CREATIVE LIFE ARTS
AN APPROACH TO INCREASING PARENTAL INVOLVEMENT IN THE EDUCATIONAL PROCESS OF MARGINAL AND AT RISK STUDENTS
Created and presented by Deborah Ferguson, John L. Sullivan
and Deniece Ferguson
July18, 19, 21 2005Mississippi Arts Commission
Whole Schools Institute
Copyright 2005©Dancing Story Lady Productions: All Rights Reserved
2005 Mississippi Arts Commission Whole Schools Curriculum Track
Explore, Enrich, Engage
Creative Life Arts Presenters: Deborah Ferguson, John Sullivan, Deniece Ferguson
JULY 18, 19, 21 2005
A significant barrier to educating marginal and at risk students is often the lack of parental involvement in the learning process. This can be very frustrating for educators who understand that all students need the support of their primary caretakers in every aspect of their lives. The goal of the Creative Life Arts track is to assist teachers in gaining a broader understanding of the multiple factors that prevent parental involvement and provide ideas for family activities that are incorporated into curriculum lessons. Another goal is to present ways to access community resources. During the track many of these resources will be identified and made available to participants. By utilizing available community resources teachers can better assist students and families in meeting their needs while increasing familial participation in the learning process. Participants in the track will have hands on experiences incorporating creative movement and dance, creative dramatics and storytelling and creative writing in the teaching of curriculum standards. They will also be exposed to ideas for utilizing techniques of audio and videotaping for student use in the classroom.
PRESENTERS:
Deborah Ferguson is a professional actress, dancer, storyteller and arts educator. She has studied traditional dance and culture in the West and East African countries of Senegal, Gambia, Cote D”Ivoire and Kenya through study and travel grants awarded from the National Endowment for the Arts. She is an arts educator with over two decades experience working with state and local arts councils in Mississippi, Alabama, Tennessee, Oklahoma, Kentucky and Georgia. She has garnered tremendous success in training teachers and administrators to create arts based curriculums and in developing an aesthetic appreciation of the arts. She also conducts workshops for students of all ages in African dance, storytelling, creative dramatics and multi cultural learning. A popular storyteller and actress she has performed at the John F. Kennedy Center for the Performing Arts, the Smithsonian Museums, the Barter Theatre and the National Storytelling Festival in Jonesboro, Tennessee, as well as, storytelling and international cultural festivals, universities and schools nationally. She is credited with the idea for and initial implementation of the Memphis Arts Council’s Artists in the Schools Program in Memphis, Tennessee. Known to audiences as “The Dancing Story Lady”, Ferguson holds a Bachelors Degree from the University of South Alabama in Interdisciplinary Studies with a combined focus of English/Communications /Anthropology. Her short stories and poems have won several awards at the 2004 and 2005 Eugene Walters Writers Festivals. Currently, she is a graduate student in English at the University of South Alabama and was recently awarded a graduate teaching assistantship for the 2005-2006 school year. She is also project director for the Dance of Life Intergenerational Dance Clinic, an annual summer arts and literacy program produced by the Foley Public Library with
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funds provided, in part, by the Alabama State Council on the Arts. A grandmother, she lives in Foley, Alabama with her husband, Joseph. John Sullivan is a professional dancer, choreographer and arts educator with 25 years of experience in dance, theatre, television and film. He has worked with an impressive list of luminaries, the late Rufus Thomas, jazz pianist Phineas Newborne, African dance icon Arthur Hall and Bob Hope, as well as, Stevie Wonder, Lou Rawls, Denise LaSalle, The Dells, the Blackbyrds and Joyce Cobb. His projects as choreographer and dancer include television commercials for the WMC TV and Channel 30 FOX broadcasting networks in Memphis, TN . He is the choreographer of the BAR KAYS music video “Animal”. He has studied and performed with the national dance company of Kenya, the BOMAS of Kenya and with Rose Marie Gireau of Cote D’Ivoire. His extensive theatre background includes national performance tours with the North Carolina Black Repertory Company and the Nubian Theatre Company. Film and television credits include “Great Balls of Fire” with Dennis Quaid, and the Cybill Shepherd HBO Film, “Memphis”. He is an arts educator on the artist rosters of the Greater Memphis Arts Council in Tennessee, the Crittenden County Arts Council in Arkansas, the Arts and Humanities Council of Tulsa in Oklahoma and the Mississippi Arts Commission. He is the Artistic Director of the Nubian Theatre Company and an instructor of African Dance at Southwest Tennessee Community College. He works with teachers and students of all grade levels and abilities in developing the discipline and techniques of ballet, jazz and African dance. He also teaches dance, African drumming and liturgical dance to inner city and rural youth throughout Tennessee, Arkansas and Mississippi. He and his wife, Galelynn, live in Memphis.
Deniece Ferguson is the Oasis Center Americorps Program Director in Nashville, Tennessee. She has worked as a family therapist (both in-home and agency related) and specializes in juvenile court and school advocacy for at-risk/marginal youth. Previously, in Nashville, Ms. Ferguson coordinated a citywide homemaker service for senior citizens while also supervising the case management of adjudicated youth. This multicultural, full time, single parent completed her master’s internship at Meharry Medical College serving the local HIV positive population. Ms. Ferguson’s undergraduate experience includes working with victims of domestic violence and dually diagnosed populations (mental illness and substance abuse). She received her Bachelor of Arts in psychology from the University of the District of Columbia and a Master of Science in Counseling Psychology from Tennessee State University. Her research interests include at-risk behaviors/HIV&AIDS/African American women, resources for children living in poverty, and barriers to healthy parenting. As a youth actor and dancer, Ms. Ferguson studied performing and creative arts as a scholarship recipient at the Northwestern University Summer Arts Program, attended the Duke Ellington School of the Arts in Washington, D.C. for two years and studied dance at the American Dance Center, the Alvin Ailey School of Dance. A talented performer and stage manager, she was the dance captain for Stevie Wonder’s North American Tour in the late 1980’s. Her artistic skills and experiences are currently being utilized in her role as a social services consultant. She bridges the gap between at-risk populations and the various agencies that provide direct services.
Contact Information:Deborah Ferguson Deniece Ferguson John Sullivan15274 Daugherty Road 303 Hancock 4286 Long Creek RdFoley, AL 36535 Nashville,TN 37207 Memphis,TN 38125(251)970-2188 (615)262-8650 (901)489-6332 (901)828-6048 (615)512-2002 (901)751-2915
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email:[email protected] email:[email protected] email:[email protected]
Table of ContentsI. Introduction
11. Day OneIdentify, Understand, Overcome: Familial Involvement, Why Not? P. 6-19a. Understanding generational poverty - discussion &
interaction Communication Across Barriers: parents have skills, too.
b. “The Real Deal” c. Citizenship – Character education – Tolerance “Bursting Stereotypes” d. Family Scenario Journey Diary e. Community Resources for Teachers.
