By G. FAITH LITTLE
Over the past year, school has been a rollercoaster event filled with openings, closings, virtual connections, and dramatic shifts in teaching and learning techniques and experiences. No matter the grade level or subject area, our learning spaces have been completely redefined. And it isn’t just due to in-person or online learning schedules — many teachers are finding that what worked in person may not be working as well online or in other virtual settings. Additionally, changes to state tests and other accountability measures have created opportunities for teachers to redesign their teaching methods and learning outcomes to authentically engage students in the core elements of their content areas. Finding ways to engage students in content can be difficult, particularly when so much teaching and learning is happening remotely. We understand this challenge. Our Literacy Unbound team faced the same concerns about how to engage teachers and students in our 2020 Summer Institute — traditionally a 2-week, in-person immersive learning experience. Rooted in the belief that students learn best through authentic inquiry, curiosity, and through the multimodal embodiment of a text, Literacy Unbound brings teachers and students together with teaching artists to explore the in-depth themes of a shared text, independently. In a typical summer, we would develop a series of Invitations to Create as a way to invite and entice students into the world of the text. These invitations might prompt readers to journal, draw, collage, create a playlist, or explore some other form of expression related to a key quote or “hotspot” in the text. As readers collect their responses, they traditionally come together for a dynamic experience in which they construct an original performance based on their responses to the invitations. While much of the in-person institute needed a complete redesign to fit a virtual institute, the structure of Invitations to Create did not. Invitations provide the perfect setup for virtual reading, writing, and collaboration. And they come with plenty of choice, freedom, and personal exploration, which means that participants can be authentically engaged from the very beginning.
Creating your invitation
Even though Invitations to Create begin as prompts to pieces of literature, they’re extremely flexible and are a promising practice for all content areas and grade levels during remote and/or blended learning experiences. How can we begin to incorporate invitations into curriculum for math, science, and social studies, and beyond? To get a sneak peek of the process, we’ve developed the sample below to experiment with Invitations in Mathematics, adapted from A Guide to Crafting Invitations to Create by Dr. Nathan Allan Blom. Note: As you read, look for the examples in blue of building an invitation for A Mathematician’s Lament.
Step 1: Jot
Whatever the content, there are literacy expectations in your field. What are the reading and writing requirements in your field? In your course(s)? In the exam? Jot down some of your thinking as a warm-up. Step 2: Identify What is a text you go back to over and over again that you want to introduce to your students — or -- what is a text you already plan to use in a future lesson? Have the text handy.
A Mathematician’s Lament by Paul Lockhart
Step 3: Choose Choose a “hotspot” within the text. This is a passage of the text that captures your attention. Typically, it’s helpful if a hotspot contains:
Explain in a few words the context of the hotspot within the larger text.
In the first chapter, the author shares about a nightmare an artist has about how art is taught so that children don’t hold a paintbrush until they are young adults. Instead, they learn about art for years before they experience it for themselves. He says that life is very much like that in the real world of mathematics:
“Everyone knows that something is wrong. The politicians say, “We need higher standards.” The schools say, “We need more money and equipment.” Educators say one thing, and teachers say another. They are all wrong. The only people who understand what is going on are the ones most often blamed and least often heard: the students. They say, 'Math class is stupid and boring,' and they are right.” Step 4: Offer Offer an idea you had or a connection you made during your reading. Share with the voice of a fellow student, rather than an authority on the subject.
This makes me wonder how much more often math is seen as boring instead of beautiful.
Step 5: Connect Connect the hotspot to a piece of media to illustrate and/or extend your connections, questions, or ideas. Explore media to find something that connects and inspires you, like:
Video: The Beauty of Mathematics
Step 6: Prompt Create your prompt, using this structure: In whatever way seems best to you (equation, movement, experiment, poetry, prose, music, art, video, etc.), explore ______. Let's look at our invitation for A Mathematician’s Lament created from steps 1 - 6:
A Mathematician’s Lament by Paul Lockhart
In the first chapter, the author shares about a nightmare an artist has about how art is taught so that children don’t hold a paintbrush until they are young adults. Instead, they learn about art for years before they experience it for themselves. He says that life is very much like that in the real world of mathematics: “Everyone knows that something is wrong. The politicians say, “We need higher standards.” The schools say, “We need more money and equipment.” Educators say one thing, and teachers say another. They are all wrong. The only people who understand what is going on are the ones most often blamed and least often heard: the students. They say, 'Math class is stupid and boring,' and they are right.” This makes me wonder how much more often math is seen as boring instead of beautiful. Listen and watch this: The Beauty of Mathematics In whatever way seems best to you (equation, collage, drawing, music, etc.), explore the idea that, in the real world, math is beautiful. Include directions about how students will share their creation with you and each other. This process supports students to make their own meaning of the text, and is also a way for you and your students to experience an invitation together, whether you’re in the same concrete or virtual space. If possible, create your own response to the invitation and share it at the same time your students share theirs.
Each invitation offers an opportunity to reflect, analyze, and synthesize the text at hand. Once the invitations have been developed, students are invested in their interpretations and eager to share their ideas. This sharing is a powerful tool, inspiring motivation and encouragement across the community.
