Principals and Leadership Teams Meeting

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Principals and Leadership Teams Meeting

• By Complex
• February 16, 2005
• Adapted from a presentation developed by John
  McMillan and Anthony Petrosky

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Agenda

• Overview of Studio curriculum and its connection
  to Writers Workshop
• Being and Un-being Lesson
• Break
• Deconstructing the Lesson
• Learning Theory and Teaching Moves
• Connecting to the Students We Serve (CRRT, SDAIE
  Strategies)
• Lunch
• A Look at the CAHSEE and ELA Standard Sets
• Reflecting on Implementation of Writers
  Workshop/Studio by Site Teams and Setting Goals
  for February and March
• Closing and Evaluations

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Todays Objectives

• To expose leadership teams to Studio curriculum
• To understand the learning theory behind Studio
  curriculum
• To connect Studio to ELA Standard Sets, CAHSEE,
  and Writers Workshop
• To understand how Culturally Relevant and
  Responsive Teaching is embedded in Studio
  curriculum
• To make K-10 writing instruction commitments

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Overview

• 10,000 Local District 5 students are enrolled in
  Advance to Literacy (Studio curriculum) because
  they are not reading and writing at grade level
• Student achievement is declining as they progress
  through middle and high school
• Fewer numbers of students in DRWC and Core
• Constructivist methods engage students in the
  learning process to improve their meta-cognitive
  abilities
• Building a K-10 coherent writing program

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Building a K-10 Writing Bridge
Studio curriculum gr. 6-10
K-6 Writers Workshop
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PLANNING FOR LEARNING(Standards-Based
Instruction)
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Response to Literature

• Third unit of instruction for middle and high
  school
• 9th grade Focus Standard Reading 3.5 Compare
  works that express a universal theme and provide
  evidence to support the ideas expressed in each
  work.
• 9th grade Focus Standard Writing 2.2 Write a
  response to literature that demonstrates a
  comprehensive grasp of the significant ideas of
  literary works.
• Elementary ELA Frameworks by grade level
• 5th grade Reading Standard 3.4 Understand that
  theme refers to the meaning or moral of a
  selections and recognize themes (whether implied
  or stated directly) in sample works.
• 5th grade Writing Standard 2.2 Write responses
  to literature that demonstrate an understanding
  of a literary work.

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Basic Assumptions

• All students are able to think critically and
  perform at high levels.
• No child should be denied access to rigorous
  curriculum.
• It is our responsibility to build scaffolding
  bridges to help students perform to high levels.
• Students need to be apprenticed in reading and
  writing.

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Studio The Big Ideas

• Studio is a constructivist, organic program
• Studio maintains Academic Rigor through the
  expectation of high quality student thinking and
  work products
• Studio utilizes the Apprenticeship Model for
  reading and writing instruction
• Socializing of Intelligence increases
  comprehension and understanding for students
• Accountable Talk engages students and holds them
  accountable for learning

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Overarching Concepts of Studio and Response to
Literature

• Difficult texts offer readers important and
  challenging intellectual work that extends
  readers range and depth in ways not available
  with other texts.
• Methods of working with difficult texts can be
  taught and modeled.
• Tightly focused sets of questions ask for
  responses to key concepts that reach across the
  whole text.
• Scaffolded tasks provide readers gradually
  spiraling access to difficult texts.
• Writing Apprenticeship model.

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Day 1 Frontloading

• What makes you who you are?
• Think Write Pair Share
• Brainstorming categories
• Public vs. Private Self

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Day 1 Focus Lesson
Public
Private
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Work Period Anticipation Guide Private vs.
Public
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Closing

• What does private vs. public self have to do with
  being a poet or an artist?
• Solidifying the concept
• Modeling and Homework Assignment
• Reflection

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Day Two Opening

• Sharing the Homework Assignment
• What is poetry about and for?
• How do public vs. private self relate to poetry?

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Focus Lesson Getting into e.e. cummings

• Who is e.e. cummings?
• Born in Cambridge, MA in 1894
• Received a B.A. and M.A. from Harvard
• Professor of Sociology and Political Science at
  Harvard
• Known for breaking up material on the page to
  present it in a new, visually directed way
• Died at his familys farm in New Hampshire, 1962

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Read Aloud Nonlecture Two by e.e. cummings