111. Day 2 Family Festival: Strategies for building the family/school Team P. 20-28
a. Family Value Mural (Language Arts, Social Studies: Visual Art, Creative Writing)
b. Dancing the Family Journey (Social Studies, Science, Math: Dance, Creative Dramatics)
c. The Family Journey in Words (Language Arts, Social Studies: Creative Writing)
1V. Day 3 Our New World: Strategies for ongoing commitment and Involvement. P.29-35
a. Everybody is Unique (Language Arts, storytelling and visual art)
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b. Do Something for Seniors (Language Arts, creative writing)
c. Respect (Language Arts, Math; dance, poetry, rhythm, song)
V. WRAP UP: Taking it back to school.
DAY ONE
Identify, Understand, Overcome: Familial Involvement, Why Not?
Introduction: Creative Life Arts Instructors: Deborah Ferguson, John Sullivan and Deniece Ferguson Song and movement warm up led by Ferguson and Sullivan .
Lead Facilitator: Deniece FergusonA. Understanding generational poverty – discussion and interaction.
B. Communication Across Barriers: parents have skills, too.1.Generational poverty survival skill assessment.2. Identifying and understanding communication styles.
3. Building Blocks for educating students from generational poverty, identifying parental skills for incorporation into curriculum.
C. The Real Deal: card game assessment of values and significance. There are two essential questions:
What matters most in my teaching? What is the one thing that, if violated, would cause me to quit teaching immediately? D. Citizenship – Character Education – Tolerance Bursting Stereotypes: Interactive lesson with balloons serving as a conduit for participants to “burst” stereotypes that unfairly label individuals or groups. National Standards: Grades K -12 NL-ENG.K-12 .3.4.6.9.12 Evaluation Strategies, Communication Skills, Applying Knowledge, Multicultural Understanding, Applying Language Skills Subjects: Language Arts, Social Studies (psychology, regions/cultures, sociology) (Lesson attached)
E. Family Scenario Journey Diary Interactive lesson with participants given family assignments and divided into family groups for a better understanding of the multiple factors that prevent parental involvement. National Standards: Grades K -12 NL-ENG.K-12 .3 .4.6.9.12; Evaluation Strategies, Communication Skills, Applying Knowledge, Multicultural Understanding, Applying Language Skills Subjects: Language
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Arts, Social Studies (psychology, regions/cultures, sociology) Each family group assigns member identities and decides upon family values. Each family creates a written diary with each member being responsible for a segment of the family diary. (This will continue as a homework assignment)
F. Community Resources for Teachers ( Supplemental materials)
CommunicationA c r o s s B a r r i e r s
Home About Dr. Beegle Clients Poverty Survival Skills Educating Students Communication Styles Sessions Articles News Reading List Contact Us Communication Styles
Oral Culture
Oral culture (orality) is a natural state in which we are highly attuned to our senses (touch, smell, sight, sound, and taste) and devote a great deal of attention to sensory information. Orality emphasizes our interconnection with the environment and the people in it. Some characteristics of orality are spontaneity, connectedness, present orientation, comfort with emotions, able to see "the big picture," and holistic.
Characteristics of Oral CultureRelationships
Relationships are at the heart of everything and are first priority Spontaneous
Strong desire for variety - Great abilities to "go with the flow" or jump from subject to subject with ease
Repetitive Repetitive Storytelling and repeating the same thing over and over are important for maintaining the knowledge
Holistic Focus on the "BIG picture" - tendency to take in everything that is going on around them
Emotional Comfort with Emotions. Shows emotion readily in most any situation and is open to self-disclosing private details.
Present Oriented Highly in-tune with the here-and-now
Agonistic More physical
Print Culture
Print Culture (literacy) is a learned way of relating to the world where people learn to process and analyze (breaking things down according to parts) information collected through sight, sound, hearing, touch, and smell according to categories, classifications, and styles of reasoning developed by reading. Some characteristics of print culture are: self-discipline (ability to not pay attention to everything that is going on around you, but rather to focus on a single idea), separation and disconnection, ability to delay gratification, ability to strategize and plan ahead, ability to set goals,
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ability to develop technology, ability to break things down into parts, and ability to organize efforts according to predetermined goals.
Characteristics of Print CultureLinear
Organizes thought and actions by "first this, then this" thought process Time
Is at the heart of everything and has high priority in daily activities Analytic/Abstract
Knowledge is outside of self--ability to step back from a situation and separate and disconnect self from what is going on
Self-disciplined/Focus Strong ability to shut out sense data and focus on one idea at a time
Ability to delay gratification Strong understanding of relationships between parts
Ability to strategize plan ahead, set goals, and focus on the future - Abilities to break things into parts promotes abilities to connect small efforts to end desires
Copyright © 2003 Communication Across Barriers: All Rights Reserved.
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CommunicationA c r o s s B a r r i e r s
Home About Dr. Beegle Clients Poverty Survival Skills Educating Students Communication Styles Sessions Articles News Reading List Contact Us Building Blocks For Educating Students From Generational Poverty
AHigh clear expectations: Expect all kids to learn. Students from generational poverty report an overwhelming sense that teachers do not believe in them. Teachers, Administrators, and Counselors represent every educator students and their families have ever had. For the most part, these experiences are negative. Know this and work to show students that you believe in them and failing is not an option.
BRecognize that motivation differs between social classes. Motivation to achieve in education is generally based on the assumption that there is a "value" of education. Most people living in poverty never have a meaningful relationship with someone who has benefited from the educational system. My doctoral research on people growing up in generational poverty who now have Bachelor's degrees showed that the meaning of education for students and for their parents was "STRESS." The stress of getting there, being on time, having the right clothes, knowing and understanding the subjects being discussed, having money for lunch and so on. Participants in my study were motivated to achieve when education related to their values (e.g. "I want to help my family."), and when they felt someone believed in them.
CMeaningful assessments. Assessments must be linked to rigorous curriculum and instruction that is inclusive of oral culture learning and communication styles. Too many students from generational poverty believe they are not smart. They need small successes in the subject being taught. Feedback from assessments should also be well thought out. It is important to recognize that " constructive criticism" is a middle-class concept. For students from poverty, constructive criticism is often taken personal and
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can damage relationships and esteem. It is one more message that they do not belong and school is not for people like them. One technique for providing meaningful feedback is to ask students "how" they would like to receive assessment information. Wording such as, "fragment", "run on" etc. written on papers is useless as these words are not used in their homes and unless they are carefully explained with examples from the lives of students, they are not helpful. Written feedback is not considered feedback to students from poverty backgrounds. They get their information verbally through relationship. They do not trust or value print. Homework as an assessment of how the student is doing is ineffective for students living in poverty. The chaos and crisis world of generational poverty leaves little room for academic endeavors.