What can you invite students to create using this simple and effective structure? 
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Using Invitations to Create
Engaging students in the reading of classic texts can be difficult, particularly when teaching and learning is happening remotely. Invitations to Create reinvigorate students — and teachers! — through project-based, collaborative curricula developed around challenging texts, ultimately increasing student engagement and building classroom community in the process. WHAT'S IN AN INVITATION? If a prompt is like a camera lens, pulling your task into focus, an invitation is like a colorful string you can’t resist pulling to see what happens next. Writing an invitation for the reader to connect with a text offers them an opportunity to reflect, analyze, and synthesize the text at hand. 
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By ROBERTA LENGER KANG
Some people have a true gift and talent for drawing, painting, sculpting, singing, acting or dancing. We sometimes mistake this talented artistry as creativity. This makes it seem like creativity is something you’re born with, not something you learn. But that’s a myth — there’s a big difference between artistry and creativity. Creativity is about developing the power to make something from nothing. Our research-based framework for 21st century skills focuses on the creative mindset as one of five essential skills for the 21st century. Let’s face it, in a world where every piece of information is available to us within three clicks of a mouse or three swipes on a phone, finding facts is easy. The biggest needs we anticipate for future success is the ability to use information to innovate and solve complex problems. That takes creativity. As educators, it’s our job to figure out how to teach creativity to our students. In order to teach towards creativity, we have to disavow the myth that creativity is an innate trait bestowed on only the few, and begin breaking down its component parts so that we can integrate it into our instruction. We’ve defined creativity as the capacity for students to cultivate their curiosity by questioning or imagining in order to contribute positive improvements or inventions to their world. We’ve identified four skills that work together to cultivate creativity: imagining, questioning, simulating, and appreciating ambiguity.
Imagining
A vivid imagination is part of childhood development that is sparked around toddlerhood, as children learn about the world through play and pretend. To pretend that something is true, when it isn’t, for the purpose of exploration and understanding (as opposed to deceit — which would be lying, or as a joke — which could be satire). We've outlined three simple entry points to incorporate imagining into instruction:
These are not the only entry points, but they should be accessible to us at multiple levels of instruction, and across different content areas.
Questioning
Like imagining, questioning is also a normal part of human development that emerges as early as some children can talk (the classic, “why, why, why, why?”) and often lasts through early elementary school. Once in school, this skill often atrophies as traditional methods of teaching are structured such that the teacher asks the questions and the students answer, rather than having the students ask questions and work together to explore possible answers. Asking questions is a key factor of curiosity, and curiosity is a key level towards creativity and problem solving. Let's look at three entry points for supporting students to being asking questions, rather than simply answering them:
Simulating
Simulation or embodiments are powerful, physical ways to connect and internalize information though experiences. We will never know what it was really like to be on the Oregon Trail, or to fight in the American Revolution, or to live in a Hooverville during the Great Depression — but through simulated learning projects, we can approximate the experience to gain deeper insights. Whether we’re engaging in a short, impromptu learning activity, or a long term project, here are three entry points for simulating:
Appreciating ambiguity
Whether it’s nature or nurture, as human beings, we’re always looking for the right answer. And in school, we typically reward this kind of thinking. When students believe that there is one right answer, they may fall into the trap that being right is the goal of learning, when in fact, being right means we haven’t learned anything new at all. There is no absolute right answer in real life, and if we can shift our thinking from looking for the right answer, to looking for the possible answers, we shift the purpose of learning from something that is singular and narrow to something that opens us up to new opportunities. Entry points toward appreciating ambiguity:
When we regularly engage our students in lessons strategically designed to support imagining, questioning, simulating, and appreciating ambiguity, they become more and more connected to the topic, and more authentically curious about the process. Their imaginations are sparked with new ideas, innovative solutions, and new questions. Each of these traits works toward developing the mindset of creativity — resilient in the face of challenging circumstances, curious about the world, and confident that there isn’t any problem too big to tackle, or too simple to ignore.
By G. FAITH LITTLE
If a prompt is like a camera lens, pulling your task into focus, an invitation is like a colorful string you can’t resist pulling to see what happens next. Writing an invitation for the reader to connect with a text can be as simple as choosing a quote and offering ways for the reader to respond, as we did with our One Book, One New York invitations when the city was reading Americanah. When we send out invitations to our Literacy Unbound players, each day for about a month leading up to our annual Summer Institute, we wait in anticipation to find out which strings they’ll pull and what will happen next. It isn’t magic to create an invitation, though when people respond the results are often magical! Nathan Blom’s Guide to Crafting Invitations to Create provides guidance on creating “invitations [that] speak to the recipient, enticing them to run with it and see where it leads; [that] open up and spark the creative process; [that] limber up thinking and lead us into meaningful conversations.” Consider playing with all or part of the structure Nathan outlines below and see what happens for you and for your students.