• For the benefit of those of you who cant
  imagine what the word home implies, or what a
  home could possibly have been like, I should
  explain that the idea of home is the idea of
  privacy. But again what is privacy? You
  probably never heard of it. Even supposing that
  (from time to time) walls exist around you, those
  walls are no longer walls they are merest
  pseudosolidities, perpetually penetrated by the
  perfectly predatory collective organs of sight
  and sound. Any apparent somewhere which you may
  inhabit is always at the mercy of a ruthless and
  omnivorous everywhere. The notion of a house, as
  one single definite particular and unique place
  to come into, from the anywhereish and
  everwhereish world outside that notion must
  strike you fantastic. You have been brought up
  to believe that a house, or a universe, or a you,
  or any other object, is only seemingly solid
  really (and you are realists, whom nobody and
  nothing can deceive) each seeming solidity is a
  collection of large holes and, in the case of a
  house, the larger the holes the better since the
  principal function of a modern house is to admit
  whatever might otherwise remain outside. You
  havent the least or feeblest conception of being
  here, and now, and alone, and yourself. Why (you
  ask) should anyone want to be here, when (simply
  by pressing a button) anyone can be in fifty
  places at once? How could anyone want to be now,
  when anyone can go whining all over creation at
  the twist of a knob? What could induce anyone to
  desire aloneness, when billions of soi-disant
  dollars are mercifully squandered by a good and
  great government lest anyone anywhere should ever
  for a single instant be alone? As for being
  yourself why on earth should you be yourself
  when instead of being yourself you can be a
  hundred, or a thousand, or a hundred thousand
  thousand, other people? The very thought of
  being oneself in an epoch of interchangeable
  selves must appear supremely ridiculous.

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Read Aloud Nonlecture Two by e.e. cummings

• Fine and dandy but, so far as I am concerned,
  poetry and every other art was and is and forever
  will be strictly and distinctly a question of
  individuality. If poetry were anything like
  dropping an atombomb which anyone did, anyone
  could become a poet merely by doing the necessary
  anything whatever that anything might or might
  not entail. But (as it happens) poetry is being,
  not doing. If you wish to follow, even at a
  distance, the poets calling (and here, as
  always, I speak from my own totally biased and
  entirely personal point of view) youve got to
  come out of the measurable doing universe into
  the immeasurable house of being. I am quite
  aware that, wherever our socalled civilization
  has slithered, theres every reward and no
  punishment for unbeing. But if poetry is your
  goal, youve go to forget all about punishments
  and all about rewards and all about selfstyled
  obligations and duties and responsibilities
  etcetera ad infintum and remember one thing only
  that its you nobody else who determine your
  destiny and decide your fate. Nobody else can be
  alive for you nor can you be alive for anybody
  else. Toms can be Dicks and Dicks can be Harrys,
  but none of them can ever be you. Theres the
  artists responsibility and the most awful
  responsibility on earth. If you can take it,
  take it and be. If you cant, cheer up and go
  about other peoples business and do (or undo)
  till you drop.

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Work Period Think Write Pair Share

• What does the house stand for?
• What is cummings idea of a poet and of poetry?
• What does cummings mean by being and unbeing?

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Closing Reflection

• Write a reflection in your notebook
• What does e.e. cummings say is the purpose of
  poetry and the role of the poet in society?
• How does this relate to being and unbeing?

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Day 3 Revisit reflections from Day 2

• What did e.e. cummings say is the purpose of
  poetry and the role of the poet in society?
• How does this relate to being and unbeing?

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Focus Lesson Connecting Poetry to Rap Music

• Rap is a contemporary, cultural form of poetry
  set to music, which communicates current themes
  and ideas to popular culture.
• Who is Lauryn Hill?
• 1996 Grammy award winner for Best Rap Album for
  The Score and Best RB Performance by a Duo or
  Group for the Roberta Flack classic, Killing Me
  Softly
• Married to Bob Marleys son, Rohan Marley
• Founder and chairperson of The Refugee Project, a
  nonprofit organization providing cultural and
  recreational activities to inner-city youth in
  New Jersey, her home state.
• Her album, The Miseducation of Lauryn Hill,
  speaks to materialism, sexism, the emptiness of
  love, and the absence of community

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Getting into Lauryn Hill

• Listen to Everything is Everything by Lauryn
  Hill again, thinking about the following
  questions
• What, literally, is going on in the rap? (In
  other words, whats going on with story,
  language, with words, syntax, allusions, etc.)
• What do you think Hills arguments are in this
  rap?
• (Be sure to mark or highlight important pieces
  of the text as you listen to help you participate
  in the discussion.)

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Work Period Think Write Group Share

• In small groups (3-4 people), discuss your ideas
  about Everything is Everything.
• What, literally, is going on in the rap? (In
  other words, whats going on with story,
  language, with words, syntax, allusions, etc.)
• What do you think Hills arguments are in this
  rap?
• A speaker for your group will share out one idea
  for each question.