DRelationships change lives for students from generational poverty. Especially when the adults are bi-cultural, meaning that: they are comfortable maneuvering middle-class systems (such as education systems); the adults work to expose students from generational poverty to possibilities and opportunities; the adults have a consciousness about what it means to live in generational poverty in the U.S.; and the adults are able to suspend judgment of behavior and choices made in a poverty context. Relationships require self-disclosure. Students and teachers must see how they are "like" one another to be in a "relationship." This means that teachers and students identify with each other and are able to value different lived experiences.
EPoverty needs to be defined. Generational, working class, situational, temporary etc. It should be discussed openly in the school and in the classroom to reduce class/status issues between students. If structural causes of poverty are clear and the damages of stereotyping and judging are illuminated, students not living in poverty are often more supportive and those from generational poverty are empowered to externalize the poverty and not see it as their own deficiency. Educational efforts to raise consciousness about race issues and social justice education can serve as models for increasing awareness about poverty realities in America.
FThe curriculum and activities should include entertainment. Entertainment is often used as a way to escape the harsh world of poverty. Novelty (like using play dough to teach a concept) reduces feelings of not belonging and allows students to "play" with learning and to see that education can be fun.
GMentor programs. Mentor programs are successful with students from generational poverty when the mentors are bi-cultural (they understand the world of generational poverty, they have abilities to help students through middle class systems, and the mentors introduce their students to their network of people and resources). Mentors use their networks and social capital to open doors of opportunity and help the students to create their own network of support. Teachers can act as mentors by 1) believing in the
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students; 2) believing education is a way out of poverty; 3) becoming bi-cultural; and 4) by exposing the students to their networks (i.e. some one who has a job in an area the student may be interested in).
HLiteracy approaches that include understanding of Oral culture are most effective. Oral culture is linked to poverty across race lines. People in poverty get their primary information from other people, not books. This shapes how they think and trains the brain to operate in very specific ways. People in poverty tend to exhibit the characteristics and learning styles of oral culture including: relationship based, spontaneous, repetitive, present orientation, concrete learners, tuned in to the big picture, learn through storytelling, shows emotions readily, and agonistic which means more physical. Students from poverty who are more oral culture can gain print culture skills through reading for information that they want or need to know, by creating lists, and by outlining what they read.
IExpectations for staff, administrators and teachers include: having a understanding of the structural causes of poverty, an understanding of the experiences of generational poverty, knowledge of current best practices for educating across generational poverty barriers, and zero tolerance for low expectations and judgments of students living in poverty.
JRegular evaluation and assessment of teachers, staff, administrators based on criteria related to the experiences of students from poverty backgrounds. Evaluation criteria such as: effectiveness in building relationships with students families from poverty, meeting and accepting the students where they are, exposing students to college and career possibilities, and abilities to explain subject matter from a generational poverty perspective.
KVariety of teaching and communication styles including concrete and oral culture styles. Make sure the words you are using are understood and the examples provided are relative to the students' lives.
L
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I'm OK, and you are OK Teachers have the approach of I am "OK," you are "OK," and focus on the student's assets. This means meeting students where they are and helping them get to where they want and need to be no matter what that may require.
MCollaborative work and knowledge of other community groups/people working for the success of families in generational poverty. Teacher knowledge or access to knowledge of community efforts related to breaking poverty barriers is essential. No one organization can address the complexities of generational poverty. Partnerships are critical.
NProfessional development that includes knowledge and best practices on educating students from generational poverty. School staff are encouraged and supported to share "success" stories of working with students from poverty backgrounds."
OField trips, speakers and other opportunities to increase exposure to possibilities. Teach students how to build a network of support to increase their opportunities.
PEnsure low teacher, staff, and administrator turnover to allow for relationship development. As much as possible use staff or administrators who "KNOW" the students as substitutes to avoid interrupting the learning. Create a list of all students and have staff mark off names of students who they have "identification" with. Gain commitment from teachers/adults for reaching out to students not crossed off.
QStudent to student relationships.Create opportunities in the classroom for development of student-to-student relationships to better understanding different social class experiences. Peer grading/reading/tutoring and group work are excellent ways to do this.
R
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Broaden definitions of "multicultural" and "cultural competency" to include generational poverty or social class. This can be called, "socio-cultural competency to include socio-economic factors affecting the educational process.
SInclude the wider community in efforts to educate students from generational poverty. School staff, teachers and administrators need "full resource backpacks." Build community partnerships to ensure opportunities for extracurricular activities at no cost.
TCreate family involvement by focusing on common ground (i.e. we love your child, you love your child, what can you tell us about your child, here's what we---educators---have learned about your child). When the focus is on education, parents may have little or no positive experiences to connect and relate with educators. Understand that parents are often living in crisis and provide them with opportunities to be successful in their school relationships. Understand that education is generally not discussed in the home. Help students gain the language necessary for educational success.
UCreate a shared vision with students from generational poverty about what education can mean.
VEnsure smooth transitions between assignments, classes, and grades. Maintain as many connections as possible and link students to new mentors who can help them in their new endeavor. Repetition is important to oral culture students. Help them to envision the gratification of their efforts.
WKeep classroom size low: assign specialty teachers to classrooms, bring in community help, use administrator expertise, title one funds etc. Be creative.
X
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Create safe, clean buildings and grounds, up to date textbooks, equipment and materials.
YDevelop a school culture/climate in which learning can occur with the principal playing the key leadership role and modeling socio-culturally competent behavior.
ZSuspend judgment and assumptions about families and/or behavior. Take time to learn the "WHY" behind the situation and strive for understanding to promote education success.
Copyright © 2003 Communication Across Barriers: All Rights Reserved.
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DAY ONELESSON ONE
BURSTING STEREOTYPES
Subjects: Language Arts, Physical Education, Social Studies/Social Sciences (psychology, regions/cultures, sociology)
Grade Level: 3-5, 6-8, 9-12 (see supplemental materials)
Length: 40 minutes
Essential Question(s): What is the meaning of stereotype? Are stereotype statements/beliefs fair?
