NCTE Bound

letter N letter C letter T letter E

I’m starting to get excited about the annual NCTE convention this year. I will be presenting Writing Workshop with two colleagues who are sharing their experiences with student blogging and online discussion forums. Here are our session details:

NCTE SessionI’m also looking forward to visiting all the Folger folks and seeing Julius Caesar at the Folger theater with my friend, Glenda.

Are you going to NCTE?

NCTE image made with Spell with Flickr

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Book Club Suspended: Falling in Love with Close Reading

The post on chapters 1 and 2 has been up over a week with very little activity in the comments. I think folks are busy going back to school and perhaps don’t have the time they thought they might have to engage in an online book club. I have so much I must read to prepare for the coming school year, and it seems as though the best idea is to suspend the book club.

Perhaps we can start a book club up after the school year begins in earnest and things have settled down for everything.

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Falling in Love with Close Reading: Chapters 1 and 2

I apologize for not getting this first post up sooner. I have been having some problems with my blog. I just installed a plugin that I hope will help prevent some of the slowness and page load issues you might have noticed. However, I used a similar plugin some years ago, and it totally messed up my blog, so if you notice something technically amiss, please let me know. On to the discussion of  Falling in Love with Close Reading: Lessons for Analyzing Texts—and Life.

In chapter one, Lehman and Roberts discuss New Criticism, suggesting that close reading really emerged for the first time as a means of “trying to tune out everything else while looking at the style, words, meter, structure, and so on, of a piece of writing” (2). They go on to discuss the other styles of literary critique that emerged either at the same time as or after New Criticism. It reminds me of something very interesting Jasper Fforde once said at a reading. Jasper Fforde is, if you haven’t heard of him, the writer of the popular Thursday Next series, and honestly, if you are a book nerd of any stripe, you should check out those books—especially the first few. Anyway, this was right after his dystopian novel Shades of Grey came out (not to be confused with the 50 shades variety). In this novel, people can only see one color, so they stratify society based on what color they can see. People who can see only grey are at the bottom. One person at the reading asked Fforde if he was trying to make a comment about racism with the novel. He said truthfully that he hadn’t thought about it, but then he went on to describe reading as a highly creative act. He added that a book only belongs to an author as long as he/she hasn’t shown it to anyone. After that, it belongs to the reader, too, and the reader brings everything he/she has read, experienced, or thought to bear on that book as well. It’s one of my favorite things anyone has ever said. I think it’s true that two people can read entirely different books. In fact, one person can read an entirely different book—I have read books at different times in my life and had very different reactions to them.

Anyway, that was a bit of a tangent, but I feel strongly that we can’t cut the reader out of equation. The reader is possibly more important to me than the author’s life (though I do find I discuss biography more with students when it seems more obvious to me that the author’s life impacted the work in some significant ways).

Lehman and Roberts go on to discuss the place of close reading in the CCSS. I think the bottom of page 3 is the first time I’ve ever seen a tweet cited! It’s interesting to think about the ways in which social media will impact the way we write and what we write about.

One thing I do like about this book is the cutaway figures that pull out the essentials: the definition of close reading on p. 4, the central tenets of close reading instruction on p. 5, and so on. It is helpful to have the big ideas emphasized.

Lehman and Roberts describe the structure they advocate for teaching close reading as a sort of “ritual,” and I like that thinking (7). The ritual involves

  1. Reading through lenses.
  2. Finding patterns.
  3. Using the patterns to understand the text.

When I taught Things Fall Apart for the first time, I feared my students would have a lot of trouble relating to Okonkwo and would probably dislike him quite a great deal. I don’t like him, truth be told, but I am able to sympathize with his plight. Achebe lays that foundation to help us see as readers where Okonkwo’s failings come from. But teenagers are much more critical and have a more difficult time with the other person’s point of view. So I decided that perhaps the way we should read the novel is in a detached way. We took on the role of anthropologists, studying the Ibo (Igbo), and we each picked a lens that interested us: gender, religion, farming, etc. We paid attention to what we could learn about the culture’s beliefs through our chosen lens. I think the students found the book more interesting, and they were able to think perhaps a bit more like scientists.

