s define narrative distance. Here is College Board’s definition of it, which we will use as our starting point: “Narrative distance refers to the physical distance, chronological distance, relationships, or emotional investment of the narrator to the events or characters of the narrative.” (AP Lit CED 2020) Let’s break down each part of the definition. Narrative distance: refers to the level of proximity or distance between the narrator of a story and the events or characters being described. This proximity can be physical, chronological, or emotional in nature. Physical distance: refers to the physical distance between the narrator and the events or characters in the story. For example, if the narrator is describing events that are happening in the same room as the narrator, the physical distance is close. Conversely, if the narrator is describing events happening on the other side of the world, the physical distance is far. Chronological distance: refers to the distance in time between the narrator and the events or characters in the story. For example, if the narrator is describing events that are happening in the present moment, the chronological distance is close. Conversely, if the narrator is describing events that happened in the past, the chronological distance is far. The relationship between the narrator and the characters and events in the story also affects narrative distance. For example, if the narrator is a participant in the events of the story, the relationship is close and the narrative distance is shorter. Conversely, if the narrator is an observer of the events, the relationship is distant and the narrative distance is longer. Emotional investment refers to the level of emotional engagement of the narrator with the characters and events in the story. For example, if the narrator is emotionally invested in the story, the narrative distance is close. Conversely, if the narrator is emotionally detached from the story, the narrative distance is far. The impact of narrative distance on a story can have a significant effect on how the story is perceived by the reader. Depending on the type of narrative distance used, a story can evoke different emotional responses, create different levels of suspense or tension, and give a different level of understanding of the characters and events. A close narrative distance, where the narrator is physically, chronologically, relationally and emotionally close to the events and characters, can create a sense of immediacy and intimacy with the story, allowing the reader to feel more involved and invested in the events and characters. This can also create a greater sense of suspense and tension, as the reader is privy to the same information as the narrator and can experience the same emotions. A distant narrative distance, where the narrator is physically, chronologically, relationally and emotionally distant from the events and characters, can create a sense of detachment and objectivity, allowing the reader to see the events and characters in a different light. This can also create a sense of mystery, as the reader is not privy to all of the same information as the narrator and must infer meaning from the narrative. By using different types of narrative distance, an author can manipulate the reader's experience and perception of the story, and create a different emotional response in the reader. For example, a story that starts with a close narrative distance and then shifts to a distant narrative distance can create a sense of disorientation and confusion for the reader, while a story that maintains a consistent narrative distance throughout can create a sense of stability and familiarity for the reader. In summary, narrative distance is an important tool for authors to shape their stories and the way their readers experience them. It can be used to create different emotional responses, suspense, and to control the level of understanding of the characters and events in a story. Tone refers to the attitude or overall emotional feeling that is conveyed by the narrator, characters, or speakers in a piece of writing or speech. It is the overall emotional and/or attitude that the writer or speaker wants to convey to the reader or audience. Tone can be conveyed through word choice, sentence structure, and the narrator's or speaker's point of view. It can be positive, negative or neutral, and it can change within a text. It is an important aspect of storytelling as it helps to create a specific mood and atmosphere and it can be used to add meaning and depth to the story or speech. For the purposes of this study guide in particular though, to differentiate it somewhat from the references to tone in previous study guides, we’ll think of it as a result of “the perspective/attitude of narrators, characters, or speakers toward an idea, character, or situation” (College Board AP Lit CED Tone is an important aspect of literature as it creates a specific mood and atmosphere in the text and helps to create empathy and suspense in the reader. It can be used to evoke specific emotional responses and to add depth and complexity to the story. Tone can also be used to reveal the narrator's attitude towards the story and the characters. For example, a narrator who speaks in a neutral tone might reveal a lack of emotional involvement in the story, while a narrator who speaks in a fearful tone might reveal a sense of danger or uncertainty. By using tone, the author can create a sense of unease in the reader, and make them more invested in the story. In literature, perspective refers to the point of view or the way in which a story is told. It can refer to the narrator's position in relation to the story, or the characters' position in relation to the events. Perspective can also refer to the way in which an author presents the characters, events, and themes of the story. In simple terms, perspective is the lens through which the story is viewed. The narrator’s perspective effectively determines what details will be presented to the readers (and which ones won't) and how they will be presented. Consider adjectives and adverbs in writing. They are included typically to add detail about whatever the narrator is describing. However, an additional way of looking at them is as clues that convey the narrator’s perspective towards things. In these examples, the choice of adjectives and adverbs can be used to create a sense of tension or suspense in the reader, revealing the narrator’s perspective of fear. Narrative distance is the level of proximity between the narrator and the events or characters in a story. It can be physical, chronological, relational, or emotional. This affects the reader's experience and creates different emotions, suspense, and understanding of the characters and events. Tone is the attitude or emotional feeling conveyed by the narrator, characters, or speakers in a text. It creates a specific mood and atmosphere and can be used to evoke emotions and add depth to the story. Perspective is the point of view or way in which a story is told, and it can affect how the characters, events, and themes are presented to the reader. The narrator's perspective can be revealed through word choice and can create tension or suspense.

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While encounters between livestock and wolves can occasionally occur, wolf-related livestock depredation is minuscule. According to a report published by the Humane Society of the United States, in 2015 the USDA inventoried 112.2 million cattle in the U.S. and just 0.009% of cattle (or 1 in every 10,000 cows) was killed by a wolf. Livestock are far more likely to die of disease, birthing-related problems or from the elements than wolves. However, powerful special interest groups that support the livestock industry as well as trophy hunters and the oil, gas, and mining industries seek to reduce wolf populations for both commercial and selfish interest. They often use misinformation to overstate the threat of wolves and justify killing them. Livestock grazing at a subsidized cost takes place across 155 million acres of public lands in 13 states — an area the size of California and Oregon combined, and while it is possible for ranchers to coexist peacefully with wild wolves, many choose not to. They use lethal methods to deter wolves despite non-lethal options being readily available. Under the guise of “wildlife management,” their solution is simple: kill wolves. Science does not support killing wolves for livestock-wolf conflict management. In fact, research shows that killing wolves may actually increase livestock depredation. The death of one wolf, particularly a leader, disrupts the behavior and social structure of the pack and often leads to the pack fragmenting to into smaller groups. The surviving wolves may not be able to successfully bring down their traditional prey, forcing them to rely on smaller animals and scavenging for survival. Yellowstone's Lamar Canyon pack was thriving until alpha female 06 was shot and killed by a trophy hunter on Dec. 6, 2012. Stable and cohesive during 06s lifetime, the pack fragmented upon her death. One of 06's daughters, 820F, a beautiful light-coated wolf, became a lone wolf and was killed by a private citizen on Aug. 24, 2013 in what was deemed a livestock control action. Although 820F wasn't killed in the hunt, she was a causality nonetheless — her death a ripple effect of a broken pack social structure. Responsible livestock owners are fostering coexistence through the use non-lethal means to successfully deter wolves. There are a variety of methods available and they may be even more effected when integrated, including: Discusses the issues of wolf recovery from a policy-making perspective. The author examines such issues as the role of science in public policy, the struggle between wilderness, resources, and private property, and stakeholders in environmental conflicts. Scholarly research and history of the American wolf. The author, a wildlife biologist, provides a detailed account of every wolf killed in colonial America to the present day. 1997 Examines our relationship with wolves through natural history, indigenous stories, and field interviews. 2019 Through documents and articles, McIntyre chronicles the persecution of the wolf beginning in early America to 1995. The comprehensive history traces human attitudes toward wolves and how wolf policy is influenced. 1995 The author, a nature writer and NPR contributor combines science and storytelling to the 300-year history of wild wolves in America. One chapter is devoted to the story of 06. The book critically acclaimed internationally, was also selected as Forbes Magazine Conservation Book of the Year. 2017 The author, a former wolf trapper, was one of the key figures involved in the reintroduction of wolves to Yellowstone. His transformation can be summed up by one of the quotes in his book, "If wolves can't live in the wilderness, where can they live?" 2010

