Teacher resources and professional development across the curriculum

Teacher professional development and classroom resources across the curriculum

Monthly Update sign up
Mailing List signup
Search
Follow The Annenberg Learner on LinkedIn Follow The Annenberg Learner on Facebook Follow Annenberg Learner on Twitter
MENU
Teaching Multicultural Literature : A Workshop for the Middle Grades
Workshop 1 Workshop 2 Workshop 3 Workshop 4 Workshop 5 Workshop 6 Workshop 7 Workshop 8
Workshop 6: Historical and Cultural Context - Langston Hughes and Christopher Moore
Overview
Authors and Literary Works
Video Summary
Teaching Strategies
Commentary
Stan Brinberg
Valerie Kinloch
Student Work
Resources
Interactive Workbook -- Explore two poems using strategies from these workshops. Go.
Channel-Talk -- Share your views on the discussion board. Go.


Commentary
Stanlee Brimberg
Bank Street School for Children
New York, N.Y.

How do you plan the content for your class?

When I'm choosing language arts topics, I think about it several different ways. First of all, I have to look at the group that I'm teaching. I think each school has its own culture. It has its own crowd. It has its own neighborhood. It has its own values. But even within that group of kids, there's going to be a range of skills; there's going to be a range of prior knowledge. Some kids are very savvy politically, others not. Some kids know a lot of history, some kids don't know any. Some kids read The New York Times and some kids don't look at a newspaper. Having a diverse group of kids, it's always going to be the case.

So I have to think of presenting material that's accessible for different kinds of learners. You present the information and you present the content, the skills, and the concepts in a way so that different kids who are in different places can access it, and they can make meaning for themselves and they go to the next step. Kids starting at different places are going to end up at different places, but you have to really try to get content rich enough so that it can be gotten at by a lot of different kinds of kids.

One of the things that is really important to me is that kids have time to really digest a piece of content. I think what happens too often is that the pacing is driven by the content. The luxury at Bank Street -- which shouldn't be a luxury; I think it really should be the way that it is -- is that we will bite off a little bit less and we'll go over it in a number of different ways over a longer period of time. You need to have that information reinforced by reencountering it. So the more times you can go over it, the better -- and of course -- there's a limit. One of your most precious resources, maybe the most precious, is time.

Why did you vary the activities in your unit as you did?

The methodology that we like to use in the school involves kids reencountering similar material in different media. Kids read some material and then we discuss it, that's two ways. Then they might have to write about it, that's the third way. If they reencounter it in a film or if they interview somebody, that's the fourth or fifth way, and pretty soon they're getting the sense that they know something, are developing some expertise.

Different kids access content through different senses. Kids learn at different rates. Some kids remember things right away and others don't. So for some, this is going to be reinforcement; for others, it's going to be the first time that it really makes sense to them, because they're going to hear it and they're going to see some pictures, and something is going to click. It's not repetition. What this is, it's using different senses, different parts of your brain, and things come together when you reencounter the material in that way.


Why did you assign the writing of the poem?

Very often what I'll do ... is put together a menu of options so that kids who are more comfortable expressing themselves through a piece of art will be able to do that. Some kids, believe it or not, like to make a straight research project about something, a research report. Some kids might make a cartoon. Some kids might write a poem. Some kids might act out a scene about it. But that's where closure comes.

Conveniently, most of the times when they do a project like that, it serves as the assessment piece. You don't have to give them a test after that. You can, and I sometimes do -- I'm not against tests -- but this is a good way to see what kids know.

Now in this case, it was Langston Hughes that we were reading, and since we had all this other information around the African Burial Ground, it made sense to me to say to the kids, "I want you to write a poem about one of the people buried in the African Burial Ground."

Also, if you make something with what you've learned, it's more likely to mean something. You'll remember that time that you made that poem or the time that you shared that poem, the time that you published that poem or the time that you made that memorial model or that commemorative stamp.

Talk about the peer review process in your classroom.

I think the first thing that the kids need to do is share their poems and know that they're not going to get wiped out. I really do believe that there are very few times when kids express themselves that you can't say something good about it. So that's a good place to start, because if you're a little shy and you raise your hand or the teacher calls on you, and you hear something positive, it makes you relax a little bit, and it will be a little easier next time.

The next step is to put kids together in groups of three or maybe in pairs and have them look at each other's poetry and use some of the editing skills that they use in other kinds of writing and make suggestions. So I give specific questions. First of all, I have each listener tell the writer what the poem was about and what he or she liked about it, again in that small group, and really to try and identify the part of the poem that's strongest. What are the good parts that strengthen it? Let's somehow fortify them, either with more [or] different ideas or by expanding an idea. And then if there are words that are kind of dead wood, let's get rid of them.