You know, you don’t have to like the protagonist to like a book. It took me a while to figure that out, as I think it takes most readers a while to figure it out. I love Lolita, for instance, and Wuthering Heights, but I hate the protagonists in those books. I think often times, teenagers have difficulty with books that have antiheroes or unlikeable protagonists because they really want to like and to root for the protagonist. But teaching students to read through lenses and to get at what a character wants and thinks, and what motivates a character, really helps students go beyond a simple gut connection with the lead character.

Chapter 2 of the book takes the reader through the process of the ritual Lehman and Roberts mention in chapter 1. I was struck by how similar the process for close reading is to “close looking.” I recently took an Art and Inquiry course through MoMA online with Coursera (great course), and one of the techniques for encouraging inquiry is to ask students what they notice and keep probing. The MoMA does this with student visitors. Questioning students about what they notice is akin to the strategy Lehman and Roberts describe as gathering evidence and then developing an idea (12).

Sprinkled throughout the book are QR codes linked to websites and other media mentioned in the text. Scanning a QR code leaves less margin for error than trying to type in a URL, and I rather like the idea that the book feels more dynamic. Obviously, the changing nature of the web will mean that down the road, the codes might not direct to the right link anymore, but it’s a good idea until we figure out how to put dynamic links in a static book.

I’m not sure I’d have chosen the same song to introduce students to close reading (see page 14), but that’s just me. I might not do a song at all. No reason not to do a poem. I assume the song choice was an attempt to connect to the students using music they like, but my experience is that Justin Bieber is a polarizing figure, and aside from that, I mean, the lyrics are not poetry (not that Lehman and Roberts are trying to convince us that they are poetry—just using them as a vehicle for teaching their close reading approach). In fact, they go on to say that choosing a less challenging text when teaching this ritual is helpful because of the confidence it gives students. It also helps the teachers pinpoint which close reading skills students are struggling with (as opposed to struggling with comprehension). I can get behind that logic.

Lehman and Roberts then include a model for the instruction of the ritual on pp. 17-24. I found the model helpful as it drilled down to each part of the close reading ritual to show what teaching it to students could look like. Then, on pp. 25-27, Lehman and Roberts apply the model to informational texts. I found this model helpful, as many books on teaching reading skimp on informational reading.

Lehman and Roberts advise teachers to “plan to pay careful attention to what [the students] produce when working independently” (27). They provide a helpful chart for revising our thinking about a reading and additional tools for providing extra support to students—using conversation (small group discussion) to evaluate evidence, ranking evidence in terms of which details best support students’ thinking, and teaching students when to close read for evidence (29). In addition, and also helpful, is a list of tools for challenging more advanced students: expanding lenses, seeking out contrasting patterns, and using analytical lenses (29).

The chapter closes with a discussion of close reading details in our lives, which I found helpful in thinking about the digital storytelling project I’d like to do with my juniors this year. I scanned the QR code on p. 31 and found it linked to a StoryCorps recording that would be perfect to share with my students as they create their digital stories. I hadn’t thought about doing close readings of the models I might provide for students preparing to create digital stories, but it makes perfect sense.

Please share your thoughts about the chapters in the comments below. Let’s discuss!

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Digital Storytelling Workshop

storytelling photo

Thanks to my school, I had the wonderful opportunity to participate in a digital storytelling workshop with the Center for Digital Storytelling in Denver at the Lighthouse Writer’s Workshop.

I will admit that I went into the workshop with a fair amount of hubris. I thought to myself, I’ve been teaching English for sixteen years. I know a lot about these kinds of projects. I’m a technology integrator. I know iMovie pretty well. I’d go so far as to consider myself an expert in comparison with many teachers—though I’d not go so far as to say I know everything there is to know about it, I can do pretty much everything I might want to do for school purposes. I didn’t really expect to learn very much from this workshop, but I was glad I would have the opportunity to visit my grandparents, who live in the Denver area.