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4 – 8 years - historical figures - social-emotional learning miranda paul and ebony glenn Happy Saturday! As you know, it’s time for #sweetsandsocialjustice and this week is a picture book all about how and when to speak up! This newly released book is illustrated by one of our favorites, Ebony Glenn, and the story follows a group of diverse kids throughout their school day. When I was in school, I used to dream about the summer because I loved camping so much. So I made a marshmallow cookie (actually by accident) to tide me over until I could escape to the woods. Speaking directly to the reader, the book is full of tips to help readers know when they should speak up. Something I love about the illustrations is how the reader can piece together the situation and help figure out what to say. This is so empowering, and helps develop critical thinking skills! Some situations covered are hearing rumors you know aren’t true (like how a mysterious brown stain appeared on the back of someone’s pants) or inviting a new student to sit at lunch. Even if you make a mistake, speak up and apologize. Being able to advocate for yourself, whether that’s expressing gratitude, the mispronunciation of your name, or because a situation is unsafe, is an invaluable skill and one that will inevitably turn the tides more towards the equitable treatment of people. If kids (especially ones with privilege) are not taught to speak up when they witness a situation in which they should speak up, marginalization of others will continue. In the back of the book are some real-life examples of kids who spoke up! There are also helpful lists of situations where a person should speak up, and situations that can be let go (like when kids can solve the problem themselves). There’s also some options for speaking up without saying a word, like writing letters or volunteering. I love this entire book, and the additional resources in back. This provides so much opportunity for further discussion, and introduces a bunch of really cool kids that have changed the world by speaking up! I love this picture book a lot, and I think you will too. This book was kindly sent by HMH Kids and I couldn’t be more thrilled to be able to review it. All opinions and decision to review is my own! Marshmallow Chocolate Cookies: - 1c softened butter - 3/4c sugar (I like maple) - 3/4c brown sugar (I like dark) - 2 eggs - 1t vanilla extract - 2 1/4c flour (I use King Arthur Gluten Free) - 1t salt - 1t baking soda - 1 bag mini marshmallows - 1c chocolate chips - flaky sea salt (for sprinkling on top) Preheat oven to 375. Cream butter and sugar, add eggs and vanilla. Mix in dries, do not overmix. Add in marshmallows and chocolate. The cookie dough is going to be mostly marshmallows, but I promise it’s worth it! Scoop cookies onto sheet (I have a cookie scoop and I love it) and sprinkle tops with flaky salt. Bake about 12 minutes. The cookies will be very soft and slightly underdone, but the marshmallows will be golden and toasted on top. Let cool completely on the cookie sheet and the residual heat will finish the cookies without overcooking the marshmallows on top. Miranda Paul is a award-winning children’s author of One Plastic Bag and Water is Water, both named Junior Library Guild selections. Her titles have received starred reviews from School Library Journal and Publisher’s Weekly in addition to being named to several recommended and “best of” reading lists. 10 Little Ninjas also was named an Amazon Best Book of the Month (August 2016). Miranda makes regular appearances at schools, libraries, and bookstores, and has been a guest presenter at the Library of Congress Young Readers Center along with environmental activist Isatou Ceesay. Miranda also serves as Mentorship chair for We Need Diverse Books™ (www.diversebooks.org), volunteers for Books for Africa, and is a regional advisor for the Society of Children’s Book Writers (Wisconsin Chapter). She believes in working hard, having fun, and being kind. Learn more about her current and forthcoming titles at www.mirandapaul.com. Ebony is also the proud recipient of the 2018 Wonders of Childhood Focus Fellowship, an award given by AIR Serenbe, a nonprofit artist residency program of the Serenbe Institute in Chattahoochee Hills, Georgia. We’ve even talked about Ebony before when reviewing the book Mommy’s Khimar as well as featured her on one of our Sound Off Saturday posts! A passion for the arts, great storytelling, and advocating diversity in children’s books, she aims to create illustrations that will foster a love of reading in young readers. She also loves to create joyful and heartwarming crafts to satisfy her endless need to always make new things. When Ebony is not giving in to her creative itch of art-making, you may find her lost in the pages of a good book, learning some new hula-hooping tricks, or going on an adventure with her pups, Louie and Gabby.

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Grade 4 Curriculum Religion In grade 4 students continue to build their relationship with God through learning and living God’s Ten Commandments. Students dive deep into learning how to love and honor God and one another. Students learn this through parables, scriptures, and song. Grade 4 students will continue to learn about the communion of saints and how we can answer God’s call to be saints. Liturgical seasons and traditions will be highlighted. Students will also participate in weekly liturgies and have various service opportunities throughout the year. Math In fourth grade math, we use Sadlier Math 2019. We start off the year by reviewing place value, addition, and subtraction, which we were taught from third grade. We will take those skills and apply them to multiplication concepts and multi digit multiplication. After multiplication, students dive into division, including factors, multiples, and fractions. Decimals will also be used in all operations. We will learn how to work with fractions, and students will also learn how to perform all operations. We end our book with measurements, lines, and polygons. While learning these skills, we utilize technology with videos and interactive computer games. In fourth grade, we also use IXL every night to ensure that skills being taught in class are still present while out of the classroom. We do individual and group activities to enhance skills being taught. In our classroom, we learn skills that will help to prepare ourselves for fifth grade and the skills we will learn the following year. Science In fourth grade science, we use the Nancy Larson program. This program gives us access to a variety of interactive videos, activities, and tools to learn about each topic. We will uncover and discuss different cells and their characteristics and functions. We also look into nature by exploring parts of a plant, different types of animals, and ecosystems. We then move away from nature and turn to energy and electricity. Our science program will provide students with their own booklets for them to work in and complete activities. These booklets will have charts for students to fill in as well as different activities. We focus on key words and make sure we define them and highlight them in our books. Vocabulary Sadlier Vocabulary Workshop program uses a variety of tools to implement new terms into student’s vocabulary. Each unit (18 total) begins with a passage that introduces the new terms and how they are used and what they sound like. Other activities include synonyms and antonyms, matching definitions, pronunciation, parts of speech and how they are used in sentences. Each unit also helps students build vocabulary beyond the unit words such as learning word parts (prefixes and suffixes and roots to decode unknown words) as well as learning different meanings of figurative language such as idioms, proverbs, similes, and metaphors. Grammar In Voyages in English, students learn a multitude of different ways of understanding grammar and writing. This includes analyzing, arguing, and applying methods of effective communication. Students learn a total of seven chapters with each chapter divided into eleven lessons. These lessons include sentences, nouns, pronouns, adjectives, verbs, adverbs and conjunctions, and punctuation and capitalization. Bonus chapters also include multiple writing techniques such as: personal narratives, How-to articles, formal letters, descriptions, creative writing-fables, persuasive writing, expository writing, and research reports. Reading The HMH Into Reading curriculum builds students’ understanding of academic vocabulary and real-world topics by using critical/strategic thinking and reading skills. Each module teaches students how to recognize and use citing text evidence, genre characteristics as well as increasing knowledge in various content areas to build/make meaning of the readings. Each Module is organized into central ideas and questions with five readings in each module. Central ideas for each module in fourth grade are: What makes us who we are? Come to your senses, Rise to the Occasion, Heroic Feats, and Art Everywhere. Each story also ends with collaborative discussion questions as well as short writing exercises. Students complete summative essays at the end of each module by using the information and knowledge that they learned and apply those skills into writing assignments. Social Studies Each Chapter begins with the Big Questions where students are introduced to the topic, grounded in the instruction, and encouraged to draw upon and apply previous knowledge. A Jumpstart activity is designed to activate the topic at the opener in fun and engaging ways. Finally, the Sing/Rap about it feature introduces students to chapter vocabulary in the form of a song or rap. The Quest activity is an inquiry project that takes place over the course of the entire chapter. Students are presented with a real-world problem & students apply their knowledge and demonstrate their understanding in a final project (essay, discussion, presentation, physical/digital product. Reading checks are also provided to check for understanding of what was previously read, content vocabulary as well as increasing word skills, writing skills, Map and graph skills, critical thinking skills and literacy skills lessons in which students apply and demonstrate their learning. Specific areas learned are Geography of the United States, Americans and their history, Government in the United States, The Nation’s economy, Regions in the Northeast, Southeast, Midwest, and West.