I like to reinforce the notion that, like almost everything else in expression, you're jumping in, you're staying a while to get something done, and then you're jumping out. So I ask kids to pay attention to how the writer gets into the poem, what's going on and why you're there, and how you're getting out.

How do you decide when to intervene and when to step back?

I think it's very, very important for kids to take charge of what they're doing. That's why you have to wait until a certain place in the unit to give them the opportunity to make something, because they have to have their tools, they have to have the skills to use the tools, and they have to have to the ingredients. And then you can let them go.

You stand on the side and you watch, and if you see that there's a little piece that they need, you step in. So I have to keep on giving them skills to support the projects that they make or to support the expressions they make. However, what I don't want to do is jump in there and correct every mistake that I hear them make. I'm always tempted to jump in to correct, to jump in and collaborate. You have to hold yourself back. You have to let the kids work.

How do you assess your students' work?

With a piece of historically related, literature-related creative writing, it wouldn't be fair, or even possible, to have some kind of standard expectation. What's learned over the course of a three-week unit involving history and literature, and then how a kid expresses that in a poem, is going to be different for different kids.

Having said that, there are usually five areas I think about for a piece of writing. First, I notice whether the student did all the parts, and made deadlines. Next, I think about the quality of the ideas, or the number of ideas, or the language in which the ideas are expressed. Third, I look at clarity and organization, which can be a little tricky to assess when the piece is a poem -- it's very personal, and it may have its own logic. After that, I look at the mechanical aspects or the rhetorical aspects, I try to notice how tuned in to the conventions of language the writer is. Last, I think about pride and energy. Was there, in my opinion, a real attempt to make something good that is respectful of the reader or listener, something that shows the self-respect of the writer?

I have a sense of how kids talk. I know how they answer questions, for example. I have some experiences already of how they write essays, how they use evidence. And I'm really much more interested in developing over a period of time clarity of expression, ability to use evidence. So I have a kind of bigger view. I'm not going to use this as the be all and end all of what they learned in this unit. It's more about where they are in the process of self-expression. And I'm going to take note if they did or didn't use information and how well they used it or how much of the information they used, and I'm going to make that part of the bigger assessment over time.

Why did you choose to do the stamp activity?

I had been thinking about the stamp activity pretty much right along from the time I started teaching about the African Burial Ground, because the Office of Interpretation and friends had been lobbying the postal service to do a commemorative stamp about the African Burial Ground for years. They came close last year and made some kind of seal to honor the reinterment, but no stamp. We could have also considered doing some kind of memorial. For a while, before they began to reinter the remains, they were thinking about what should the memorial be like, and so there was a while where I would ask the children to design a memorial.

You want to try to do something where the kids can access as much of what they've learned as they possibly can. We could have done a debate, but the debate was just a part of the whole story. It's around this age where you start working with kids on making generalizations, summarizing, talking about symbols and what image can symbolize: something bigger than that image. So it's good practice. It fits in with what kids are working on cognitively. You can say that while you want to teach kids to appreciate individual events and individual people and you don't want them to generalize about people, the other end to that is that you have to be able to reduce things to concepts that you can fit in your hand, or symbols. You have to figure out different ways to organize all of this information that you're getting.

I don't think making a postage stamp per se is how you teach kids to symbolize. But it gives them one opportunity to say, "If I had to represent what I learned about the African Burial Ground, what picture would be appropriate to do that?" And again, kids with different levels of drawing skills can participate. Some kids can do it representationally, some kids can do it abstractly, or they can trace something, or they can photocopy something. It doesn't exclude anybody.

The other thing is that when you're choosing an activity as a culminating activity, you do want one that draws on all the parts of the study, but also you have to think in terms of what resources you have, and how much time you have.


What do you hope your kids learned from this study?

I want my students to keep reencountering the idea that American history isn't one story but a multiplicity of stories, some nice, some not, and that America was built by ordinary people. So I think, under the best of circumstances, this study will be another piece of evidence for that, another story that reinforces the notion that ordinary people are not only victims of history or affected by history, but that they also contribute to history and very often make history in very dramatic ways.

I also hope my students have learned that each person had a life, each had a story, each had a family, each had something to say, and each had a soul and emotions. I think that when you explore literature with kids who are 12 years old, one of the really exciting things that happens is that they begin to be able to handle the notion that the stories that they read are written by real people, and that many of the people who write these stories are, in some ways, much like they are. I want kids to hear that there are different people talking in the history of the United States, and through the literature of the United States, that they are part of history and they have a story that is unique, and then they can express their own feelings, tell their own history, write their own poetry.

back to top Next: Valerie Kinloch
Workshop Home Support Materials About this Workshop Sitemap
Teaching Multicultural Literature : A Workshop for the Middle Grades Workshop Home

© Annenberg Foundation 2014. All rights reserved. Legal Policy