Objectives: Participants will Define the meaning of stereotype Identify common stereotypes Identify stereotypes for lack of parental involvement Identify reasons for lack of parental involvement Assess accurateness and fairness of stereotypes identified
Standards: NL-ENG.K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.9 Multicultural Understanding NL-ENG.K-12.12 Applying Language Skills NP.K-12.6 Respect for Others NSS-C.K-4.2 Values and Principles of Democracy NSS-C.5-8.3 Principles of Democracy NSS-C.9-12.3 Principles of Democracy
Vocabulary: stereotype, tolerance, fairness, violence, culture, cultural, prejudice, understanding, racism, race, judgement, Asian, Mexican, Hispanic, Native American, East Indian, African American, immigrant, multicultural, work ethic, lazy, poverty, assumption, self esteem, assume, generalize, opinion, phobia, careless, trifling
Materials needed: 2 dozen multi colored balloons, inflated 2 dozen paper or tag board sentence strips, 2 inches by 12 inches long
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thumbtacks and straight pins markers or crayons
Step by step process:Warm up activity: Write the words man and woman in two columns on board/poster paper . Brief discussion and definition of the word stereotype. Brainstorm stereotypes for the words man and woman and list them under the appropriate headings. Discuss the accurateness/fairness of the stereotypes. Leading questions: Are there changes that could be made to the stereotypes listed? Are there terms that do not belong under the heading they’re under? Are there terms that might fit both headings? Is it fair to say all men _________ or that all women_______?
Lesson: Break up into 6 groups. Give each group four sentence strips and four inflated balloons. Have each group brainstorm and notate stereotypes for lack of parental involvement for three minutes. After brainstorming each group selects and agrees upon four stereotypes and writes them on the strips. When the strips are completed each group secures them to the wall or board with a balloon attached beside it. The participants come back together and each group shares its stereotypes. Leading question: Are the stereotype statements fair statements? What other reasons could there be for the lack of parental involvement? If/when the statements are refuted have group member pop the attached balloon.
Reflection/closure: What is a stereotype? Are stereotype beliefs fair or accurate? What was learned from lesson? Did this exercise create empathy for parents not involved in students education process. How could this exercise be used in the classroom?
Assessment: Have students write a paragraph or two explaining what they learned from the lesson, giving specific examples and explaining why those stereotypes are wrong..
Journal reflections.
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DAY ONELESSON TWO
FAMILY SCENARIO JOURNEY DIARY
Subjects: Language Arts, Social Studies/Social Science (psychology, regions/cultures, sociology)
Discipline(s): Creative Writing, Creative Dramatics
Grade Level: 1- 12
Length: 35 minutes
Essential Question(s): How can the arts be used to identify the solutions to social needs of generational poverty students?
Objectives: Participants will Identify obstacles to parental involvement through role playing Create a fictitious verbal and written history inspired by case scenarios of non familial involvement Engage in an arts integrated lesson
Standards: NL-ENG.K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.9 Multicultural Understanding NL-ENG.K-12.12 Applying Language Skills NP.K-12.6 Respect for Others NSS-C.K-4.2 Values and Principles of Democracy NSS-C.5-8.3 Principles of Democracy NSS-C.9-12.3 Principles of Democracy NL-ENG.K-12.1.3.2 Word Descriptions NL-ENG.K-12.1.4.1 Comprehension Through Questions NL-ENG.K-12.2.4.2 Identify Correct Sequence NL-ENG.K-12.2.4.5 Identify Main Idea NL-ENG.K-12.4.3.4 Draw Conclusions NL-ENG.K-12.5.2.5 Write Key Idea Sentences NL-ENG.K-12.6.1.1 Make Complex Predictions NL-ENG.K-12.6.1.3 Interpret Character Behavior NL-ENG.K-12.7.1.1 Apply Appropriate Strategies NL-ENG.K-12.8.2.1 Evaluate Impact of Setting NL-ENG.K-12.10.3.3 Identify Cause and Effect
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Fine Arts Standards: NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History. NA-T.5.21 Assume roles that exhibit concentration and contribute to the action of classroom dramatizations based on personal experience, heritage, imagination, literature and history
Vocabulary: Immigration, tornado, El Salvador, diary, journey, migrate, seasonal work(er), poverty, double wide, undocumented worker, two parent family, single parent family, custody, drug trafficking, prostitution, primary caretaker, Homebound program, shelter, bilingual, rural community, race, racial prejudice, injustice, Hispanic, Asian, African American, Caucasian, extended family, bling bling, grille.
Materials needed: Eight three ring notebooks and notebook paper, pens, pencils, crayons, blank map of the United States, blank map of the world, family scenarios.
Step by step process:Warm up activity: Discuss/define vocabulary words. Define/discuss family history. Elicit examples of participants family history. Elicit examples of various school populations family histories. What curriculum vocabulary words can be used and social studies/civics, science and math facts found in the family histories?
Lesson: Break into (eight) groups, distribute a family scenario and notebooks to each group. Each group will role play their family scenario ( assign family member identities and decide family values). Each family group will chart on the blank map(s) its family migration story. Each person will begin a written diary notebook based upon the information given in the family scenario with each member being responsible for a sequential segment of the family history. (This will continue as a homework assignment)
Reflection/closure: What are the geographical and social backgrounds of generational poverty students produced through the use of creative dramatics and creative writing? What are some family obstacles to education? What resources do these families need? What resources can the school make available? What outside resources can be recruited by the school?
Assessment: Participants write a paragraph describing what was learned about family obstacles to education and the resources that can be accessed by teachers to assist families in overcoming those obstacles.
Journal reflections.
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ADDITIONAL RESOURCES.
Spanish words and phrases that will come in handy.
1. Pueda ayuda de abuela- Can grandmother help?2. Ayudeme entiendo- Help me understand3. Esto es importante – This is important4. ¿Hay alguien en su iglesia que habla inglés?- Is there someone
at your church that speaks English?
abuela o abuelo- grandmother or grandfather
tía o tío- aunt or uncle
una hermana o hermano más viejos- an older sister or brother
good citizenship - ciudadanía buena
civic duty - deber ciudadano
student leadership - liderazgo de estudiante
tolerance - tolerancia
family pride - orgullo de familia
volunteer - voluntario
respect - respeto
cooperation - cooperación
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DAY 2
Family Learning: Strategies for building the family/school education team.
Lesson Three
FAMILY VALUE MURAL
Subjects: Language Arts, Physical Education, Social Studies/Geography/Social Sciences (psychology, regions/cultures, sociology)
Discipline(s): Visual Art, Creative Writing, Creative Dramatics
Grade Level: K-12
Length: 70 minutes
Essential question(s): How can the arts be used to identify the parental skills and values available to support education and promote good citizenship?