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En este plan de clase los estudiantes explorarán algunos de los contrastes a los que Esperanza se enfrenta cuando debe abandonar su cómoda vida como hija consentida de terrateniente poderoso, siempre rodeada de familia y de sirvientes, para convertirse en una sirvienta junto con los demás obreros agrícolas emigrantes. Este plan de clase también estudiará el trasfondo de la historia, considerando su marco histórico, social y cultural para descubrir los grandes contrastes y contradicciones que Esperanza descubre al llegar a los Estados Unidos. Y, finalmente, este plan de clase invitará a los estudiantes a prestar atención a algunos de los cambios a los que Esperanza se tiene que enfrentar para convertirse, tras ser una niña privilegiada y mimada, en una jovencita responsable y emprendedora. This lesson invites students to reconfigure Meg’s journey into a board game where, as in the novel itself, Meg’s progress is either thwarted or advanced by aspects of her emotional responses to situations, her changing sense of self, and her physical and intellectual experiences. This lesson concentrates on Anne Frank as a writer. After a look at Anne Frank the adolescent, and a consideration of how the experiences of growing up shaped her composition of the Diary, students explore some of the writing techniques Anne invented for herself and practice those techniques with material drawn from their own lives. In this lesson, students will look behind the story at the historical, social, and cultural circumstances that shape the narrative throughout Esperanza Rising. The lesson also invites students to contemplate some of the changes Esperanza undergoes as she grows into a responsible young woman and the contradictions that she experiences. A critic of writer Jack London called his animal protagonists “men in fur,” suggesting that his literary creations flaunted the facts of natural history. London responded to such criticism by maintaining that his own creations were based on sound science and in fact represented “…a protest against the ‘humanizing’ of animals, of which it seemed to me several ‘animal writers’ had been profoundly guilty.” How well does London succeed in avoiding such “humanizing” in his portrayal of Buck, the hero of his novel, The Call of the Wild? Some of the most the most essential works of literature in the world are examples of epic poetry, such as The Odyssey and Paradise Lost. This lesson introduces students to the epic poem form and to its roots in oral tradition. In this lesson, students study issues related to independence and conceptions of masculinity in Ernest Hemingway’s “Three Shots” as they conduct in-depth literary character analysis, consider the significance of environment to growing up and investigate Hemingway’s Nobel Prize-winning, unique prose style. In addition, they will have the opportunity to write and revise a short story based on their own childhood experiences and together create a short story collection. Centered on poems about the natural world, this lesson encourages students, first, to make the reading of poetry a creative act; and, second, to appreciate particular literary devices in their functions as semaphores or interpretive signals.

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Celebrate Halloween week with these Halloween activities for kids. Have a classroom party with crafts, science, and STEM activities, literacy and math ideas! As you’re planning for Halloween activities for kids in your classroom, you’re sure to find a gazillion great ideas! Included in this post is a list of 30 favorite lesson plans, crafts, STEM activities, literacy activities, and more! You and your students are sure to have a terror-ific time! 30 Creative and Easy Halloween Activities for Kids Don’t waste any more time searching for Halloween activities for kids. Below are the best ideas for those kiddies who are looking forward to candy and costumes on October 31st. These are the classroom plans for which your excited little monsters, ghouls, goblins, and witches will actually sit still! Halloween Activities for Kids: Arts & Crafts Grab the buckets of scissors, glue, crayons, and glitter! Your hands-on learners are going to love these cute Halloween-themed arts and crafts activities. 1. Entertain the children who love to draw with a simple-to-use Frankenstein directed drawing lesson. 2. Students who love patters and can grasp the elements of artistic design will love designing their own pumpkin. 3. Can you believe that with a few simple supplies – a couple of sheets of construction paper, some toilet paper rolls – your students’ creativity can result in a spooky Halloween paper scene? 4. Use glow-in-the-dark paint to create DIY window clings in the shape of jack-o-lanterns – or any other fun Halloween subject! 5. If you need a creative way to decorate pumpkins, without the use of sharp tools that are difficult for little hands: confetti pumpkins are the way to go. Halloween Activities for Kids: Science & STEM Don’t forget to include engaging Science, Technology, Engineering, and Math activities in your Halloween planning! Here are some ideas to help you. 6. Have the spiders begun to leave webs around the school and grounds? Take the opportunity to teach your class all about spiders. 7. Using the most popular vegetable (or fruit – did you know?) of the season, have your own scientific investigation of a pumpkin! 8. Build a skeleton and talk about basic body vocabulary such as the skull, ribs, and femur. 9. Learn about how baking soda and vinegar react with a fizzing eyeballs Science experiment. 10. What happens to candy pumpkins when places in various liquids? Have your students test it out. 11. Spooky shadow puppets are great for learning about how shadows change throughout the day. Halloween Activities for Kids: Literacy, Writing, & Books Want to pique your students’ interest in reading and writing this Halloween? Use topics that excite their imaginations. 12. Use a Halloween writing lesson to build important vocabulary and writing skills with a spooky subject – a haunted house. 13. Encourage reading and make it festive by letting the kids mark their pages with a fun Halloween-themed printable bookmark. 14. Here’s are fun pumpkin craftivities to do alongside reading the book Pippa the Pumpkin Fairy. 15. Bind students’ writing projects into a Halloween cereal box book that they decorate themselves. 16. Let children trace their letters and practice handwriting with these letter tracing ghosts. Halloween Activities for Kids: Math 1-2-3’s and counting, addition and subtraction, colors, shapes, and more fun can be found in these activities for primary students. And yes, they are all Halloween-themed! 17. Discuss basic shapes as children piece together their own individual monster on this decorative banner. Hang them for the whole class to enjoy! 18. Counting pumpkins is fun with painted rocks or other pumpkin counters – perhaps pumpkin candy! 19. If your students are learning to count to six, or can even begin simple addition up to 12, try these Halloween spin and cover games. 20. Make a counting book about spiders for the children to count, color, and create fingerprint spiders on a web. 21. Q-tips make the perfect “spooky bones” and you can teach about shapes with them! 22. Take the holiday’s favorite candy – candy corn – and teach number concepts and counting with it. 23. Add teeth to a jack-o-lantern in this easy addition game using candy corn. Halloween Activities for Kids: Just for Fun Who says everything has to be educational? Sometimes it’s fun to put away the books and standards and just take some time to enjoy a holiday. (These activities do, of course, have some educational value – but, shhh…. the kids don’t have to know that!). 24. Try an active game, a Franken-buddy craft, or a creative writing activity– each activity is perfect for a classroom Halloween party. 25. Your Halloween party will be a howl with these DIY activities – pumpkin bowling, digging for witches’ fingers, and a spider web toss! 26. Let kids create and use mason jars mummies to hold their school supplies in on their desks. 27. Go on a nature walk and find large rocks to paint like monsters, ghosts, zombies, or jack-o-lanterns. 28. Want to give your students a *healthy* Halloween treat on party day? Fruits and veggies are perfect when paired with a “Fruits/Veggies don’t scare me!” topper! 29. Harvest Hash makes a special snack time treat – there’s a little bit of everything in there from salty to sweet! 30. Treat the kids to a silly but boo-tiful door as they come in on Halloween! Take a break from your regular routine and throw in a few of these 30 Halloween activities for kids! Your children who are counting down the days until they get to go trick-or-treating will be delightfully engaged in learning. FREE Frankenstein Directed Drawing More Halloween Activities for Kids

