By ADELE BRUNI ASHLEY

​We begin our session with an exercise borrowed from Shakespeare & Company in Lenox, Massachusetts. Players (our term for students and teachers who are in creative collaboration with each other) disperse throughout the room facing in any direction and are invited to move silently about the room at their own pace without collision, always passing through the center of the room en route to another side (rather than merely circling the periphery). Welcome to the act of milling and seething.
 
The purpose of this introductory activity is twofold: first, to foster an awareness of space. All too often in school, students are aware of neither the classroom as a physical space nor themselves and their peers as bodies coexisting within that space. Milling and seething prompts students to examine the entirety of the classroom space; at points, the facilitator leading the activity claps and says, “Look around. Are there any empty places in the room? When I clap again, move to fill them.” Students thus begin to notice the gaps and spaces within the room at any given time and to understand their responsibility to venture out and fill those gaps and spaces. And because of the mandate that they move through the center of the room as they mill and seethe, students must negotiate encounters with one another. They must become aware of where their individual bodies end and the bodies of others begin.

Second, to ease players into imaginative work without any burden of “performance.” There exists no audience in this exercise; all are players. Players need only follow the directions of the facilitator (“When I clap, pause wherever you are. When I clap again, begin moving.”), and these directions shift subtly as the exercise progresses. While at first, the facilitator might ask players to “speed up (or slow down) by 50%, whatever that means to you,” directions ultimately become more like this one: “Pause. You have somewhere important to be. You’re late. When I clap again, get there.” Even with this simple direction, the players start to move into imaginative worlds. 

Reimagining texts and teaching

The Literacy Unbound initiative, the driving force behind this session, was originally conceived as a grand experiment in teacher education that sought to encourage instructors to consider the power of artistic play as an opportunity to help students develop as critical, collaborative, creative readers. At its core, Literacy Unbound seeks to reinvigorate students and teachers through project-based, collaborative curricula developed around challenging texts. Throughout this process, we often witness increased student engagement and the development of a stronger classroom community.

By bringing students and teachers together as creative collaborators, we’re able to reimagine the acts of reading, writing, listening, and speaking through multiple modalities. Though various aspects of this process can change, the core principles always remain the same:

• Begin with movement. Establish a precedent for movement in your classroom early on so students become accustomed to shifting quickly between sitting and walking in the classroom (and pushing desks and tables aside as needed). And be sure that this movement is low stakes. When leading classroom workshops like this one, I often start by saying, “Now, I’m going to ask you to do the most difficult thing I’ll ask you to do all day. When I clap, walk. When I clap again, stop. What questions do you have?” There is laughter when I say this, and students almost instantaneously relax. All they need to do is walk together.

 

• Keep returning to the text. In many classrooms, any kind of movement activity is treated as entirely separate from an “official reading” of the text at hand: one day, we read the text and the next, we do the movement activity (or vice versa). We try to find ways in our classroom workshops of incorporating the text into the movement — of reading with a pen in hand during the same class period in which we mill and seethe. When we ask students to integrate text into their movement in some way, we give them only small pieces with which to work — a word, a phrase, a line. We build larger ideas through an examination of the smaller pieces. 

 

• Compose through movement. All too often, educators use movement to re-present ideas already formed. What we attempt to do in our workshops is craft opportunities for students to discover ideas through movement and then put those ideas into words.

 

• Build the world of the text. As much as possible, we work to “coach students into story,” inviting them into the world of the text in some way. We might approach this by coaching students through guided visualization, or the act of letter writing; in general, we want to offer students sensory details (or sensory questions: What does it smell like? What’s on the walls?) that might help them to step into both textual environments and characters. Prompting students to write in character (or in some other way that makes sense within the given text) then enables them to build that textual world still further.
  
  

Why does this work? 

Through this approach, students get the chance to move — intellectually, physically and emotionally — into the world of the text. So frequently, we talk about text in the classroom. By contrast, our process allows students to talk from within the text; they speak directly from the perspective of one character and then another. They can feel the story in ways that might not otherwise be possible. At Literacy Unbound, we believe strongly that rich meaning-making happens when we find ways to experience literature together in the classroom. 

TAGS: ADELE BRUNI ASHLEY, LITERACY UNBOUND, PROJECT-BASED LEARNING

By CRISTINA ROMEO COMPTON

Student writing is often read by one person (a teacher), and for one reason (a grade). But what if it could be different? 