Objectives: Participants will Create characters, dialog and improvisational situations Create a mural based on family and community values Identify parental skills available for student educational success Engage in an arts integrated lesson
Standards: NL-ENG.K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.9 Multicultural Understanding NL-ENG.K-12.12 Applying Language Skills NP.K-12.6 Respect for Others NSS-C.K-4.2 Values and Principles of Democracy NSS-C.5-8.3 Principles of Democracy NSS-C.9-12.3 Principles of Democracy NL-ENG.K-12.1.3.2 Word Descriptions NL-ENG.K-12.1.4.1 Comprehension Through Questions NL-ENG.K-12.2.4.2 Identify Correct Sequence NL-ENG.K-12.2.4.5 Identify Main Idea NL-ENG.K-12.4.3.4 Draw Conclusions NL-ENG.K-12.5.2.5 Write Key Idea Sentences NL-ENG.K-12.6.1.1 Make Complex Predictions NL-ENG.K-12.6.1.3 Interpret Character Behavior
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NL-ENG.K-12.7.1.1 Apply Appropriate Strategies NL-ENG.K-12.8.2.1 Evaluate Impact of Setting NL-ENG.K-12.10.3.3 Identify Cause and Effect
Fine Arts Standard: NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History NA-VA.K-4.1 Understanding and Applying Media, Techniques and processes NA-VA.K-4.3 Choosing and Evaluating a Range of Subject Matter NA-VA.K-4.6 Making Connections Between Visual Arts and other
disciplines
Vocabulary: citizen, citizenship, United States, El Salvador, Salvadorian, Cambodian, Cambodia, Sudan, Sudanese, Hispanic, Mexican, African American,
Native American, Pakistan, Japan, tolerance, violence, relocate, bilingual, culture, single parent family, understanding, stereotype, Middle Eastern, multi cultural, race, work ethic, self esteem, immigrant, working poor, student leaders, mural, positive, beauty, art , values, value systems, judgement, storytelling, democracy, volunteer, journey, migrate, creativity
Materials needed: Family diaries begun in Day One, vocabulary words, roll of butcher paper or 8-10 sheets of white poster board, masking tape, scotch tape, pencils and erasers, stapler, magic markers, crayons, (water color or tempera paints, plastic cups, water, paint brushes) glue, scissors, multi colored construction paper, feathers, yarn, cloth remnants. Table, floor and wall space to create and hang.
Step by step process: Warm up: Introduction of the fictional families and their family scenarios. Discussion of family and community values, good citizenship, familial pride. Discuss symbols and brainstorm ideas for symbols that reflect family and community values. Define mural and discuss the impact of producing a mural as a communal project to create community pride and parental involvement in school. Discuss how the production of a mural can be incorporated into language arts and social studies lessons. (15 minutes)
Lesson: Create a fictional school and community, the group at large decides its name and location. Break into family groups and decide what symbols will be used to illustrate their family values in the creation of a family coat of arms/family motto for a school wall mural that depicts family life, school life and educational aspirations for student success. Each group assembles supplies and begins the design and creation of their portion of the school mural utilizing the vocabulary words in the design. Completed murals are hung or displayed and shared. (40 minutes)
Reflection/closure: How did the creation of the mural promote good citizenship? Who are the families, citizens of this community? What values do the families share
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that can support education and the arts? What relationships have been established between home and school? What can the school/teacher do to continue to cultivate the relationship? What parental skills have been identified that can be utilized to aid student comprehension? How can this exercise be utilized in other arts integrated lessons? In what other areas could a mural be placed? Journal reflections. (15 minutes)
Assessment: Create writing rubric to accompany this lesson.
Journal Reflections.
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DAY TWOLesson 4
DANCING THE FAMILY JOURNEY
Subjects: Language Arts, Physical Education, Math, Geography, Science, Social Studies/Social Sciences (psychology, regions/cultures, sociology)
Discipline(s): Dance, Creative Dramatics, Creative Writing
Grade Level: 5-12
Length: 90 minutes
Essential Question(s): How can student family history, demonstrated through dance and creative movement, become an arts integrated lesson and be used to meet national standards?
Objectives: Participants will Identify the Seven Universal Symbols of dance Identify geometric shapes of land and water formations Create geometric shapes of land and water formations with their bodies Choreograph a dance using four of the Seven Universal Symbols of dance movement Engage in an arts integrated lesson
Standards: NM-M.K-12.6 Determine multiple relationships among ratios, proportion, decimal numbers, per cents and fractions. Language Arts, Physical Education, Geography, Science and Social Studies standards (see supplemental material)
Fine Arts Standards: NA-D.K-4.1 Use kinesthetic awareness, proper use of space, and the ability to move safely. NA-D.5-8.3 Demonstrate the ability to use dance as a language and means of communication. NA-D.9-12 .7 Manipulate technical dimensions of dance, individually and collaboratively NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History. NA-T.5.21 Assume roles that exhibit concentration and contribute to the action of classroom dramatizations based on personal
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experience, heritage, imagination, literature and history
Vocabulary: migration, reverse migration, immigration, relocation, continent, Mississippi, Alabama, Florida, United States, North America, South America, Africa, Latin America, Asia, Southeast Asia, El Salvador, Sudan, Mexico, Texas, Louisiana, Chicago, Detroit, New York, Colorado, Cambodia, choreography, creative movement Seven Universal Symbols: (dot, circle, wavy line, zigzag line, diagonal straight line, s-curve(half circles), spiral), geometric shapes, direction, flora, fauna, desert, mountain, grassland, Delta lands, rural, urban, Gulf Coast, north, south, east, west, northeast, southeast, northwest, southwest, mile, kilometer, migrant worker, famine, war, waterways, motor vehicle, railroad, airplane, Catholic Relief Agency
Materials: the family diaries ,map handouts of the United States and the world, overhead projections or large wall maps of the United States and the world, detached calendar pictures of land and water masses, trees, flora and fauna, desert, mountain, lowlands, highlands and the Delta, the Seven Universal Symbols written on the blackboard or on mounted poster board, assorted pieces of white and nature colored stretch or gauze fabric and small hand instruments. Optional: CD/Cassette player, recorded music (country western, blues, Latin, South American, Native American, African, classical, jazz and rap), Video camera, tripod, microphone and cords.
Step by step process:Warm up activity: Each family briefly identifies two generations of residential travel history with obstacles, conflicts and accomplishments.. Discuss the climates, geographic locations, land mass, flora and fauna and mileage of the families life journeys. Discuss how this information can be incorporated into the math competencies of patterns and algebraic thinking, data analysis and prediction, measurement, geometric concepts and number sense by comparing miles and kilometers, creating graphs and maps charting the routes, developing map reading skills, the comparison of different time zones, temperatures and the calendar and recognizing and determining the value of United States currency in relation to foreign currency, as well as, the cost of living throughout the U.S. Discuss how the geographic locations, land and water masses, climate and flora and fauna could be physically represented. Define choreography and the Seven Universal Symbols.