A Guide to Crafting Invitations to Create
Nathan Allan Blom INSTEP Program Coordinator & Adjunct Instructor, Teachers College, Columbia University Literacy Unbound Facilitator Contextualized quote from the text Choose a “hotspot” within the text. These should be passages of the text which you find worthy of attention, for whatever reason. These hotspots might or might not be the most important passages for the novel’s plot or themes. They should be rich with:
Be sure to contextualize the quote and explain where it comes from. Give your recipient an idea of where this passage occurs within the arc of the story events, or within the theme that you want to draw their attention to. Let’s use The Color Purple as an example. The inscription to Chapter 1 states, "You better not never tell nobody but God. It'd kill your mammy." We can assume these words come from Celie's father, and that he is talking to her about the trauma he inflicts upon her. Celie takes this up and the entirety of the novel results from her letters to God (an "epistolary" is a novel in the form of letters). 
Commentary on the quotation
Offer your recipient a brief commentary on the passage, without being heavy-handed. Phrase your commentary as a tentative offering of ideas, not a definitive statement of authority. Or, share the connections that occur to you when you read the passage. Or, explain the questions that arise when you read this passage, and the reasons for those questions. In Chapter 3, while trying to protect her younger sister, Nettie, from their rapist and infant-killing father, Celie says, "But I say I'll take care of you. With God help." Again, she turns to God for psychological and spiritual strength in the face of horrific events. Throughout history, people have sought spiritual refuge in the face of traumatic events, and this refuge often appears in the form of music or art. An example of this phenomenon is the tradition of African-American spirituals.
Connections to other "texts"
Putting texts into conversation with each other allows for deeper understanding. In essence, bringing in other texts is bringing more voices into the conversation. These voices add ideas and perspectives that may be absent if we only heard the single voice of the original text. The new voices complicate and contextualize meanings in unique and powerful ways. Also, sharing creative works is one of the keys to inspiring creative works. What outside media exist that illustrate and/or extend your connections, questions, or ideas? Include them in the Invitation, not as a way of defining what your recipient should do, but instead as a way of showing them what they could do and inspiring them to move further. Look to different media for inspiration:
Here are some links to African-American spirituals and gospels from performers during early 1900s (the time period of The Color Purple), and from more contemporary performers, descendants of the same tradition. There are many more examples out there. Listen and watch and respond to some of this music. Consider the interaction between the meaning of the words, and the emotional color of the music. What is being expressed? Why is it being expressed? Have you ever felt the need to express in a similar manner?
A prompt for creation
The final part of the Invitation to Create is the actual invitation itself. You must leave your recipient with a call to create. Be thoughtful in how narrowly or broadly you craft your prompting. Do you define a medium they should use (“Represent your ideas visually….”)? Do you leave it open (“Respond in whatever way you see fit….”)? Often times asking someone to move from one medium to another, such as from the written word to the visual image, for example, inspires an act of creation as the recipient tries to imagine how ideas transfer between the two. Do you guide the content of their response (“Create from the perspective of one of the silent characters of this scene….”)? In whatever way seems best to you (poetry, prose, music, art, video, dance, etc.), explore the ideas, emotions, and experiences within these moments of refuge seeking.
Invitation for The Color Purple using this structure
The inscription to Chapter 1 states, "You better not never tell nobody but God. It'd kill your mammy." We can assume these words come from Celie's father, and that he is talking to her about the trauma he inflicts upon her. Celie takes this up and the entirety of the novel results from her letters to God (an "epistolary" is a novel in the form of letters). In Chapter 3, while trying to protect her younger sister, Nettie, from their rapist and infant-killing father, says, "But I say I'll take care of you. With God help." Again, she turns to God for psychological and spiritual strength in the face horrific events. Throughout history, people have sought spiritual refuge in the face of traumatic events, and this refuge often appears in the form of music or art. An example of this phenomenon is the tradition of African-American spirituals. Here are some links to African-American spirituals and gospels from performers during early 1900s (the time period of The Color Purple), and from more contemporary performers, descendants of the same tradition. There are many more examples out there. Listen and watch and respond to some of this music. Consider the interaction between the meaning of the words, and the emotional color of the music. What is being expressed? Why is it being expressed? Have you ever felt the need to express in a similar manner? In whatever way seems best to you (poetry, prose, music, art, video, dance, etc.), explore the ideas, emotions, and experiences within these moments of refuge seeking.
Happy practicing! Enjoy the exploration, and if you’re interested in learning more, check out our Literacy Unbound initiative.
TAGS: CREATIVITY, G. FAITH LITTLE, LITERACY UNBOUND, PROJECT-BASED LEARNING |
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The Center for Professional Education of Teachers (CPET) at Teachers College, Columbia University is devoted to advancing global capacities in teacher education, research, and whole school reform. CPET advocates for excellence and equity in education through direct service to youth and educators, innovative school projects, international research that examines and advocates the highest quality instructional and assessment practices today, and sustainable school partnerships that leverage current policy and mandates to raise literacy levels and embed collaborative communities of learning. Uniting theory and practice, CPET promotes rigorous and relevant scholarship and is committed to making excellent education accessible worldwide.
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