Through our Student Press Initiative, we seek to engage students in writing projects that culminate in print-based publications. These publications are designed for specific audiences, shaped around specific genres, and become widely accessible to their school community and the general public. This process not only helps students to establish their voices as writers, but helps revolutionize education by advancing teacher leadership in reading and writing instruction. 

Raising the bar for student writing

Though each publication is a unique reflection of its student authors, the five phases of our publication process remain constant:

• Laying the groundwork: Crucial for identifying the genre, audience, and purpose for a publication. The decision around audience is an important one, as it informs the style, tone, and language of a publication, as well as the level of detail students will need to use to best communicate with their readers. Equipping students with the tools they need to write for an authentic audience allows students to gain skills and perspectives that will serve them beyond the classroom. As James Moffet states, “…One of the indications of maturity is the ability of a speaker to predict what different receivers will need to have made explicit for them and what they will understand without elaboration.” (Moffett, Detecting Growth in Language, 1992, p 21). 

 

• Project planning: Focused on scaffolding, planning, and studying mentor texts that will inform the trajectory of your project, and getting acquainted with a critical component of publication projects: the production calendar.

 

• Supporting the writing process: An exploration of the importance of backwards planning, and how it can inform your curriculum and instruction. Together, we examine promising practices for supporting your students with the main phases of the writing process, including: pre-writing, drafting, and revision.

 

• Production: Once students have created a piece of writing, it’s important to help them begin the production process, both individually and collaboratively. In this phase, we support students and teachers in preparing polished writing for a larger audience, and explore best practices for providing feedback to students.

 

• Going public: How can students prepare to share their work? In this final phase, we explore options for participating in public readings and hosting book release celebrations.

Publication in action: personal narratives from the Bronx

This spring, we supported 9th and 10th grade Special Education students at the Bronx High School for Business (BHSB) through this process. Their teacher was eager to introduce a project that would provide her students the opportunity to share a meaningful experience through the writing of a personal narrative or poem.

With this in mind, our coaches worked alongside the teacher and her students to facilitate a conversation about the audience for their project. We asked questions such as:

• Who would enjoy reading these narratives and poems?
• What do we want the readers to gain?
• What do we want the readers to know or learn?

After careful consideration and deliberation, these young authors felt strongly that they wanted to write to younger members of the Bronx Business community — primarily incoming students and siblings — in an effort to offer meaningful advice. Over the course of the project, students at BHSB were able to hone and refine their writing, particularly as it relates to communicating with their chosen audience. They were able to revise their writing to include more colloquial language and tone, which they recognized would be most effective for communicating with their young and familiar audience. 

As a result, they published The Barriers We Faced, The Bridges We Built. This collection highlights the obstacles many BHSB students have encountered — moving to a new country, struggling in school, and disagreeing with family and friends. Though many of these obstacles seemed insurmountable, these young authors were able to meet them head-on with persistence and resilience, building the bridges necessary to overcome their personal barriers. 

​TAGS: CRISTINA ROMEO COMPTON, PROJECT-BASED LEARNING, STUDENT PRESS INITIATIVE, WRITING

By BRAD CAMPION

Do you change the style, tone, and format of your writing depending on who the writing is for? Of course you do. Do you teach your students to do the same?

Whatever your answer, it’s important for student writers to truly analyze, discuss, and contemplate their audience. Thinking about the audience they are writing for can inject a different form of energy into students and subsequently, their writing. In addition, getting students to adjust their language and writing style based on the audience they’re interacting with is a transferable, life-long skill that will benefit them down the road.

I recently introduced a Student Press Initiative project in an 11-12th grade class at one of our long-time partner schools, the Bronx’s Morris Academy of Collaborative Studies (MACS). This class, which is labeled as a Peer Group Connection (PGC) class, consists of 25 junior and senior students that act as peer mentors for incoming freshmen. These 25 PGC students participate in weekly outreaches with freshmen to help support their transition to the academic and social challenges of high school. Peer mentors and mentees that participate in PGC express an increase in their academic achievements, developed social/relationship skills, and are more motivated to graduate high school.

Given the impact of this program, the staff and students at MACS wanted every high school in the Bronx to include a peer-mentorship program in their curriculum, and decided the book we would create would promote the PGC program to other principals in the Bronx. And thus, we had our audience.

Who is our audience?

Throughout this project, the students’ writing has been powerful, raw, and passionate. At times, the energy in their writing was so strong that it was challenging to harness and refocus that energy to address our specific audience. To help students keep their audience in mind when writing, we used a few strategies.