Lesson: Part one A dance warm up session that includes basic ballet, jazz and African movements that can be replicated in the classroom is held utilizing drum and taped music. Participants do directional movement across the floor, forward, backwards, sideways, circular, diagonal., experiencing different body levels (high , high high (on toes), low, low low (on the floor), middle, on toe and flat foot. They create geometric shapes as they move around the floor and in place. They experience different textures of movement: fluid, rough, jerky, stabbing, soft, sliding, hopping, walking, galloping. Movement slows to a halt and the group sits in a circle while the definition of a dance vignette is given and an example of it is shown. These movement vignettes will be created from pictures of land and water masses, flora and fauna. The pictures (detached
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from outdated calendars) are held up for the class to see while the next exercise is explained.. The exercise begins with the first individual being tapped on a shoulder by the instructor and coming forward to assumes a shape found in the picture. When the second person is tapped on the shoulder they move to create another shape found in the picture connecting through touch with the first individual. As each person is tapped they create a shape and connect to an individual already on the floor. When everyone has moved into a connecting space, a vignette has been formed of the picture. The participants break up into smaller groups and each group takes a picture and creates the form of movement and shape within it. This can be done in silence or by creating the imagined sound of the picture, with voice and body. The vignettes are shared and the geographic locations and climates portrayed in the pictures and the group choices for sound and movement are reflected on. The essential question is discussed with a few minutes to journal reflections. Part 2. The Seven Universal Symbols are demonstrated and taught with participants moving across the floor singularly and in pairs in dot, circle, wavy line, zig zag line, diagonal straight line, s-curve (half circles), spirals. Participants break into their family groups together with their diaries and maps and brainstorm how to present the family journey through two generations to the present. Each group must include at least four of the Seven Universal Symbols. They make decisions concerning props, music, sound and choreography, then practice. Each group presents their journey to the assembly. These presentations can be documented by video recording. Reflections are done on the choices made by each group.
Reflection/Closure: Can student family history, demonstrated through dance and creative movement, become an arts integrated lesson and be used to meet national standards? How can it be shortened or expanded? If video recording equipment is available at school, students can take turns recording their class for other classes. If photography equipment is available students can photograph vignettes. Parents can be encouraged to be a part of this process by helping research facts, becoming an interview subject, developing story, choreography, music and costumes and documenting the process by video recording and taking photographs. The finished product can be shared with other classes at the home school or at other schools and at Senior Citizen homes, homeless shelters, etc during volunteer visits, as a part of student leadership development.
Assessment: Create writing rubric to accompany this lesson
Journal reflections.
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DAY TWOLESSON FIVE
FAMILY JOURNEY IN WORDS
Subjects: Language Arts, Social Studies/Social Science (psychology, regions/culture
Discipline(s): Creative Writing, Creative Dramatics
Grade level: 1-12 Length: 45 minutes
Essential Question(s): How can creative dramatics and creative writing aid in identifying parental skills that can be used in the educational process of the student?
Objectives: Participants will Create characters, dialog and improvisational situations Write a description of a created character Write a value poem giving advice Engage in an arts integrated lesson
Standards: NL-ENG.K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.9 Multicultural Understanding NL-ENG.K-12.12 Applying Language Skills NP.K-12.6 Respect for Others NSS-C.K-4.2 Values and Principles of Democracy NSS-C.5-8.3 Principles of Democracy NSS-C.9-12.3 Principles of Democracy NL-ENG.K-12.1.3.2 Word Descriptions NL-ENG.K-12.1.4.1 Comprehension Through Questions NL-ENG.K-12.2.4.2 Identify Correct Sequence NL-ENG.K-12.2.4.5 Identify Main Idea NL-ENG.K-12.4.3.4 Draw Conclusions NL-ENG.K-12.5.2.5 Write Key Idea Sentences NL-ENG.K-12.6.1.1 Make Complex Predictions NL-ENG.K-12.6.1.3 Interpret Character Behavior NL-ENG.K-12.7.1.1 Apply Appropriate Strategies NL-ENG.K-12.8.2.1 Evaluate Impact of Setting NL-ENG.K-12.10.3.3 Identify Cause and Effect
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Fine Arts Standards: : NA-M.K-4 .1 Singing, Alone and With Others NA-M.5-8.8 Understanding Relationships Between Music, Other Arts And Disciplines Outside the Arts NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History
Vocabulary: family, multi cultural, journey, immigration, divorce, incarceration, AIDS, WIC food voucher, health care, senility, grandparent, shelter, war, famine, relocation, undocumented worker, diary, migrate, seasonal work(er), happiness, anger, fear, defeat, bliss, understanding, love, harmony, discordant, self esteem, faith, religion, student leadership, parenting skills, values, value system, democracy, oppression, war, second class citizen, citizenship, citizen, race, beauty, art, substance abuse, vice, emotional abuse, tolerance, bilingual, work ethic, storyteller, volunteer, parent, mother, father, sister, brother, extended family, economics, pregnancy, spirit, migration.
Materials needed: family diary, pen, pencils, markers, flip chart, the list of questions from Pat Schneider’s Writing Alone and With Others Biography exercise and personal family memories..
Step by step process: Discussion on the memories generated by thoughts of family and extended family: the endearing qualities, frustrating quirks, hilarious attitudes and stubborn streaks, habits, likes and dislikes of grandparents, parents, siblings and children. Discussion of how the memory of each family member becomes a story. On a flip chart list the Biography questions. Have the group select two names. Write the names on the board and have the group call out answers to questions about each of the two characters. Write down the answers under each name. Questions: Character’s name? (SAM) (JANE) Place of residence ? Pet? Favorite item of clothing? Strangest item of clothing? Hates? Favorite food? Religion? Collects?Have everyone write a short paragraph about the characters using some of what was listed. Group shares their writing, reflecting on the various ways the images were used.
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LESSON: Break into family groups and decide upon a meaningful event that was shared by the entire family. Each member writes down their own interpretation of the event and its effect upon them personally. The family groups each share their interpretations with the assembly. Reflect upon the various perceptions of the event and its impact upon the individual. The family groups reassemble and decide who in the family they would like to give or receive advice from. Each person then writes a poem of advice to a different family member. The groups reassemble and share their advice poems. Reflect on the types and tones of the poems and advice.
Reflection/closure: What was revealed about the nature of these generational poverty families through creative dramatics and creative writing? Did today’s role playing help develop empathy for the internal dynamics of these families? Describe. Did role playing aid in gaining more of an awareness and understanding of non familial involvement in the educational process? How? Did role playing stimulate ideas for overcoming non parental involvement and generate issues that the school/teacher can address. What were they and how? Did role playing identify parental skills that can be utilized in aiding student comprehension and developing higher order thinking and student leader potential? What are they? How can these lessons be used in the classroom?