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Explore Nontraditional Fantasy Novels with Kids By Kasey Short Throughout my career, the fantasy genre has been a consistent favorite for middle school students. They love fantastical creatures, magic, and the ability to escape into a world much different from their own. Many newer fantasy novels flip tropes upside down and reimagine what it means to be a hero. These nontraditional fantasy books can be used address difficult topics, provide real world commentary, counter stereotypes, allow students to see kids that look like them as heroes, and inspire new ways of thinking and imagining. There are many possibilities for using these novels in a middle school classroom to engage readers while intentionally addressing other important topics. Here are two from my classroom: - Exploring how the reimagined characters challenge gender stereotypes can lead to discussions about gender roles and societal expectations. - Analyzing the real-world issues addressed in a fantasy setting can also lead to conversations about current events and global issues. Also, nontraditional fantasy books can offer representation to students who may not see themselves in traditional fantasy stories. Students who are often underrepresented in literature can imagine themselves as heroes who have the power to shape their own future. This can be especially important for students who may feel marginalized and/or excluded. Suggested Activities and Discussion Topics 1. Stereotypes: How does the novel challenge stereotypes? What lesson could you learn from this example and how could that be applied to real world situations? Before reading, make a list of stereotypes often found in fantasy novels. While reading, make a note of examples that counter stereotypes. 2. Real-World Connections: What challenges and events in the book relate to situations in our world today or in history? Once these connections are made, compare and contrast how characters in the book reacted to/solved these issues to how similar issues are dealt with in the real world. What could we learn from the characters about tackling different issues? • Oppression and Power: Explore how the novel addresses these and how it relates to real world power dynamics. Who is in power, how did they achieve their power, and do they use their power to oppress others? Compare how a villain in the novel uses their power to examples of real-world authoritarian leaders. • Environmental Issues: Many fantasy novels address issues such as deforestation, pollution, or the impact of climate change on fictional worlds. Students could examine how the novel addresses these issues and discuss how they relate to similar issues in the real world as well as how the hero of the story “solves” the problem in relation to possible real-world solutions. • Immigration and Migration: Some fantasy novels explore the experiences of characters who must leave their homes and migrate to new places. Students could discuss how this relates to real-world experiences of immigrants and refugees and examine the reasons why people might be forced to leave their home, how they are treated on their journey, and how they are received once they arrive at their destination. • Discrimination and Prejudice: Students can examine how a fantasy novel addresses issues of discrimination and prejudice, and how this relates to real-world examples of racism, sexism, or other forms of discrimination. 3. Representation in Literature: Discuss the importance of representation in literature and how nontraditional fantasy books can offer representation to underrepresented groups. How did the inclusion of these underrepresented groups impact the story? 4. Creative writing: Students use the novel as a model for creating their own fantasy short story that features unlikely heroes, counters stereotypes, and includes connections to real world challenges. 5. Tropes: Examine traditional fantasy tropes and compare them to the novel. Discuss the impact of flipping these tropes on the plot, characters, and themes. What about the novel would not have been possible with traditional tropes? Nontraditional Fantasy Novel Suggestions Here’s a small collection of titles that appeal to my students and might help you expand your class or school library collection of “flipped” fantasy. There are many more out there to discover! ✦ Universe of Wishes edited by Danielle Clayton This collection of young adult fantasy short stories features diverse characters and nontraditional fantasy plots. Each story can be read as a stand-alone and could introduce students to authors whose work they’d like to explore further. These short stories would also be wonderful mentor texts to start a fantasy unit for upper middle grades. ✦ Princess of the Wild Sea by Megan Blakemore This book tells the story of Princess Harbor Rose anxiously awaiting her thirteenth birthday and what will come of the curse she was told was given to her as a baby. She believes a prince will be sent to save her and her community from this curse, but ultimately realizes she is the hero of her own story. ✦ Lia Park and the Missing Jewel by Jenna Yoon Lia’s parents work at a magical organization, and while she impatiently waits for her own magic skills to kick in, she decides to break one of her parents’ rules. This leads to an evil spirit being released and trying to capture her to acquire a jewel. Lia and her friend Joon soon find themselves on a magical adventure to Korea to find the jewel first and save the world. During their journey they both learn about who they are and their own courage. ✦ Eden’s Everdark by Karen Strong Eden goes to her family home of Safina Island to help her heal after her mother died. Eden finds drawings that her mother made and then finds herself in another world, Everdark, where everything is dark and there are spirits between death and the afterlife. This world looks very similar to the drawings by her mother. Eden is then faced with the challenge of overcoming the Witch of Everdark and getting back to her own world. ✦ The Total Eclipse of Nestor Lopez by Adrianna Cuevas Nestor Lopez can talk to animals, and he moves around a lot due to his father being in the military. He just wants to fit in after moving to a new town to live with his grandmother. He soon finds himself needing to solve the mystery of animals who are disappearing and especially prove that his grandmother isn’t involved in the disappearances. He realizes they are being impacted by a witch and needs to use his powers to stop her. More Books to Choose From ✦ The Girl from the Sea by Molly Knox Ostertag ✦ City of the Plague God by Sarwat Chadda ✦ The Hidden Witch by Molly Knox Ostertag ✦ Pet by Akwaeke Emezi ✦ Quintessence by Jess Redman ✦ Amari and the Night Brothers by B.B. Alston ✦ Where the Mountain Meets the Moon by Grace Lin Nontraditional Fantasy Novels Coming Soon in 2023 ✦ The Ghosts of Rancho Espanto by Adrianna Cuevas ✦ Nic Blake and the Remarkables: The Manifestor Prophecy by Angie Thomas ✦ Mari and the Curse of El Cocodrilo by Adrianna Cuevas ✦ Unstuck by Barbara Dee ✦ Team Chu and the Epic Hero Quest by Julie Dao Kasey Short (@shortisweet3) is the Middle School Director of Studies and an 8th Grade English Teacher and Advisor at Charlotte (NC) Country Day School. Kasey loves to share ideas from her classroom and writes frequently for MiddleWeb. She attended the University of North Carolina at Chapel Hill and earned a bachelor of arts in middle school education with a concentration in English and history. She went on to earn a master’s in curriculum and instruction from Winthrop University.