On the first day of the workshop, we engaged in probably the most powerful part of the entire experience (for me), which was a story circle. We were advised to come with a draft of a script, but I tried to sit down and write one, and I found I couldn’t figure out what to say. As it turned out, very few of the participants were prepared with a script. In story circle, we each had twelve minutes to talk about our story, answer questions, ask questions, and obtain feedback from the facilitators and other participants. I think the reason it was such a powerful experience is because it was such a bonding moment. Several of us cried as we reached the heart of what it was we wanted to say, and the facilitators were excellent at provoking us to really think about what story we wanted to tell.

I started my spiel with the idea that I wasn’t going to cry at all. I told everyone I was visiting my grandparents. My grandfather is a WWII vet, and I decided I would make a digital story about his experiences in WWII. He has some really interesting stories about being inducted into the Navy, joining the Seabees, breaking his glasses and running afoul of postal censors when he wrote home asking for his parents to send him two pairs to replace the broken ones, coming up with a secret code so he could communicate with his mother, and contracting meningitis and causing the Army’s 7th Division to fall under quarantine and have their Christmas leave canceled. A couple of years ago, he was able to travel to Washington, DC on an Honor Flight to see the nation’s capital, specifically the World War II Memorial. He enjoyed the trip a great deal. So, I said to the story circle, that’s what I want to tell a story about.

The facilitator looked at me, a pointed expression on her face, and she asked me, “Dana, how is this story about you?” I was startled by the question, but I thought for a minute, and then, naturally, I burst into tears. It was about me because of everything my grandparents had done for me. It was about me because they are elderly, and I don’t know how much time I have left. It was about me because I will be devastated when they are gone.

With this much-needed clarity, I began to write my script. I was having trouble paring it down to the 300-word suggested limit. I thought I might be able to do 500 words, but 300 was too little to say everything I thought I needed to say. I decided I would just rebel and make a longer video, and I set to work with that script. The facilitator helped me record my voiceover. I interviewed my grandfather, who spoke for an hour about his experiences, and I selected the parts I would use in the story. I scanned lots of pictures my grandparents had around the house.

When I began stitching together the different pieces, I accidentally deleted a whole segment in which my grandfather goes into some detail about having meningitis during the war. After I listened to the video, though, I realized I didn’t exactly need the clip, so I let it go, and I actually managed to get the video at the upper time limit. I never thought I’d do that. It has taken me a couple of weeks’ worth of soul-searching and wrestling to decide whether or not to share the story I created.

YouTube Preview Image

The experience of making the video convinced me to pull digital storytelling into my own curriculum. One natural place I could see it falling is in my American Studies in Literature course. I had already decided to incorporate This American Life into my American literature curriculum, as I see media like podcasts and videos as the new “wave” of writing/storytelling. Well, maybe not so new anymore, but you know how it is in education. Near the end of the year, I plan to explore the theme of the journey. I did not select a large number of works because I knew I wanted to do a culminating project of some kind. The journey, can, of course, be a physical journey. It can also be an inward journey, a self-discovery. Like my video was, after a fashion. Here is another example from the Denver director of the Center for Digital Storytelling:

YouTube Preview Image

It really impacted me when I watched it. Obviously, I would not ask students to tell stories that they are not ready to tell, but I think this could be one of the most powerful experiences for my students:

  • We all have stories, and think about how important it is for us to tell them. Think about how interesting your average episode of This American Life and The Moth is. Think about how entertaining it is to read, say, David Sedaris.
  • We often ask students to read the stories of others, but we don’t ask them to tell their own. We ask them to analyze the stories of others.
  • Digital storytelling is a new way of sharing narrative. In the past, we listened to storytellers. Then we read. I think this might be the next thing. Not that we stopped listing to people tell stories or that will will stop reading. But this adds a new dimension to storytelling.
  • The “writing” aspect of this project is some of the hardest writing I have ever done. I can see people challenging the idea that this is writing, but drafting the whole story was an extremely challenging and rewarding process.

Here is more of Daniel Weinshenker on storytelling:

YouTube Preview Image

One aspect of the process that I will definitely borrow is the story circle. It fits hand-in-glove with the kind of writing workshop I have been doing in my classes.