Assessment: Write a paragraph describing the parental skills presented in this activity that the teacher can draw upon to aid in student comprehension and developing higher order thinking and student leadership potential.
Journal reflections.
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DAY 3
OUR NEW WORLD: Strategies for ongoing familial commitment and involvement.
LESSON SIX
EVERYBODY IS UNIQUE
SUBJECTS: Language Arts/English, Social Studies/ Psychology, Physical Education/Health
Disciplines: Visual Arts, Creative Writing
Grade Level: K-2, 3-5, 6-8 (see supplemental materials)
Length: 40 minutes
Essential Question(s): How can the visual arts be utilized to develop respect and tolerance for the unique qualities found in all persons?
Objectives: Participants will Define the word unique Draw and assemble, one part at a time, the head, torso and lower body of a unique person Define the most positive qualities of this person Write about why this person is a beloved friend
Standards: NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.12 Applying Language Skills
NP.K-12.6 Respect for Others NSS-C.K-4.2 Values and Principles of Democracy NL-ENG.K-12.1.3.2 Word Descriptions NL-ENG.K-12.1.4.1 Comprehension Through Questions
NL-ENG.K-12.2.4.2 Identify Correct Sequence NPH.K-12.6 Respect for OthersFine Arts Standards: Visual Arts NA-VA.K-4.1 Understanding and Applying Media, Techniques and processes NA-VA.K-4.3 Choosing and Evaluating a Range of Subject Matter NA-VA.K-4.6 Making Connections Between Visual Arts and other Disciplines NA-VA.5-8.1 Understanding and Applying Media, Techniques and Processes
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NA-VA.5-8.3 Choosing and Evaluating a Range of Subject Matter NA-VA.5-8.6 Making Connections Between Visual Arts and other disciplines. NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History. NA-T.5.21 Assume roles that exhibit concentration and contribute to the action of classroom dramatizations based on personal experience, heritage, imagination, literature and history
Vocabulary: unique, friend, friendship, self esteem, respect, appreciation, differences, dignity, citizenshipMaterials needed: One sheet per student : 2,3 and 4 inch squares of white drawing paper each, crayons, markers or paints, writing paper and pen, pencils, scotch tape
Step by step process:Warm up: Write the word unique on the board. Discuss the definition of unique and what it means to individuals. Discuss the different forms that poetry and storytelling can take. Have the class define what makes them each unique and then write six lines that begin with “I am from…”, a Pat Schneider writing exercise. Volunteers will be asked to share their writing. Reflections on the variety of backgrounds and images presented and the word choices.
LESSON: Draw a simple outline of a person’s body on board or flipchart. Draw two horizontal lines dividing the person’s head (including the neck) from the torso and the torso from the legs (waist down). Talk about one section of the body at a time. Discuss features that might make up the face (skin, eyes, hair color, hair texture, size of ears, eyes, nose. Focus on torso and discuss body differences and the type clothing that could be worn. Focus on the lower body. Discuss differences in legs (short, long, skinny stubby, bow) and the type clothing and shoes that could cover the hips, legs and feet.
Lesson: Provide each student with a 2 inch square of paper. Direct them to put their names on the back and to fill the front side up completely with the face and neck. As each person finishes the head, provide them with the 4 inch paper and instruct them to put names on the back and fill the front up completely with torso and clothes. After the torso is complete hand students the 3 inch square for the lower body, clothes and shoes. Remind students that the person should look unique and the entire square should be filled. When the lower body is complete, check to make sure names are on the back of each square and then place the three size squares in different containers and mix them up. Have students select body parts not of their making and tape them together to create a truly unique individual.. Have each person name his newly created friend, write a few sentences describing the special qualities his friend possesses and what they have in common in a personal address form: a letter. Each person introduces their friend and reads the written letter to the class. Class reflects on the letters and the new friends.
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Reflection/closure: How can the visual and written arts promote tolerance and respect for the differences in people? Does an outward appearance of a person reflect who they are on the inside? Discuss how this lesson can used to promote good citizenship. How else could this be used in an arts integrated lesson? Discuss ways parents can be utilized and involved at home and at school with this lesson and variations of this lesson.
Assessment: Create a writing rubric to accompany this lesson.
Journal reflections.
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DAY THREELESSON SEVEN
DO SOMETHING FOR SENIORS: Developing volunteerism and student leadership abilities.
Subject(s): Language arts, Social Studies
Discipline(s): Creative Writing, Visual Arts
Grade Level: K-12
Length: 40 minutes
Essential Question(s): How can the arts be used to develop student leadership and volunteerism skills and parent participation?
Objectives: Participants will Create invitations inviting parents to participate in making greeting cards for senior citizen homes and hospitals Create Happy Day cards for senior citizens Create Get Well cards for hospital children’s wing Demonstrate creative writing and visual art skill Engage in arts integration lesson
Standards: NL-ENG.K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.9 Multicultural Understanding NL-ENG.K-12.12 Applying Language Skills NP.K-12.6 Respect for Others NL-ENG.K-12.1.3.2 Word Descriptions NL-ENG.K-12.2.4.2 Identify Correct Sequence NL-ENG.K-12.2.4.5 Identify Main Idea NL-ENG.K-12.5.2.5 Write Key Idea Sentences NL-ENG.K-12.6.1.1 Make Complex Predictions NL-ENG.K-12.6.1.3 Interpret Character Behavior NL-ENG.K-12.7.1.1 Apply Appropriate Strategies NL-ENG.K-12.8.2.1 Evaluate Impact of Setting NL-ENG.K-12.10.3.3 Identify Cause and Effect NSS-C.K-4.2 Values and Principles of Democracy
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NSS-C.5-8.3 Principles of Democracy NSS-C.9-12.3 Principles of Democracy
Fine Arts Standards: NA-VA.5-8.6 Making Connections Between Visual Arts and Other Disciplines. NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History. NA-T.5.21 Assume roles that exhibit concentration and contribute to the action of classroom dramatizations based on personal experience, heritage, imagination, literature and history.
Vocabulary: Volunteer, volunteerism, student leadership, greeting card, rhyme, senior citizen, illness, participation, civic duty, citizen, tolerance, self esteem
Materials needed: multi colored construction paper, magic markers, crayons, glitter, yarn, glue, feathers, scotch tape, stapler and staples, pencils
Step by step process:Warm up activity: Discuss volunteerism and student leadership and ways to get children and their parents involved in volunteerism. Discuss how volunteerism develops leaders. Discuss how poetry and greeting cards can bring pleasure to senior citizens and sick people. Introduce Pat Schneider’s exercise Something you know by heart and have participants take two lines of a known song, poem or prayer and add another line of their own creation. Share one or two of the newly created poems and reflect.