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The best way to describe the executive function of cognitive flexibility is to think of Einstein’s definition of insanity. “Doing the same thing over and over again and expecting different results.” That would be cognitive inflexibility. Cognitive flexibility is the ability to notice when your thinking process is not working or to notice when changes have occurred and to be flexible enough to adapt the thought process and to think differently about it. It may be that the goal of the project changed, something in the environment has changed, or the next step cannot be completed due to outside forces and thus the individual becomes stuck and can’t continue. On the Behavioral Inventory of Executive Functions (BRIEF) there are two categories that relate to this skill; cognitive shift and behavioral shift. Together they can indicate a student’s ability to try different approaches to something whether it is in their thinking or in actually changing their behavior when they notice it is not working. Solving a math problem is a good example of this. The student knows what the answer should be and solves the problem. When the answer is not right, they erase it and try again. Often they are repeating the same mistakes without realizing it. Stuck on a math problem but not realizing they are doing the same thing and are surprised the answer isn’t different. Difficulty adjusting to changes in plans Projects have various parts to them and when students get stuck on one piece they are unable to move forward. Creative writing is a real challenge as they cannot generate new ideas as they get stuck in one frame of thought. Following processes that aren’t effective because “I’ve always done it this way.” Easily “thrown off course” when conditions change Difficulty providing multiple solutions or ideas or in synthesizing something new out of given information - Give advance notice of changes with visual and/or verbal reminders (timers too) - When stuck or when you see the frustration start to build, suggest a break to do something active - Leave yourself a note explaining where you left off, so when you return you can pick it back up quickly - Encourage brainstorming and generating multiple ideas before settling on a specific approach - Start with the end in mind and work backwards - Ask for help, Google it or use a website like www.khanacademy.org - Use a whiteboard and don’t erase the previous approach - Use stories of past successful approaches to remind them of other options/approaches - Create a mind map (using colors and different shapes for key ideas) - Have a backwards day where everything is done backwards - Write down the approaches tried and list other options or give choices - If they play video games, you can get them to explain the different strategies they used to advance to the next level and compare that to their school work Helping your child brainstorm and learn ways to become more flexible in their thinking will help them become better problem solvers, creative thinkers and successful students. The world is not predictable and we all need to learn to adapt to the changes it may throw at us so that it doesn’t throw us off course.

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Unraveling the Mysteries of Riddles: How They Are Used for Fun and Learning The phrase "riddle is used for" has been around for centuries, and is often used to describe a question or statement that is intended to be solved by thinking in a clever or creative way. Riddles have been used for a variety of purposes, from entertaining children to teaching valuable lessons. The History of Riddles Riddles have been around for thousands of years, and are believed to have originated in the oral tradition of storytelling. Ancient Egyptians and Greeks used riddles as a form of entertainment, while medieval European cultures often used them to test the wit and wisdom of their peers. Today, riddles have become a popular way to have fun and pass time, while also helping people to think more critically and creatively. Types of Riddles There are many different types of riddles, each with its own unique character and purpose. Some of the most popular types of riddles include: - Traditional Riddles: These are riddles that are composed of questions or statements and often contain puns or wordplay. - Math Riddles: These are riddles that involve mathematical equations or calculations. - Logic Riddles: These are riddles that require logical thinking and deductive reasoning to solve. Uses for Riddles Riddles are used for a variety of purposes, and can be a great way to help people learn and have fun. Some of the most common uses for riddles include: - Entertainment: Riddles can be fun and entertaining, and can be used to occupy children or adults during game night, family gatherings, or other social events. - Educational: Riddles can be used to teach problem-solving skills, critical thinking, and logical reasoning. They can also be used to help students learn new concepts, such as math, science, and language. - Competition: Riddles can be used to create competitive games and activities, such as scavenger hunts or trivia contests. Tips for Solving Riddles Solving riddles can be a great way to exercise your brain and think in creative and logical ways. Here are some tips to help you solve riddles more easily: - Break the riddle down into smaller parts: Try to identify the key words and concepts in the riddle and break them down into smaller pieces. This will make it easier to understand the overall message of the riddle. - Think outside the box: Riddles are often designed to test your ability to think in creative and unconventional ways. Don’t be afraid to think outside the box and come up with unusual solutions. - Look for patterns: Look for patterns in the riddle that can help you figure out the answer

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General Currie Elementary: The Land is Our Home Wednesday November 6th, 2019 In this project, students learned about how we are connected to the land. Students explored the land of Richmond, Greater Vancouver, and BC to inquire into how our daily lives, and our identities are shaped by our local environment. We learned about resources that are provided by the land, and how those resources are taken, used, and cared for (or not cared for) by humans. We learned about the human impact on land, and how we can become more responsible stewards of the land. As part of our study, we explored Indigenous worldviews to understand how we can learn from Indigenous peoples to nurture more healthy and connected relationships with the the land. Connection to the Vancouver Biennale Exhibition: Students visited Water #10 by Ren Jun. We discussed the importance of water as a basic need for sustaining life. The artist created this installation with a powerful message for all, as water is a universal experience. We then passed the Richmond Oval, and walked along River Road (Dyke Trail) to Terra Nova Community Garden, to learn about soil and water working together to grow food. Then, we continued on to the Terra Nova Adventure Park to explore how humans use natural materials and landforms for entertainment. Enduring Understandings/Big Ideas: Social Studies (Grade 3/4): - The pursuit of valuable natural resources has played a key role in changing the land, people, and communities of Canada. - Indigenous societies throughout the world value the well-being of the self, the land, spirits, and ancestors. - Indigenous knowledge is passed down through oral history, traditions, and collective memory. - People from diverse cultures and societies share some common experiences and aspects of life. Science (Grade 3): - Living things are diverse, can be grouped, and interact in their ecosystems. - How are we connected to the land? - As stewards of the land and its resources, what are our rights and also our responsibilities? - What can we learn from Indigenous peoples, as we explore our relationship to the land? - Science: learning about local biodiversity and ecosystems - Math: sequencing and time (learning about the stages and duration of growth); graphing (in order to display the information about growth as associated with different types of plants); looking at patterns as they occur in nature; looking at statistics and how they can be interpreted in relation to environmental studies - Language Arts: using writing to reflect and explain learning and connections; using oral storytelling and traditions to learn about the past and create meaning. - Fine Arts: exploring processes that transform ideas and experiences into visual images and exploring image-making technology through natural means - ADST: using digital technology to create infographics about issues related to our study, for instance, global water use. This inquiry centred on the relationship between humans and the environment. Therefore, to begin, students first learned about our local environment, exploring the question, “What is significant about our local environment?” Students began by asking the question, “What is a place that you find to be significant to you?” They explored how place may impact all your senses, your emotions, and your memories. Students explained their connection using loose parts, and extended their thinking by writing a story or poem about connections to a place. Students learned about their own family histories in terms of coming to this place of Richmond, in order to uncover how connections to Richmond may be varied and complex. Students learned about where the local land came from in terms of the formation of the river delta that is Richmond. They learned about local Indigenous peoples. They gained an understanding of the stories of this land; they learned about the resources of this place, and how these resources have created community since time immemorial. Students engaged in activities from the Musqueam Teaching Kit: Giving Information About Our Teachings, in order to explore Indigenous stories, worldviews, and histories. Students mapped out our local environment, and created a model of our local environment to show significant locations, and names of these locations in English, and in Hunqiminum. Students learned about the significance of language, and naming, and how the naming of places comes from a human connection to place. Students explored the Indigenous names of places locally, and across Canada, making use of the Canadian Geographic Indigenous Floor Map of Canada. Students asked the question, “What are the resources of our local environment?”, and compared local resources to that of a different environment. Students considered how we use our resources, and how we obtain resources that are not provided in our local environment. Students evaluated how we use our resources, and how our local land, and then more broadly, the land of Canada has been reshaped for resource exploration and development. Students focused on the resource of water, exploring its use globally, and specifically in terms of the Pacific Ocean and the Fraser River. Students studied the water cycle, especially as it relates to the Fraser River and our BC Mountains. Students investigated the use and wastage of water, and how their actions at home and within the community can impact our water resources. Students learned about the importance of salmon to First Peoples, and how the waterways of salmon, and the salmon resource itself can be protected. Students were asked to critically consider whether they themselves are good stewards of their environment and its resources, and then, more broadly, are we as a local community and as a global community being good stewards of our environment. Students came up with some personal actions that they can take as individuals, and as a class community, to make a difference for the environment. Throughout, teaching incorporated the First Peoples Principles of Learning, namely using story to teach, and to learn how Indigenous peoples value the well-being of self, and, spirits and ancestors. Student Creation/Taking Action: In collaboration with our artist, students engaged on a journey to connect them in an experiential way with place. They collectively worked on the creation of an indoor class garden in which indoor garden pots featured plants that can be studied, harvested, used and shared. They made choices about the plants being grown, and learned about their characteristics, under what conditions they grow best, and how they have been used by humans in the past and in the present. Students learned about medicinal plants used by Indigenous people, as well as plants with sacred uses, for instance, cedar, sweet grass and tobacco. Students considered the importance of plants to our local environment, and how plants are at the centre of our local ecosystem. Invasive species were highlighted in order for students to see the fragility of balance within a local ecosystem. Students also investigated what plants are considered to be significant to our local farmers and to our local population due to culture. Students considered what plants they consider to be personally significant and why. Students engaged the community to share their plants in a plant sale/herb sale. Along with selling their plants, they also communicated information that they have learned in their inquiry.