In the end, I even learned some useful technical tricks that made my video better (and here I thought I was an expert!).

Years ago, I was in Coleman Barks’s last poetry class at the University of Georgia. The final project we did in his class was to bring our own poetry to class and share it. Dr. Barks anthologized it. He told us explicitly that after we studied the great 20th century American poets, we were now among them, the next generation if you will. And I believed it. I want to give that gift to my own students.

If you have a chance to take one of the Center for Digital Storytelling workshops, don’t hesitate. They do excellent work. Next to Folger Teaching Shakespeare PD, it’s the best PD I’ve ever had in my life.

Photo by Jill Clardy

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Falling in Love with Close Reading: First Discussion

I apologize for dragging my feet starting our study of Lehman and Roberts’s  Falling in Love with Close Reading: Lessons for Analyzing Texts—and Life.

I propose that we read the first two chapters this week and gather here to discuss them next Sunday, August 3. I know we’re butting up into the beginning of school for some folks. I just had a really hectic July, and I wasn’t able to get us started. I’m all set now. Let’s go!

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Summer PD Reading Book Club: Falling in Love with Close Reading

I’m sorry for not posting this sooner, but my July is a little hectic. The final results of the poll are in, and it looks like  Falling in Love with Close Reading: Lessons for Analyzing Texts—and Life by Christopher Lehman and Kate Roberts is the winner (by three percentage points, or just one vote!), so if folks who wanted to read Notice and Note: Strategies for Close Reading by Kylene Beers and Robert E. Probst want to do a part two as fall begins, let me know in the comments.

The next thing we need to decide is how to conduct the discussion. I’ll bring my copy with me as I leave for a Digital Storytelling Workshop in Denver this week. What sort of reading schedule do you propose? How would you like to discuss the book? Here?

Sound off in the comments to let me know!

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I Don’t Get What’s Wrong with Asking for PD

Every year during ISTE, a version of this tweet makes the rounds. It gets a lot of favorites and retweets.

I totally understand the spirit of the tweet. A lot of teachers don’t use a tool (or much technology at all), and some techy folks view asking for PD as an excuse not to use a tool. And there are probably quite a few teachers who can’t make the time for PD, but claim they don’t use tech tools because they haven’t had the PD.

The problem I have with this thinking is that I don’t understand why asking for PD is problematic. Most teachers I have worked with in the last few years I’ve been a tech integrator are quite interested in learning how to use technology. They set aside time to meet with me, or they come to PD sessions for the express purpose of learning to use technology. It makes them feel better to have a guide teach them the basics before they dive in on their own. I don’t blame them. There are several things I prefer to have help with when I do them.

The other problem I see is that when I introduce a tech tool to students, I always take time to teach them how to use it. Sure, some of them prefer to dive in and figure it out, but often, I find students are not the tech savvy digital natives they’re believed to be. There are things they know how to do, and tools they know how to use well, but they don’t know how to do everything, and there is a lot they don’t know about working with some technology. So yes, I have had students ask me to show them how to use technology. In a sense, isn’t that asking for PD?

I would much rather teachers and students both felt comfortable asking me for help when they need it than that they felt there was something wrong with asking for help. Am I just not getting it or something?

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Summer PD Reading Book Club

Some of you may remember that I have hosted summer PD reading in the past. I hope to get another summer PD reading book club off the ground this summer. I have narrowed the selections down to three choices:

Falling in Love with Close Reading: Lessons for Analyzing Texts—and Life by Christopher Lehman and Kate Roberts:

Falling in Love with Close Reading shows that studying text closely can be rigorous, meaningful, and joyous. You’ll empower students to not only analyze texts but to admire the craft of a beloved book, study favorite songs and video games, and challenge peers in evidence-based discussions. Christopher Lehman and Kate Roberts offer a clear, fresh approach to close reading that students can use independently and with any text. Falling in Love with Close Reading helps you guide students to independence and support the transfer of analytical skills to media and their lives with lessons that include:

    • strategies for close reading narratives, informational texts, and arguments.
    • suggestions for differentiation
    • sample charts and student work from real classrooms
    • connections to the Common Core
    • a focus on “reading” media and life closely

Notice and Note: Strategies for Close Reading by Kylene Beers and Robert E. Probst

Just as rigor does not reside in the barbell but in the act of lifting it, rigor in reading is not an attribute of a text but rather of a reader’s behavior—engaged, observant, responsive, questioning, analytical. The close reading Strategies in Notice & Note will help you cultivate those critical reading habits that will make your students more attentive, thoughtful, independent readers. In this timely and practical guide, Kylene and Bob:

  • examine the new emphasis on text-dependent questions, rigor, text complexity, and what it means to be literate in the 21st century
  • identify 6 signposts that help readers notice significant moments in a work of literature
  • provide 6 text-dependent anchor questions that help readers take note and read more closely
  • offer 6 Notice and Note model lessons that help you introduce each signpost to your students

Fearless Writing: Multigenre to Motivate and Inspire by Tom Romano

What does it mean to write fearlessly? Tom Romano illustrates the power of multigenre papers to push students beyond the “safety zone” of narrative and exposition into a place where fact meets imagination, and research meets creativity. A place to try the untried. Fearless Writing empowers students to leap into this personal, multifaceted take on research writing by giving you specific strategies and practical ideas to help students:

  • generate topic ideas
  • design research plans
  • develop core elements of a multigenre project
  • create innovative genres and “golden threads” of unifying elements

While multigenre papers address many Common Core standards, Tom’s passionate response to both the strengths and weaknesses of the Common Core serves as a lightning bolt of awareness, and a rallying cry for a writing curriculum of genre diversity. Expand your notion of writing and teaching writing, fearlessly.

While I cannot make promises or offer guarantees, it is possible that I can persuade the writers to become involved in our discussions. We can work out logistics in terms of how we want to conduct the discussions, and if you have suggestions, by all means, share in the comments.

Please vote in the poll if you want to participate. The poll closes on July 5 at midnight, so please share this post with colleagues and friends who might be interested in joining us.

Which book do you want to read?

  • Falling in Love with Close Reading, Christopher Lehman and Kate Roberts (39%)
  • Notice & Note: Strategies for Close Reading, Kylene Beers and Robert E. Probst (36%)
  • Fearless Writing: Multigenre to Motivate and Inspire, Tom Romano (25%)

Total Votes: 28

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Professional Development Books that Influenced my Teaching Practices

I am asked often enough for recommendations of this sort of thing that I thought I’d share.

Understanding by Design by Grant Wiggins and Jay McTighe was the first truly useful and completely life-changing professional development book I read. I utterly altered the way I taught after reading it. It seems obvious to think about larger questions and determine what I want students to learn or be able to do by the end of a lesson or unit, but I wasn’t doing it before I read this book. This book is an essential in project-based learning. Some of my older posts written as I reflected on reading this book still get more traffic than anything else on this blog. Try searching for the tags “ubd” or “understanding by design” to read them.

After reading An Ethic of Excellence: Building a Culture of Craftsmanship with Students by Ron Berger this summer, I completely revamped the way I teach writing, and it’s really working well. For more information about writing workshop in my classes, check out these posts: Writing Workshop Part 1, Writing Workshop Part 2, and Writing Workshop Part 3. One of our history teachers and I discussed how this process could be used in his classes as well, and he has begun to implement it with excellent results. We had an enthusiastic sharing session about it last week. I am so thrilled. The side benefits: 1) students are returning to the work, even after it’s been graded, to refine it further (not every student, true, but the fact that any student is doing this is remarkable to me); 2) no issues with plagiarism, which is a benefit I didn’t even consider when I started (but it makes sense if you are sharing your work with all your peers, you wouldn’t plagiarize it); 3) our classroom is a true community—one student commented on course evaluations that “we are always collaborating” and another said that the class is like “a family.” Students are beginning to ask for workshop. It’s amazing. I can’t say enough good things about how it has changed my classroom for the better, and it’s really because I read this book that I opted to try it out. One thing I’d like to see: an update of this book with consideration of using technology tools. Ron Berger carries around a massive amount of original student work, and digitizing it or doing the projects using digital tools would really help. A new section explaining how to do that would be great (I volunteer as tribute, if the folks at Heinemann or Ron Berger himself are interested).