Lesson: Instruct participants to make two greeting cards of assembled supplies. One will be an invitation for parents to volunteer during the class volunteerism project. The other will be a HAPPY DAY greeting card for a senior citizen or a GET WELL card for a hospitalized child. The two cards will have the poem created during the warm up somewhere inside its contents. Participants will share cards and reflect on the diversity of the word and visual arts choices.
Reflection/Closure: How was creative writing and visual art used to stimulate parent participation and volunteerism? What other ways could this exercise be used in an arts integration lesson? How did adding the poem impact the value of the greeting card?
Assessment: Write a paragraph describing how to use this exercise in a curriculum lesson.
Journal reflection.
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DAY THREELESSON EIGHT
R.E.S.P.E.C.T
Subjects: Language Arts, Physical Education, Math, Social Studies
Discipline(s): Dance, Music, Creative Writing, Creative Dramatics
Grade level: K-12
Length: 60 minutes
Essential Question(s): How can the arts be used to empower self esteem, promote good citizenship and develop community and global respect?
Objectives: Participants will Create characters, dialog and improvisational situations set in a “New Society” where education and good citizenship is highly valued by all members of society Create a song or poem using the word “respect” Create a movement repetition of peace Engage in an arts integrated lesson
Standards: NL-ENG. K-12.3 Evaluation Strategies NL-ENG.K-12.4 Communication Skills NL-ENG.K-12.12 Applying Language Skills
NL-ENG.K-12.10.3.3 Identify Cause and Effect NSS-C.K-4.2 Values and Principles of Democracy
Fine Arts Standards: NA-M.K-4 .1 Singing, Alone and With Others NA-M.5-8.8 Understanding Relationships Between Music, Other Arts And Disciplines Outside the Arts NA-T.9-12.1 Script Writing by Planning and Recording Improvisations Based On Personal Experience and Heritage, Imagination, Literature and History NA-D.K-4.1 Use kinesthetic awareness, proper use of space, and the ability to move safely. NA-D.5-8.3 Demonstrate the ability to use dance as a language and means of communication. NA-D.9-12 .7 Manipulate technical dimensions of dance,
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individually and collaboratively NA-VA.5-8.6 Making Connections Between Visual Arts and Other Disciplines.
Vocabulary: New Society, community needs, community contribution, school, hospital, nourishment, shelter, builders, workers, climate, tolerance, assistance, volunteerism, citizenship, education, dance, faith, pride, cooperation, admiration, dignity, leadership, student leadership, pride, family, love, peace, accommodation, familial
Materials: assorted fabric, hand instruments, family diaries, vocabulary words
Step by step process: Warm up activity: Discussion on the power of words and language. Define respect, dignity, admiration, cooperation. What would make up New Society that had equality in all things and education, community, and life were treasured? Participants are led in a relaxation exercise and are prompted to write in a stream of consciousness for several minutes. Sharing of volunteers can happen, then reflection. Participants are instructed to write about their perfect world, utilizing the word respect, if possible for several minutes. The group reflects on volunteer readers images and the word respect. A few bars of Aretha Franklin’s song “Respect” is played.
Lesson: Participants break into their family groups. Each group must create an orchestra of tolerance, creating a vignette of sound and movement, with conflict and resolution, that portrays the word respect in showing the emergence of their new society. The groups will also be able to draw from the vocabulary and exercises of the past week. Groups decide on content, word choices, props and instruments. Twenty minute rehearsal time, then present vignettes to the assembly. Reflection on each groups word, image, music and sound choices and approaches.
Reflection/closure: How can the arts be used to empower self esteem, promote good citizenship and develop community respect? What other ways can the arts be integrated into the curriculum? How can this exercise be used to persuade more parental involvement? How can parents aid in developing the comprehension skills of their child by participating in any of the week’s exercises? Which lesson will you replicate or expand in your classroom and use in familial recruitment? Which exercise or activity will impact your teaching style this year? . What else do you need? Remember to initiate and continue parental contact. Telephone. Stop by. Send cards. Ask questions.
Assessment: Create writing rubric to accompany this lesson.
Journal reflections.
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Creative Life Arts Track assessment. (please complete and turn in)
PERFORMANCE /WORKSHOP EVALUATION FORMPlease give your candid opinion of the Creative Life Arts sessions.
Date ______________________________________
Name of Site_____________________________________
1. Effectiveness of Presenter (Mastery of art form? Prepared for session? Material suitable for audience?) ________________________________________________________________________________________________________________________________________________________________________________________
2. Usefulness of this presentation (How might you utilize some of the material presented?)
______________________________________________________________________________________________________________________________________________________________________________________________
4. Usefulness of Teacher Resource Manual / handouts:(Did it correspond to the presentation? Are there entry points to the curriculum? Describe.)________________________________________________________________________________________________
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________________________________________________________________________________________________
5. Ability to guide others in practicing/teaching art form (list something learned from this presentation)
6. What did you like best about the presentation?
________________________________________________________________________________________________________________________________________________
7. What did you like least?________________________________________________________________________________________________________________________________________________
8. Suggestions for improvement or presentation of additional material.
9. Professionalism of presenters: Deniece Ferguson, John Sullivan, Deborah Ferguson (Would you be interested in having them present to your school or organization?) Thank you.
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Recommended Reading
Schneider , Pat. Writing Alone and With Others, Oxford University Press,2003
Beegle, Donna. Overcoming the Silence of Generational Poverty, Talking Points, National Council of Teachers of English .October/November, 2003
Gans, H. The War Against the Poor. Basic Books, New York. 1995
Ong, W., Orality and Literacy: The Technologizing of the World. Metheun & Company, London. 1982
Mortenson, T. A Conversation about Diversity. Academe, July/August 84(4).4
Title Author AudienceDon’t Give It Away Iyanla Vanzant age 12-17 females
The Pact: Three Young Sampson Davis, age 10-17 males Men Make A Promise George Jenkins And Fulfill a Dream Rameck Hunt
The Warrior Method: Dr. Raymond Winbush Parents. educatorsA Parent’s Guide toRearing Healthy Black Boys
The Measure of Our Success: Dr. Marion Wright Edelman EveryoneA Letter to my Children and Yours
A Hero Ain’t Nothing But A Sandwich Alice Childress age 12-17
Nappy Hair Carolivia Herron age 5-8
Makes Me Wanna Holler Nathan McCall age 12-17 males
Things Fall Apart Chinua Achebe Everyone
The Women of Brewster Place Gloria Naylor age 12-17 females
Inner City Miracle: A Memoir Judge Greg Mathis age 12-17 males
Sounder William Armstrong, James Barkley age 12-17
Who Am I Without Him? Sharon Flake age 10-17 Short Stories About GirlsAnd Boys in Their Lives
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SUPPLEMENTAL MATERIALS
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