Members of the organization American Independent School Librarians will be meeting at The Willows Community School for the summer institute Critical Literacies: Empowering Learners in Your Library. They will explore the intersections between source literacy, media literacy, information literacy, and the library program. The Institute will include workshops and discussions designed to help members effectively structure library instruction and collaborate with campus partners, giving students the tools and skills to be independent, critical researchers. Colleagues from all grade level divisions are invited to participate!
The main speakers will present workshops on source literacy, news literacy and inquiry as an information literacy tool. There will also be sessions offered on cognitive bias, and bias and diversity in google searches.
Nuts and Bolts of Source Literacy
Nora Murphy, Flintridge Sacred Heart Academy, La Canada Flintridge, CA
At the core of every critical literacy is source material, i.e. the texts that drive our questions and determine how we will answer them. What is Source Literacy, and how can we prioritize it as a necessary component of all critical literacy instruction (and why should we do so)? Nora will introduce key concepts and discuss case studies that illustrate how Source Literacy informs students’ research trajectory and, ultimately, their thinking.
Breaking News: Read Between the Lines, News Literacy Skills for the Digital Age
Bobbie Eisenstock, Ph.D.
How news literate are your students? Do they know how to judge the credibility and reliability of news and information flooding their digital devices? Can they detect “fake news” and political bias on social media? When they go online, are they trapped inside filter bubbles that reinforce cognitive bias and inadvertently spread untruths? A recent Stanford University study found that the majority of students cannot distinguish fake from factual news or native advertising from news articles. This workshop will demonstrate media literacy strategies to empower students to critically analyze and evaluate what they consume and create in the ever-changing participatory digital culture.
Connie Williams of The Right Question Institute
How does forming the “Right Question” encourage learners to engage deeply in the learning and research process? Learn how to create a question-driven learning environment by understanding how questions set the stage for exciting and engaging research. We will explore different kinds of questions, how to prioritize, categorize, and then use them to narrow topics, to broaden searches, and to assess learning. Using primary sources and other compelling subjects, we will practice several strategies that strengthen and enhance inquiry and information literacy.
Can making or listening to music shape our identity? Can music effectively challenge stereotypes? How does music impact the way people think and act? What role can music play in a movement for social change? These were some of the guiding questions I pondered recently while taking part in the Facing History and Ourselves workshop entitled “The Sounds of Change” on, quite poignantly, both the 25th anniversary of the Los Angeles riots and the 50th anniversary of Detroit’s historic civil unrest.
Together with my teaching partner, Steve Futterman, I am tasked with preparing our 7th graders for their upcoming trip to Memphis, Tennessee and Little Rock, Arkansas by bringing to life the Civil Rights Movement of the 1950s and 1960s and by encouraging the students to consider its relevance to the divisiveness and unrest that seem to be permeating our country right now.
While attending this workshop, I had the opportunity to try out lesson plans that delve deeply into several classic soul songs produced by legendary Stax Records, placing them within the context of the African Americans’ struggle to gain equality and examining how the stories of the artists, the music and the lyrics provide a window into the ways that music can both inspire and reflect social change.
Steve and I are excited to incorporate this approach into the 7th grade Core (Humanities) classroom. Students will analyze the lyrics of “Soul Man” within the context of the Detroit riots, compare and contrast Otis Redding’s “Respect” (later immortalized by Aretha Franklin as a feminist anthem) and “Respect Yourself,” a Staple Singers hit, investigate how music is able to build community among seemingly different groups through a close study of The Staple Singers’ “If You’re Ready (Come Go with Me)” and examine more contemporary message music.
The soul music that came out of Memphis and the musicians who followed in their footsteps offer a very compelling pathway into some pretty challenging material. The idea here is to give our students the opportunity to engage deeply with the music by exploring each song’s social and political commentary, by reflecting on how they connect with the music intellectually, emotionally and ethically and to consider which aspects of the music challenge their thinking. What shocks or surprises? What is most interesting or intriguing? What is particularly troubling? What can they discover in the music that offers insight into something new or unfamiliar or, conversely, that serves as a mirror of their own lives?
These lessons extend the curriculum that Steve and I have developed to further our students’ comprehension of not only the history that they will encounter on our field trip to the South, but also of the complexities that characterize the contemporary American experience. And they touch on some of themes that run through our instructional program: society and the individual, the oppression of one group over others and those moments when people take action to change the status quo.
This is what I learned at “The Sounds of Change” workshop and through my ongoing work at The Willows: People make choices. Choices make history. And unless people begin to make different choices, history will continue to repeat itself. I am hopeful that as our informed, compassionate and thoughtful students come of age, they will have in their possession the tools necessary to promote greater understanding, inclusivity and kindness.
In the meantime, the 7th graders and their teacher chaperones head to Memphis and Little Rock in early June to learn more about our country’s past, its present and the role of music to reflect and incite social change and to bring people together as we embrace the future, come what may.