If you have been reading this blog for a while, you might remember the summer I went to a Teaching Shakespeare Mini-Institute. It was phenomenal. The performance-based methods advocated by Folger have increased my students’ engagement in Shakespeare and have helped them grapple with his language and themes. I have used Folger methods with students of all backgrounds and levels, and they just work. I couldn’t teach without this book. It makes me sad that there isn’t one for every play I’d consider teaching, but this volume has Romeo and Juliet, A Midsummer Night’s Dream, and Macbeth, and two other volumes have been published that incorporate 1) Hamlet and Henry IV, Part One and 2) Twelfth Night and Othello. I would love to see one on Julius Caesar. I think that play is hard to teach, and it is so frequently taught. Could be useful. Anyone want to go in with me to design a good Caesar unit? Let me know.

Penny Kittle’s book Write Beside Them: Risk, Voice, and Clarity in High School Writing helped me understand the importance of modeling, of the teacher as learner. The book includes a DVD, so you can see Penny’s writing workshop in progress. She discusses how her students keep writer’s notebooks, how she incorporates minilessons and conferences, the ways in which she teaches genre, and how she assesses. It’s fantastic.

I have a lot of books on my shelf that I really need to get through. Hopefully, with some changes coming soon, I’ll have some time to do that.

So now it’s time for the real conversation: which resources do you recommend?

Just for the purposes of full disclosure, I’m an Amazon associate; however, none of the authors or publishers have offered me compensation for sharing these books, and I share these books with you because they have truly been helpful to me. The associate links are a convenience for those who wish to purchase from Amazon.

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Unconference: A New Model for Professional Development

You have probably heard the joke about professional development: “Dear Lord, please let me die at a staff development workshop. The difference between being alive and being dead is so indiscernible that I probably won’t even notice I’ve died.” In fact, my dear former colleague Barbara Rosenblit at the Weber School in Atlanta recently quoted the joke as well in her article for Ravsak, “Inverting the Triangle: Reimagining this So-Called Profession.” Barbara says in her article that “we regularly infantilize teachers with what we offer as educational opportunities.” She doesn’t explicitly say so in her article, but having worked with Barbara for eight years, I feel confident in saying that one of the big problems she has with professional development is that teachers have no choice about what kind of professional development is on offer. They are not supported to go to conferences of their own choosing. They are not offered opportunities to design their own learning experiences. Professional development days are dreaded as long, boring days in which we are talked at and perhaps made to watch excruciatingly bad PowerPoints.

When my Dean of Faculty offered us the opportunity to be on a Vision Steering Committee tasked with working with the administration and the faculty to help articulate and build a shared vision for the school as well as help guide our school culture toward that vision, I jumped at the chance. The way I see it, it is important for teachers to step up when they are given opportunities to have their voices heard in this way. Teachers have a stake in the vision for their school, but they’re not always asked to share their ideas for that vision.

One of the first tasks of the Vision Steering Committee was to brainstorm a plan for our professional development day following the winter break. One member of our committee suggested we try an unconference model. She described her experiences at the Boston Edcamp. I was enthusiastic about the idea after participating in SocialEdCon (previously EduBloggerCon) prior to ISTE on three occasions. To me, it’s often the best part of that conference. Another colleague shared her own experiences of visiting High Tech High for an unconference and finding herself volunteering a topic of interest and facilitating the topic. In her words, one of the problems we often encounter with PD days is that we don’t get what we need out of the day, but an unconference model allows us to “get exactly what [we need] out of the day.”

Unconference BrochureThe trouble as I see it with widespread adoption of the unconference model is that it involves a great deal of trust in the faculty. It takes a courageous administration to trust the faculty to pull off an unconference. However, I think the time has come for administrators to trust their faculties. There is a lot of angst in the air among educators right now, and the core of the problem lies in feeling we are not to be trusted. Planning professional development is only a small part of it, and Barbara articulates more of the problems in the article I linked above.