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American Passages: A Literary Survey Gothic Undercurrents Herman Melville (1819-1891) Melville had to struggle to regain the economic and critical popularity he had enjoyed with his earlier writing. After Pierre, he primarily wrote short stories for magazines like Harper’s. Financial concerns burdened the family for years, but an inheritance late in life allowed Melville to work on his final narrative, Billy Budd, Sailor, the manuscript of which was found upon his death in 1891. Only after his death did Melville rise from the ranks of second-rate adventure novelists to his present status as one of America’s most important writers. Many recent readers have praised his piercing social criticism; they point, for example, to his condemnation of racism in “Benito Cereno” (1855) and his critique of dehumanizing labor in “Bartleby, the Scrivener” (1853) and “The Paradise of Bachelors and the Tartarus of Maids” (1855). Many have also found compelling the self-reflective and multi-layered nature of his narratives–narratives that continue to speak to the complexities of creating meaning in the American literary tradition. - Using illustrations of Moby-Dick from the nineteenth and twentieth centuries and selected passages from the novel, ask your students to write a character sketch of Ahab. - Divide your students into two (or more) groups and pose some current ethical issue of debate. Have one group respond as if it were Ahab, sharing his assumptions about the universe and people; have the other group speak as Ishmael, employing his beliefs and attitudes. What are the cores of their differing perspectives? How would they each respond to one of today’s ethical questions? - Comprehension: Note the description of the Pequod in Chapter 16, “The Ship,” in the archive. How does Ishmael characterize the ship and its crew? What does he mean when he says that the Pequod is “a cannibal of a craft”? How is this related to the idea of the “ship of state”? - Comprehension: How would you describe the relationship between Ishmael and Queequeg in Chapter 10, “A Bosom Friend,” in the archive? Why should the two of them be “a cosy, loving pair”? How does Ishmael seem to feel about Queequeg’s religious beliefs? - Comprehension: Why might Melville have chosen to tell the story of Ahab and the white whale from Ishmael’s point of view? How do Ishmael’s judgments and perspectives affect your understanding of Ahab’s quest? And why begin the novel with the line “Call me Ishmael,” as if the reader is not privy to the narrator’s true name? - Context: Read carefully Ahab’s diatribe against Moby-Dick in “The Quarter-Deck.” He says that “all visible objects, man, are but as pasteboard masks,” that the whale is like “the wall” that hems in a prisoner, and that “that inscrutable thing [in the whale] is chiefly what I hate.” In the midst of a whale-hunt, why bring up pasteboard masks and prison walls? What does Ahab mean by “inscrutable”? What is the relationship between Ahab’s speech and Ishmael’s later assertion that Ahab identifies Moby-Dick with “all [Ahab’s] intellectual and spiritual exasperations. The White Whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them”? - Context: In “The Whiteness of the Whale,” Ishmael continues his assessment of Moby-Dick. He concludes that the whiteness presents “a dumb blankness, full of meaning.” According to Ishmael, what is the significance of the whiteness of the whale? - Context: In what sense does Moby-Dick fit Melville’s discussion of literature in “Hawthorne and His Mosses”? - Exploration: Melville wrote many texts that can be considered social critiques in a more clear-cut way than Moby-Dick. Read “Bartleby, the Scrivener,” Billy Budd, Sailor, and Benito Cereno; then use the social critique in those texts to develop an interpretation of Moby-Dick as a social critique. Selected Archive Items William Huggins, South Sea Whale Fishery (1834), courtesy of the New Bedford Whaling Museum. Colored aquatint of sperm whale and boats in rough seas. This popular scene was drawn on by American artists, such as author Herman Melville and painters Albert van Beest, R. Swain Gifford, and Benjamin Russell, as they played with the symbolism of America as “ship of state.” Rockwell Kent, Whale beneath the Sea (1930), courtesy of the Plattsburgh State Art Museum. This illustration dramatizes the smallness and vulnerability of the Pequod in relation to the whale and the vast ocean. Rodney Dewey, Herman Melville (1861), courtesy of the Berkshire Athenauem, Pittsfield, Massachusetts. Picture of Melville while he was living at Arrowhead, his home in the Berkshire Mountains in Massachusetts. All of his best-known works, including Moby-Dick, were written during the thirteen years that he lived at Arrowhead. Anonymous, Herman Melville (c. 1885), courtesy of the Gansevoort-Lansing Collection, Manuscripts and Archives Division, The New York Public Library, Astor, Lenox and Tilden Foundations. Picture taken around the time of Melville’s retirement from his job as a customs inspector for the New York Customs House, where he worked for over twenty years. The International Magazine of Literature, Art and Science, Herman Melville’s Whale (1851), courtesy of the Making of America Project, Cornell University Library. This review of Moby-Dick appeared in December 1851. Moby-Dick‘s unusual narrative structure and philosophical underpinnings were disliked by readers as well as critics. Putnam’s Monthly Magazine of American Literature, Science and Art, “Our Young Authors”–Melville (1853), courtesy of Cornell University, Making of America Digital Collection. This review of Melville’s work is typical of the way in which it was received by his contemporaries. The author praises Melville’s early adventure novel Typee, while disparaging the philosophical bent that characterizes many of his later novels. Walter Monteith Aikman, The Tontine Coffee House, Wall & Walter Streets, about 1797 (n.d.), courtesy of the Library of Congress [LC-USZ62- 98020]. The Tontine Coffee House was a place where the financial men of New York City met to discuss money matters. Melville depicted the potentially dehumanizing effects of life on Wall Street in works like “Bartleby, the Scrivener.” Herman Melville, Chapter 16 of Moby-Dick, “The Ship” (1851), courtesy of Project Gutenberg. In this chapter Ishmael describes how he decided to sign aboard the Pequod, following Queequeg’s superstitious insistence that Ishmael choose the ship to which they would commit themselves. Rife with foreboding, this chapter also includes the first description of Ahab. Herman Melville, Chapter 10 of Moby-Dick, “A Bosom Friend” (1851), courtesy of Project Gutenberg. In this chapter Ishmael cements his friendship with future shipmate Queequeg. “I’ll try a pagan friend,” Ishmael says, “since Christian kindness has proved but hollow courtesy.” Unit 3 Utopian Promise Instructor Overview, Bibliography & Resources, Glossary and Learning Objectives for this Unit.