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Connecting Lauryn Hill to e.e. cummings

• Good readers and writers connect
• new learning to existing knowledge.
• What does Lauryn Hill say about cummings idea of
  being and unbeing?
• In your small groups, complete the graphic
  organizers to identify lines from the song that
  speak to being and unbeing.
• What are your interpretations of what Lauryn Hill
  is saying in those lines?
• A speaker for your group will share one example
  of being and unbeing in Lauryn Hills song.

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Closing Interpretative Assignment

• We have worked with a rap by Lauryn Hill and a
  poem by e.e. cummings. It was suggested that
  cummings and rap music have things in common.
  This assignment asks you to think more critically
  about those things in common.
• Spend the next 15 minutes comparing and
  contrasting Nonlecture Two by e.e. cummings and
  Everything is Everything by Lauryn Hill.
• Be sure to include citations to the text, address
  what each writer is saying about being and
  unbeing, and how their messages are similar
  and/or different.

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Reflecting on Your Learning

• Reflect on the work you did with texts these 3
  days. Make a list of what you did as the learner.
• How did the teacher shape what you were doing?
  Make a list of what the teacher did.

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Deconstructing the Lesson

• Focus Lesson Teachers model behaviors and
  strategies for students to imitate through the
  Apprenticeship model of instruction.
• Work period Students work independently and in
  small groups to apply concepts from the Focus
  Lesson.
• Small group discussion allow students to try out
  responses to questions and take notes rehearse
  for whole group discussion.
• Scaffolded activities reinforce students
  understanding of concepts.
• Closing and whole group discussion Students use
  notes and quick-write responses to support oral
  contributions.
• Writing assignments Students use notes from
  small group and whole group discussions to help
  them with their writing.

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Summary of the Process

• Choose difficult text with deep concepts.
• Students contemplate and discuss a BIG question
  first that applies to their own lives.
• Modeled and repeated readings scaffold students
  into difficult text.
• Questions for the successive readings focus on
  key elements of the selection.
• Students respond to questions for the second
  reading in writing.
• Written reflections used as the basis for
  discussion and revisiting prior work.
• Students engage in discussion through posing
  their own questions to one another and the group
  while the teacher prompts students to cite
  reference to text, applying new concepts to
  existing schema, and be accountable to the
  learning community.

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Constructivist Learning Theory

• All students are competent learners and
  intelligence is incremental
• Learning and thinking strategies must be
  explicitly modeled and discussed to help students
  become independent learners
• Students learn through inquiry, problem-solving,
  and dialogue with others
• Learning should take place in a safe environment
  where all are expected to participate
• Students are held to high levels of cognitive
  demand to use their knowledge

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Elements of Constructivism

• Learning as Apprenticeship
• Learning strategies and thinking are overtly
  modeled and discussed
• Experts from within the community critique and
  guide student work
• Socializing Intelligence
• Students are acquiring and using strategies for
  appropriately getting and giving help in learning
• Classroom practice hold students accountable for
  using learning, problem-solving and helping
  strategies
• Students play an active role in monitoring and
  managing the quality of their learning

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Elements of Constructivism, cont.

• Accountable Talk
• Students are engaged in learning through talk
• Students are accountable for using their
  knowledge and for rigorous thinking
• Students are co-accountable for one anothers
  learning
• Self-Management of Learning
• Meta-cognitive strategies are explicitly modeled,
  identified, discussed and practiced
• Teachers scaffold students performance during
  initial stages of learning, then gradually remove
  supports

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Deconstructing the Being and Unbeing Lesson
Constructivist Elements Applied in Being and
Unbeing Lesson
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Deconstructing the Being and Unbeing Lesson
Constructivist Elements Applied in Being and
Unbeing Lesson
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Deconstructing the Being and Unbeing Lesson for
English Learners

• About half of the students enrolled in the Studio
  curriculum course are identified as Preparation
  for Resignation Program (PRP) students.
• PRP students are the equivalent to ELD 5 students
  in elementary.
• Although PRP students display high levels of oral
  fluency, they have specific reading and writing
  needs.
• We can help meet PRP needs by embedding
  Culturally Relevant and Responsive Teaching
  (CRRT) and SDAIE Strategies into our teaching
  practice

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Connecting to Our Students

• Culturally Relevant and Responsive Teaching
• Lauryn Hill
• Unit includes raps by The Roots, additional poems
  by e.e. cummings, Sonia Sanchez, and Carolyn
  Forche

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SDAIE Strategies

• SDAIE Strategies help English Learners access
  curriculum.
• SDAIE Strategies have 2 components
• Provide comprehensible second language input
• Foster a supportive environment

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SDAIE Strategies and Scaffolds Embedded in Studio
curriculum

• Read aloud, think aloud (meta-cognition)
• Provide students with sentence stems to help
  foster questions, discussion and critical
  thinking
• Multiple writing opportunities based on the same
  text (increasing in complexity)
• Imitate published writers
• Incorporating stylistic techniques in own writing
• Applying analytic skills to multiple pieces of
  literature
• On-going conferencing between teacher and
  individual students about their writing
• Writing assignments connected to reading that
  build to a culminating writing product

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• What Specially Designed Academic Instruction in
  English (SDAIE) and Scaffolding Strategies did
  you see in the Being and Unbeing Studio
  lesson?