We used a Google Doc to plan and talk about how the day would take shape. In the end, we settled on two one-hour unconference sessions, and because this is new to our faculty, we invited them to propose ideas for sessions in a Google Doc before the PD day itself. First, a few of us shared our experiences with unconferences as a means of explaining what they are to our colleagues. Next, a few of us discussed norms for participation in an unconference. Then it was time for the planning to begin.

Unconference PlanningWe divided into tables with about eight people at each table, and we had a three-minute idea dump. We wrote ideas on sticky notes. After the idea dump, we voted on the ideas and selected two from each table to present to the faculty as a whole. I know my table decided to put checkmarks on the ideas we liked, and we tallied the checks and chose the top two. These ideas were added to large pieces of chart paper along with the ideas already shared on the Google Doc and placed in a large room where we could further narrow down the topics after lunch. We elected to supply sticky notes, and teachers attached sticky notes to the topics that interested them most.

Unconference PlanningThose topics that received the most votes made it to the final round and became sessions. In the end, we offered six sessions during each time period, and a total of eleven topics were explored (one session idea on scheduling was so popular, we ran it twice). Among our faculty, these ideas were selected for sessions:

  • Specific Strategies to Build Morale (School/Division) and Managing Conflict Among Colleagues
  • Finding the “Right Balance” Between Old Practices and New Practices
  • Project-Based Learning
  • Combatting Grade Obsession
  • How can the schedule best facilitate learning?
  • Independent Research Electives
  • Homework: How Much? Assessment?
  • Activity Requirements (Students and Faculty)
  • Students’ Fear of Failure
  • Portfolios as Authentic Assessment
  • Fostering Student Independence and Agency

I attended the sessions on Project-Based Learning and Portfolios as Authentic Assessment. I thought it was the best professional development day I ever had. I had an opportunity to talk about issues I care about with peers who care about the same things. We talked about what was happening in our classrooms and how we envisioned carrying the ideas further. For instance, one of our science teachers described a project he designed with a colleague for physics in which students spent just about the entire trimester building their own cars. They learned the principles of physics in the process, but the learning became more relevant and important when it moved from the theoretical to the practical. He described a point at which he realized all the student groups were having the same problem with acceleration and gave direct instruction about the issue. They didn’t have to memorize information about acceleration. They had to understand it and apply it to their car design. He also shared candidly that there was a point when he thought it would be a disaster and that the students wouldn’t pull it off, and he wouldn’t pull it off—the students were frustrated, and he was frustrated. They pushed past it, and in the end, he said most of the students felt it had a great deal of value. The learning all branched out the project. The issues that arose over the course of the project became the focus of lessons and quizzes. He mentioned that some topics he covered might not have been explored until much later in the year, but because they became important to learn because of the project, the students explored these topics earlier. I loved hearing about what was happening in his classroom.

The feedback I have heard so far is that faculty enjoyed the opportunity to choose what they wanted to learn more about and to cross departments and divisions (we have a middle school and upper school) to talk about what they wanted to learn. I can’t remember ever leaving at the end of a PD day feeling energized and wanting to get in my classroom as soon as possible. That is a really sad statement, if you think about it. Conferences? Sure. I almost always leave conferences excited to go back to my classroom with what I’ve learned. However, I left this particular PD day excited about going into my classroom the next day and thinking about the discussions I had with my colleagues.

Some things we might do differently? I think in our haste to honor topics that received the most votes, we let some really good and important topics slide. Some of the topics we explored wound up not really being about professional development so much as discussion of policy. Perhaps that is fine, but not everyone walked away feeling like I did after my two excellent sessions as a result. It is easy to let such sessions devolve into venting frustration. While it is validating to hear others voice your own concerns, it isn’t very energizing.

Teachers need to be trusted to care about and design their own learning experiences. The unconference model offers schools a great opportunity to put professional development in the hands of their teachers.

Thanks to Cindy Sabik, our Dean of Faculty, for permission to use her photos in this post. You can follow her on Twitter @sabikci

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