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Introducing the 12 Principles of Animation Lesson Module This year we are introducing the 12 Principles of Animation lesson module. We created this interactive lesson set to help students understand the core concepts and practices of animation as laid out in, released by Disney in 1981. The book was written by Frank Thomas and Ollie Johnston who are known for being part of the group of nine original animators that brought to life the characters of films like Snow White and the Seven Dwarfs, Pinnochio and Fantasia. Years ago, Walt Disney brought together the dream team of animators at a time when animation was created laboriously through hand-drawn animation cells that were then lovingly hand-painted and then photographed to become the individual frames of a movie. To capture the experience of creating all the art and design that became the hallmark of Disney Studios and the industry standard for full-length animated features, the book The Illusion of Life—Disney Animation was released in 1981. In this book, the wisdom of the original Disney animation team was captured to help guide the next generation of animators. The book is incredible, but for beginning animators, there is a particular chapter that everyone new to the craft must read. Chapter three is called the Principles of Animation. This chapter lays out 12 basic principles every animator should be familiar with. In the book there is also a chapter that speaks to what Frank and Ollie refer to as the 12 Principles of Animation. It is these principles that Walt Disney and the Disney animators learned and applied to create the life-like engaging animations that made Walt Disney Studios famous. What is fantastic is that all of these principles were developed long before there was ever any computer animation. Since these practices predate computer animation, the students are steeped in the foundation of great animation and character development. All the trappings and distractions of computer applications are stripped away, and what is left is a clear and concise set of concepts that can be applied to any 2D or 3D animation. Through this module, students learn the original language of animation. This is the language that all the great animators have used since the 1930s. This is a living history that brings to life, no pun intended, the wisdom of decades into a focused set of activities that are as relevant today as they were when Snow White and the Seven Dwarfs was released in 1938. Throughout the course, a professional animator animates and explains each principle. Students learn how the principle is applied, why it is used and the overall effect on the animation. Students then get the chance to take these principles and apply them to their own animation projects that are part of the curriculum. Understanding and applying these key principles is also part of the process of students earning their international industry-recognized Web Animator certification from the Web Professionals Global Organization. Since the web is one of the biggest consumers of animation, everything the students create in the curriculum feeds their college- and career-ready portfolio. It also means the industry recognized certification available through this course is stackable with all of the Web Professional Global Organization’s industry certifications. Curious how your students can learn and earn their way to a free industry certification for Web Animation? Click here Part of why we add a specific lesson set on these principles is that mastering these fundamental skills is a fast way to show students how to quickly improve their animations. Showing students how to apply just one or two of these principles to their animations truly adds so much value to their project work. Confidence and pride go up, and as any teacher knows, it is easier to keep students engaged, learning and expressing their creativity in more challenging ways when they are proud of their work. The Web Animation with Marketing curriculum gives your students the best of being immersed in a career simulation with interactive lessons to guide them while creating real-world animated projects for clients. Students get the opportunity to continue to refine their animation skills as they animate banners for websites, business logos, music videos, and other animated projects. Students learn firsthand not only how to animate but also about character development, storyboarding, sound effects, scripting, voice-over, and music development. We are excited to announce this new addition to the Web Animation Curriculum, and as always, we cannot wait to hear your feedback. Please share with us what your students learn in this new lesson module as you see them engaged and inspired. Curious how this curriculum runs on PC, Mac, and Chromebook? Contact us today

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How Puppets Can Help Kids Express Emotions Puppets have been a longtime instrument for expressing emotions and telling stories, especially for kids. They offer a powerful tool for helping kids to understand and share their feelings in a safe and creative environment. With puppets, children can freely express their innermost feelings without the worry of being judged or misunderstood. Puppets are particularly effective in helping children express emotions because, like kids, puppets have big personalities, can be brightly colored, and can easily express a wide range of emotions. They provide a medium that is safe and non-threatening, acting as a buffer between the child and the situation. As a result, children can use puppets as a vehicle for communicating about their experiences with less anxiety or fear. Puppets may be especially beneficial for children who have experienced traumatic events or who are dealing with strong emotions related to change. In these situations, puppets offer a way for children to understand their feelings and to feel more in control of their emotions. For instance, kids who are struggling with a move to a new home or school can use puppets to act out their feelings of sadness, anger, and confusion. Using puppets in therapy work is well established thanks to their ability to bridge the gap between words and actions. Children can see and identify with their puppets, making the transition between their own emotions and those of the puppets easier. By modeling appropriate behaviors, such as encouraging talking about feelings and validating those feelings, the puppet can indirectly teach children how to offer and receive emotional support. In addition to being a creative outlet, puppets can lend a sense of relaxation to kids. The repetitive motion of manipulating puppets can help to calm children and allow them to focus on a more relaxed, peaceful state. Puppets, therefore, are ideal for helping children with anxiety-related issues and may contribute positively to stress reduction. Puppets can be used in many settings, including schools, hospitals, and therapy settings. They can be used as part of individual or group therapy sessions, as well as incorporated into playtime activities. They can also be used to teach children social skills, such as taking turns, cooperating with others, and showing empathy. In conclusion, puppets provide children with a unique opportunity to express their feelings in a non-judgmental environment. They offer a safe and constructive way for kids to deal with difficult emotions, allow them to demonstrate self-expression, and provide an excellent means for developing interpersonal skills. Whether used in a therapeutic setting, for storytelling, or just for play, puppets remain one of the most beneficial tools for teaching children to communicate and share their emotions.