First, we (myself and the PGC teaching staff) organized the students into three writing groups: pathos, logos, and ethos. We created these writing groups to design an environment in which students could constantly engage with and think about their audience. In addition, these rhetorical devices helped influence students to produce persuasive writing from day one, which added another layer of excitement into the writing process.

Second, I designed a graphic organizer called “Who is our Audience?” for students to reference. This tool allowed students to explore their audience (Bronx principals) in multiple ways — what are their interests, their responsibilities, their goals? This activity proved to be influential for students, as it tested their interview skills, allowed them to receive direct feedback from their intended audience, and become more informed writers.

Lastly, we designed a Feedback Rubric that we could use with students while revising their writing. This rubric provides a checklist that writers can reference at any point throughout the writing process, and requires evaluators to reference specific examples from the text. See below for an example of the rubric and how you might complete each section.

Feel free to adjust our graphic organizer and rubric to your own needs, or use them as a starting point for your own project! If you’re interested in seeing the product of our collaboration with the PGC group at MACS, check back on our new releases page — we’ll be releasing our publication with MACS on May 31st. I wouldn’t be surprised if the writing included in this publication convinces you to introduce a peer-mentorship program at your school!

TAGS: PROJECT-BASED LEARNING, STUDENT PRESS INITIATIVE, WRITING

By JORGE BELTRAN

Each year at our Big Learning Challenge institute, we harness the power of 21st century capacities and offer educators the opportunity to navigate the project-based learning process as participants, as well as teachers looking to implement new instructional strategies in their classrooms. 

At our last institute, we explored the theme of seeds, and set out to address the question: what happens when you plant a seed? In a unique stop motion workshop, we allowed teachers to determine how to represent their response (literally, or with an abstract interpretation?), decide on a story line (which scenes would they include?), and create their props using clay and paper. It wasn't child’s play, though — they were on a mission to create a stop motion film by the end of our session.

Stop motion is a film making technique which uses a sequence of still images to create the illusion of movement. When the individual images are combined, slight movements in the figures that are photographed create “motion” in the film. This technique was fitting for our project-based learning (PBL) focus at the Big Learning Challenge, since PBL is a dynamic approach that allows for collaboration, problem-solving, and creativity.

Using technology to tell stories
Each team of teachers would need to determine how to represent their response (literally, or with an abstract interpretation?), decide on a story line (which scenes would they include?), and create their props using clay and paper.

Before we started, I could sense that some teachers were nervous about tackling this project a short amount of time. It was a new concept for some, and required a bit of software to accomplish. We used the Stop Motion Studio app, which is free and easy to use. The app allows you to capture photos using your phone, adjust your frames per second (FPS), and easily export your finished product as a movie file. From there, it’s simple to share your work on various platforms.

Once we’d covered the tools we could use, we were ready to begin the film making process. As each group moved on to making their films, they were deeply engaged in their work. To make a short film, they had to create about 6-10 photos for each second of the film. For a one minute film, that means creating 100-150 photos! This detailed work was achieved through a diligent process of creating scenes, moving props, taking pictures, and moving props again, over and over until reaching the desired result.

When their films were finished, we discovered that both teams created two very different stories: one team created a more scientific story about plant growth, while the other took on a social studies perspective, exploring how individuals cultivate values.

What would this project look like in your classroom?
But that was not the end of it. Sure, we had fun making these clips (the outcomes were amazing!), but our larger purpose was to explore how teachers could bring this activity back to their classrooms. Throughout the process of creating a short film, teachers were tasked with being creative, organized problem-solvers. They faced challenges when working with props, developing storylines, and had to exercise patience while learning a new technique. By experiencing these elements for themselves, they were better equipped to anticipate the benefits and challenges of implementing a similar project with their students.

Each teacher set out to imagine how this project could be replicated with their students. They explored ideas like using stop motion to examine narrative structures in ELA classrooms, help ELLs learn adverbs of sequence, and to create an interdisciplinary project for a technology and media class.

How might you implement a stop motion project in your classroom? Check out these ideas to help you get started:

• Determine the purpose: What will the movie be used for — sharing information? A visual report? Part of a larger campaign?
• Decide on the topic: What is a meaningful subject for the movie? A great idea is to provide a question or prompt that students can interpret in different ways. That way, the films created will showcase the unique perspectives that exist in your classroom.
• Plan the sequence: How will students map out their scenes? While I personally like to use storyboards (which I think makes the process more realistic), this can also be done using lists or using index cards.
• Familiarize yourself with technology: Browse the apps available to you — get to know their features, and imagine how your students might use them. The more you know about the app your students will use, the more capacity you’ll have to support your students through the process.