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SDAIE and Scaffolding Strategies

• INTO Connecting to students lives -
  Frontloading
• INTO/THROUGH Read aloud
• THROUGH Modeling
• THROUGH Think-Write-Pair/Group-Share, graphic
  organizers, small and whole group discussions
• THROUGH/BEYOND Interaction between students

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• After we return from lunch, we will connect this
  work to the CAHSEE, English Language Arts
  standards, and our implementation of Writers
  Workshop/Studio.

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Preparing Our Students For Success

• Students learn the writing process in the
  elementary setting through Writers Workshop
• Students continue with similar writing
  instruction pedagogy tied to reading selections
  by genre in middle and high school through the
  Studio curriculum
• This type of instruction aides students in
  becoming critical thinkers who can interpret
  complex text and write an analytic response to
  literature

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California High School Exit Exam (CAHSEE)

• 107 Multiple choice questions for English
  Language Arts
• Writing component (essay) that randomly rotates
  between the following genres
• Response to Literature or Analytic Essay
  (Expository Writing)
• Biography, persuasion, or business letter

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Practice CAHSEE Exam Questions

• Remove the CAHSEE English Language Arts poem,
  Ive Watched, and questions 21 24 from your
  packet.
• DIRECTIONS Working by yourself, read the poem
  and complete questions 21 24.
• (Work quietly for 10 minutes.)

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Practice CAHSEE Exam Answers

• Question 21 B
• Question 22 D
• Question 23 D
• Question 24 C

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Reflection

• How did you feel taking the ELA Response to
  Literature section of CAHSEE?
• Please take 2-3 minutes to write a reflection in
  your Writers Notebook.

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Table Talk

• Are the students you serve prepared for the
  CAHSEE?
• How do we prepare them if they are not?

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Map CAHSEE to LAUSD 9th grade Standard Set

• Using the 9th grade Standard Set for Response to
  Literature, what standards were assessed on the
  Practice CAHSEE, questions 21-24?

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Map CAHSEE to LAUSD 9th grade Standard Set
Connections
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Map CAHSEE to LAUSD 9th grade Standard Set
Connections Answers
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How were the 9th grade standards illustrated in
the Studio Being and Unbeing lesson?

• Return to your small group of 3-4 people.
• Using the 9th grade Response to Literature
  standards and the graphic organizer, identify
  standards that were covered in the Being and
  Unbeing lesson.
• Be prepared to share.

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Studio and Response to Literature Standards
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Studio and Response to Literature Standards
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Instructional Implications by Level

• You should now have an understanding of
• The high stakes demands of the CAHSEE
• An overview of the 9th grade Response to
  Literature Standard Set and
• How the Studio curriculum supports student
  achievement.
• What are the essential Response to Literature
  standards for your level (elementary, middle, or
  high school) to enable students to perform well
  on the CAHSEE?

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Instructional Implications

• What are the essential Reading standards for at
  your level (elementary, middle, or high school)
  to ensure student success on the CAHSEE?
• What are the essential Writing standards for at
  your level (elementary, middle, or high school)
  to ensure student success on the CAHSEE?

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Implementation Guides

• Spend time with your Leadership Team discussing
  where your school is at with implementation of
  Writers Workshop (elementary) or Studio
  (secondary).
• Using the Implementation Guide, highlight where
  you are as a school in each area of
  implementation.

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Discussing Implementation

• Share with another table where your school is
  with implementation of Writers Workshop or
  Studio.

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Next Steps Team Planning

• Set 3 goals as a Leadership Team for February and
  March around improving implementation of Writers
  Workshop or Studio at your school.
• For schools who have not implemented Studio yet,
  set 3 goals to work on in planning for 2005-2006
  implementation of Studio.
• Be prepared to share out.

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Building a K-12 Writing Bridge
Studio curriculum gr. 6-10
K-6 Writers Workshop
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Closing

• Thank you for your participation today.
• If you would like further support with Writers
  Workshop, please contact Ruth Brodsley, ELA
  Advisor, at [phone].
• If you would like further support with Studio
  curriculum, please contact Debra Chima, Secondary
  Literacy Coordinator, at [phone].
• Please take a few moments to complete the
  evaluation/feedback form.