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Are you looking for writing prompts for middle school students that will keep them engaged and get them inspired? Writing is an important part of any student's education, and it can be difficult to encourage them to write outside of class. That's why I've compiled a list of 25 writing prompts that will get your students' creative juices flowing! From narrative and descriptive prompts to persuasive and expository prompts, this list has something for everyone. Each prompt is designed to help students think critically and develop their writing skills. With these writing prompts, your middle schoolers will be able to explore their own thoughts, feelings, and experiences in unique ways. So let's get started! Personal Writing Prompts Write about a time you felt proud of yourself. What did you accomplish, and why did it make you proud? Write about a person who has influenced you the most. How did this person impact your life, and what lessons have you learned from them? Write about a goal you want to achieve. What steps will you take to achieve it, and what motivates you to pursue this goal? Creative Writing Prompts Write a story that begins with the line, "I never expected to find myself in this situation." What happens next? Write a story about a character who discovers a hidden talent. How does this talent change their life, and what challenges do they face? Write a story from the perspective of an inanimate object. What does the object observe, and what thoughts and emotions does it experience? Expository Writing Prompts Write about the benefits of regular exercise. How does exercise impact our physical and mental health, and what are some tips for incorporating exercise into our daily routine? Write about the importance of reading. Why is reading important, and how does it benefit us? What are some strategies for developing a reading habit? Write about a current event that interests you. What is happening, and what are the different perspectives on this event? What is your opinion, and why? Persuasive Writing Prompts Write an essay arguing for or against school uniforms. What are the pros and cons of school uniforms, and what is your stance on this issue? Provide evidence to support your argument. Write an essay arguing for or against the use of social media. What are the benefits and drawbacks of social media, and how does it impact our lives? What is your opinion, and why? Write an essay arguing for or against the death penalty. What are the ethical and legal considerations surrounding the death penalty, and what is your stance on this issue? Provide evidence to support your argument. Descriptive Writing Prompts Describe your favorite place to go when you need to relax. What makes this place special, and how does it help you unwind? Describe a memorable moment from your childhood. What happened, and why was this moment so significant to you? Describe a character from a book or movie that you admire. What qualities does this character possess, and how have they influenced you? Narrative Writing Prompts Write a story about a time you overcame a fear. What was the fear, and how did you conquer it? What did you learn from this experience? Write a story about a time you experienced failure and how you bounced back. What did you learn from this failure, and how did you turn it into a positive experience? Write a story about a dream you had that felt real. What happened in the dream, and how did you feel when you woke up? Reflective Writing Prompts Reflect on a time you learned a valuable lesson from a mistake. What was the mistake, and what did you learn from it? How have you applied this lesson to other areas of your life? Reflect on a time you were forced to step outside of your comfort zone. What was the situation, and how did you feel? What did you learn from this experience? Reflect on a moment when you felt truly happy. What was happening, and what emotions did you experience? What made this moment so special? Research Writing Prompts Research and write about a famous scientist or inventor. Who are they, and what did they contribute to their field? What impact have they had on society? Research and write about a historical figure who has inspired you. Who are they, and what did they do to inspire you? What lessons can we learn from their life? Research and write about a country you would like to visit

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The commitment, through acculturation, to be part and parcel of religious processes is evident in the Kalinago community. In this regard, the population is one which is predominantly Christian. There is very little visible evidence of any form of traditional Kalinago religious practices. The people understand a religion be an organized collection of beliefs, cultural systems, and world views that relate humanity to an order of existence. The people appreciate that many religions are realized to have narratives, symbols, and sacred histories that aim to explain the meaning of life, the origin of life, or the Universe. The Kalinago have joined many other people worldwide who appreciate that they may derive morality, ethics, religious laws, or a preferred lifestyle from their beliefs about the cosmos and human nature. Before the intrusion of colonialism, the Kalinago people share the religious experiences of their many brothers and sisters all around the world. It is important to note that these indigenous religions in themselves rarely have written sacred texts. More importantly, the indigenous beliefs focus on dances, costumes, masks, ritual traditions, and sacred artifacts (material objects). These practices are part of a people’s cultural identity and help them forge a sense of connection with their world. Indigenous religions transmit wisdom, cultural values, and history, not through formal education but through myths, storytelling, drama, and art. Indigenous people tend not to rely on silent meditation or individualized experiences but on ritual activities that bind people to the community. Many of these rituals mark important occasions, such as planting or gathering a harvest. Nonetheless, in many indigenous religious traditions, people seek wisdom of their own through vision quests and similar private rituals. Earlier scholars, such as Hartley B. Alexander (1920), emphasized differences between Island Taino (Arawak) and Island Carib religions. This tradition continued in the work of scholars such as Fred Olsen (1974) and Charles A. Hoffman (1980), for example, who postulated strong Maya influence on the religious systems of the Greater Antilles. Later, scholars paid greater attention to the similarities in Arawak and Carib belief systems—for example, the many parallels in Arawak and Carib shamanism—than to their differences. Both the Island Arawak and the Island Carib originally migrated from the South American mainland (Rouse, 1964). The Island Arawak settled in the Greater Antilles at about the beginning of the Common Era and were followed several hundred years later by the Carib, who claimed to have begun their migrations into the Lesser Antilles only a few generations before the arrival of Columbus. The Island Carib asserted that they conquered the Arawak of the Lesser Antilles, killing the men and marrying the women. Douglas M. Taylor (1951) suggests that the women’s language prevailed, because the language spoken by the descendants of the Island Carib belongs to the Arawakan family of languages. Of course, another possible explanation is that all the peoples of the Lesser Antilles were of Arawak origin. It should not be assumed that the Island Arawak of the Greater Antilles and the Arawak of the South American mainland are members of the same ethnic group. The Island Arawak and Arawak proper did not speak the same language. Irving Rouse points out that their two languages were “no more alike than, say, French and English” (Rouse, 1974). Moreover, inhabitants of the Greater Antilles thought of themselves not as “Arawak” but as members of local chiefdoms, each of which had its own name. Since each chiefdom was totally independent of all others, the group we know as the Island Arawak had no need for an overall tribal name. In 1920, Hartley Alexander suggested that the sea must have been a tremendous barrier to cultural transmission in the Caribbean. Contemporary archaeologists, however, recognize that water did not constitute a barrier for these peoples. Therefore, archaeologists no longer study individual islands in isolation. This has many implications for the study of aboriginal Caribbean religions as it becomes increasingly apparent that religious developments on one island were likely to have affected religious developments elsewhere in the region. Various island groups seem to have been in constant contact with one another. Archaeologists have since established a firmer and more comprehensive chronology for the Caribbean region (Rouse and Allaire, 1978). They also have discovered much greater variation in religious artifacts than was previously thought to exist, which in turn hints at a greater variation within the religious traditions of the Island Arawak and the Island Carib than was previously supposed. Arawak and Carib traditions, for example, may have differed from settlement to settlement on the same island. Both the Island Arawak and the Island Carib possessed a notion of a high god, though, as the chroniclers’ reports make clear, their high god differed conceptually from the God of Christianity. We know, too, that aboriginal high gods were thought to exert very little direct influence on the workings of the universe. Many of the early chroniclers, including Fray Ramón Pané, Gonzalo F. de Oviedo, and Raymond Breton, refer to Arawak and Carib high gods as kinds of deus otiosus; that is, they are inactive gods far removed from human affairs and concerns. Neither the Island Arawak nor the Island Carib conceived of their high god as creator of the universe, and it is unclear how powerful the high god was thought to be. Was it that their high god was able to interfere directly in world affairs but chose not to do so, or was he thought to be totally ineffectual? Chroniclers differ somewhat on this. Pané suggests that the high god was a powerful deity who chooses to be inactive. Other chroniclers stress the inactivity of the high god and the lack of attention accorded him. The bulk of the evidence, including what we know of other American Indian religions (Hultkrantz, 1979), supports the latter interpretation. The Roman Catholic Church established itself within the Kalinago community as the first western religion. This condition was facilitated by the missionary enterprise of the French monarchy through the colonial enterprise. The Catholic Church, also known as the Roman Catholic Church, is the largest Christian church, with more than 1.25 billion members worldwide. This religion is one of the oldest religious institutions in the world; it has played a prominent role in the history of Western civilization. Headed by the Bishop of Rome, known as the Pope, its doctrines are summarized in the Nicene Creed. The Catholic Church is notable within Western Christianity for its celebration of the seven sacraments. Old Salybia Church New Catholic Church Subsequent protestant denominations followed in the latter part of the 1970’s. Some of the people of the Kalinago community understand Protestantism as a form of Christian faith and practice which originated with the Protestant Reformation. This was a movement against what its followers considered to be errors in the Roman Catholic Church. The protestant denominations include Baptiste, Pentecostal, Seven Days and Seventh Day Adventists.

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