We hope you try a stop motion project in your classroom!

TAGS: JORGE BELTRAN, PD AT TC, PROJECT-BASED LEARNING

By BRIAN VEPREK

In a diverse learning environment, where all students are, to some degree, ENL and many of them are SIFE, designing instruction that not only meets all students where they are in their journeys through school but also invites them to work towards mastery of college- and career-ready skills can be quite daunting.

Claremont International High School in the Bronx serves students who are recent immigrants to the United States from countries ranging from the Dominican Republic to Gambia to Yemen. For Claremont, the pedagogical approach that best addresses this challenge is project-based learning (PBL), and the faculty there invest a great deal of energy in designing projects that are authentic.

Assessing authenticity

John Larmer of the Buck Institute of Education, a clearinghouse for teacher professional learning about PBL, sets out a four-point framework for assessing the authenticity of a project, which he claims can be measured along a “sliding scale.” Let’s use Larmer’s four claims as a lens through which we can examine and evaluate a project planned by the 12th-grade Government teacher at Claremont, who has the responsibility and privilege of guiding a cohort of new- and soon-to-be Americans through their first deep exploration of the U.S. Constitution and the political process that has sprung up around it.

1. “It focuses on a problem, issue, or topic that is relevant to students’ lives [or] is actually being faced by adults in the world students will soon enter.” Claremont's Government project asks students to choose a controversial topic that is actively being debated in the American political discourse, independently research the history of the issue and its current state of play, and construct an understanding of the complexities of the problem. Students often select topics such as gun control, reproductive rights, and income inequality. By offering students an opportunity to exercise their agency in selecting their research questions, the teacher works toward ensuring the relevance of the inquiry to his students, and by grounding the work in contemporary issues, he points students toward developing “real-world” knowledge.

2. “It sets up a scenario or simulation that is realistic, even if it is fictitious.” This project asks students to imagine themselves as participants in the legislative and judicial processes, not as elected or appointed officials, but as activist citizens or residents of the United States. This orientation requires students to play roles that are immediately accessible them, not only after they graduate but also in that very moment as high school seniors.

3. “It meets a real need in the world beyond the class, or the products students create are used by real people.” Because the debates into which this project invites students are unsettled in the ongoing political discourse, the work students produce constitute contributions to these national conversations about the direction of the country. All of the students will “go public” with their learning (an essential feature of PBL) in the form of oral defenses of their written work, but they may also elect to actually publish the documents they write or send them to government officials. Thus, students are positioned to engage with democratic processes, not just study them.

4. “It involves tools, tasks, or processes used by adults in real settings, and by professionals in the workplace.” Students’ final products generally fall into one of two genres of writing used by professionals working in government. Those students who choose to engage with a debate that is active in the legislative process write white papers, research-driven reports that recommend policy. Those who enter conversations around active court cases write amicus curiae briefs, documents that seek to influence the decisions of a court. Far from the standard school-centric argumentative essay, white papers and amicus curiae briefs are examples of real-world writing and authentic tools used by professionals.

The 12th-grade Government project at Claremont is probably best described as “somewhat authentic” according to John Larmer’s framework. The work that students are doing, both in the roles they play and the products they create, “simulates what happens in the world outside the school.” However, it would not take too much effort for the project to become “fully authentic” if students “take action to improve their community” by publishing or submitting their white papers and amicus curiae briefs to the appropriate government authorities. Either way, the authentic project designed by this teacher offers students the opportunity for authentic learning.

TAGS: BRIAN VEPREK, PROJECT-BASED LEARNING, STUDENT ENGAGEMENT

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:
 

• Connections, connotations, and associations
• Character descriptions
• Imagery and details
• Significant settings
• Gaps in the text (for example, is there a character present whose voice isn’t heard?)
• Anything else that seems inspiring

 
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:
 

• Works of visual art (illustrations, graphics, paintings, etc.)
• Audio works (instrumental pieces, songs, recordings, etc.)
• Nonfiction texts (websites, articles, poems, quotations, etc.)
• Historical documents
• Videos
• Anything else you can find

 
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, and upcoming Summer Institute.


TAGS: CREATIVITY, G. FAITH LITTLE, LITERACY UNBOUND, PROJECT-BASED LEARNING