Five years ago after moving from teaching the first/second grade loop to teaching upper elementary students, I noticed that there was a need for a more consistent writing curriculum across the grades at our school. Of course teachers gave writing assignments, but a continuity in how writing was being taught needed to be reviewed and updated.
In search of more comprehensive writing instruction, I found The Reading and Writing Project at Teachers College, Columbia University. I was familiar with Lucy Calkins and her writing workshop curriculum, but I wanted to learn more. After attending their Summer Writing Institute on their campus at Columbia University, I returned to The Willows inspired and invigorated to share what I learned with my colleagues. Since then, we’ve created an exceptionally strong writing curriculum, guided by Writing Workshop.
The Writing Workshop Model is very Willows in that it is student-centered, but also provides structure and clear goals.
These are the Writing Workshop Essentials, from Lucy Calkins’s book, Guide to the Writing Workshop, and how we have implemented them at The Willows:
“Writing needs to be taught like any other basic skill, with explicit instruction and ample opportunity for practice.”
I found that we weren’t scheduling writing into our regular weekly lessons. We’d give students creative writing assignments during the year, but the craft of writing wasn’t being explicitly taught everyday. We’d justify this by reasoning that our students were doing lots of writing in other subjects. Imagine if we did that with math— “Oh, we don’t have a regular math time, but students do math in science and social studies without even realizing it, so that’s okay.”
The first and most important change we made was to make writing a priority and to put it on the weekly schedule, just like math, reading, social studies, and science.
“Children deserve to write for a real purpose, to write the kinds of texts that they see in the world and to write for an audience of readers.”
In Writing Workshop there are three main types of writing we teach—narrative, informational, and persuasive. We teach each of these forms every year and build upon the skills from the year before, increasing the complexity and sophistication of the writing. At the end of each unit, we “publish” our books and share them with one another and our greater community.
“Writers write to put meaning onto the page. Children invest themselves in their writing when they choose topics that are important to them.”
We teach children strategies to find topics they are passionate about, rather than assign them a topic. We teach them that the purpose of writing is to communicate your ideas. We write because we have something to say, and we often discover what we have to say through our writing. This has been so empowering. Our students love writing workshop because of this.
“Children deserve to be explicitly taught how to write.”
In the younger grades, we teach informational writing units in which students write “expert books.”. Each student chose a topic that they feel they are experts in and do not need to research (being an older sister, football, playing with sticks). We then explicitly teach them how to write an informational piece well, organizing and focusing their topics, writing paragraphs, using lots of examples, synthesizing their ideas, and using vivid, descriptive language. Later, we combine our informational writing unit with a social studies or science unit, and introduce the element of research into their process.
“Children deserve the opportunity and instruction to cycle through the writing process.”
By explicitly separating writing into stages, we’re demystifying the writing process and giving students the expectation that they will create several drafts when they write.
The biggest change I’ve seen has been to differentiate revision from editing. Many teachers lump these together, and end up giving revision short shrift. We talk about revision as the big stuff—does the writing make sense?, is there enough description so readers can picture this in their minds?, what is the writing really about?, is my message—what I have to say—really coming through? Editing is fixing the conventions (spelling, punctuation, grammar) so the work can be read easily. This comes after revision.
My students now enjoy revision. Their papers get messy, and the more revisions they make, the messier the draft gets. I revise my own writing in front of them, then invite them to do it to their work.
“To write well, children need opportunities to read and to hear texts read, and to read as writers.”
We use mentor texts by master authors that we examine to see what techniques the writers use to communicate their ideas, so we can try using them as well. Now, during book clubs or read aloud, students are noticing devices writers’ use that they can incorporate in their own writing, like flashbacks or foreshadowing.
“Children need clear goals and frequent feedback.”
This happens mainly during writing conferences. Before writing workshop, my writing conferences took place at my desk, after a student had finished a draft. I’d hold a pen and write on the student’s paper, showing them where to add a detail or to re-order some sentences. The student would often stare into space, and I’d mark up the paper and give it back so they could make my corrections. I’d have a long line of students snaking around the room waiting for my help and my approval.
Now, I rarely sit at my desk during writing times. I move around the room and check in with students at their tables. I talk to them and give them feedback in whatever stage they’re working in. I don’t write on their papers. I might write some notes on a separate paper so they can remember what we talked about, but the students have to make their own revisions, do their own writing.
We use checklists and charts so students can remind themselves of their goals. Students don’t stand in line and wait for a conference with a teacher. They keep working and use the tools we provide to help themselves until the next teacher check-in.
Teaching writing like this takes more work, but we are now sending students to each higher grade with more skills, ready to take on a new level of sophistication in their writing. It’s been so gratifying to see how our students have embraced this process. Students are excited about writing, disappointed when their writing time is over, sometimes asking if they can stay inside during recess to keep working on a story. As a teacher it doesn’t get better than that.