Locally Modified English Language Arts 21 - - NESD ...

Locally Modified English Language Arts 21 1

Locally Modified English Language Arts 21

2 Locally Modified English Language Arts 21


Table of Contents

Acknowledgements ................................................................................................................ 5

Adaptive Dimension ............................................................................................................... 6

Who Is the ELA 21 Student? .................................................................................................... 6

Who is not eligible for ELA 21? ............................................................................................... 7

The English Language Arts 21 (Basic) Course ....................................................................... 7

Outcomes for English Language Arts 21 (Basic) ................................................................... 9

Teaching Guidelines for English Language Arts 21 ............................................................ 12

English Language Arts 21 Model Unit One .......................................................................... 26

Unit One: Starting Out-Beginning and Becoming .............................................................. 28

English Language Arts 21 Model Unit Two ......................................................................... 70

Unit Two: Moving Forward: Establishing and Realizing .................................................... 72

Appendix .............................................................................................................................. 111

References ............................................................................................................................ 112


Acknowledgements

Michelle Batiuk Melfort and Unit Comprehensive Collegiate North East School Division No. 200 Melfort, Saskatchewan

Arlene Low Davidson School Sun West School Division No. 207 Davidson, Saskatchewan

Nicole Bear Cowessess Community Educational Centre Yorkton Tribal Council Cowessess, Saskatchewan

Janice McLeod St. Mary High School Prince Albert R.C.S.S.D. No. 6 Prince Albert, Saskatchewan

Corey Borthwick Churchill Community High School Northern Lights School Division No. 113 La Ronge, Saskatchewan

Kyla Moffatt Weyburn Comprehensive High School Southeast Cornerstone School Division No. 209 Weyburn, Saskatchewan

Tracy Dolezsar-Glarvin Carlton Comprehensive High School Saskatchewan Rivers School Division No. 119 Prince Albert, Saskatchewan

Donna Nieman Stobart Community High School Prairie Spirit School Division No. 206 Duck Lake, Saskatchewan

Janet Gibson Paul Dojack Youth Centre Regina, Saskatchewan

Lynda Renaud Churchill Community High School Northern Lights School Division No. 113 Air Ronge, Saskatchewan

Linda Klippenstein Caronport High School Prairie South School Division No. 210 Caronport, Saskatchewan

Kyla Snell Unity Composite High School Living Sky School Division No. 202 Unity, Saskatchewan


Adaptive Dimension In order to meet the variety of students’ needs, flexibility is required within the school program to enable schools and teachers to adapt instructional materials, methods, and the environment to provide the most appropriate educational opportunities for students. The Adaptive Dimension is used to: • help students achieve curriculum outcomes • maximize student learning and independence • lessen discrepancies between achievement and ability • promote a positive self-image and feeling of belonging • promote a willingness to become involved in learning • provide opportunities for all students to be engaged in learning. These purposes address a primary function of the school, that of helping students to maximize their potentials as independent learners (Ministry of Education, Core Curriculum Components and Initiatives, December 17, 2007). The intent of the Adaptive Dimension applies to all programs and courses of instruction. The key variables of instruction are differentiated – the content (what students will learn), the learning processes (how students will interact with the content), and the learning products (how students will demonstrate learning and mastery of content), and the instructional setting or environment. Some students may not be able to complete a particular regular provincial course even though adaptations to curriculum materials and topics, instruction, and environment have been made. This may require the development of a modified (ELA 21) course to meet student needs to which the Adaptive Dimension may be applied.

Who Is the ELA 21 Student? The English Language Arts 21 (Basic) course is intended for students who have moderate to severe learning difficulties and are unable to complete the regular English Language Arts 20 course after every effort to adapt and support has been attempted. Academically and cognitively, eligible students operate one or more grade levels behind their chronological peers. Their achievement scores, in at least some areas, fall in the below-average range. Students who are eligible for a modified English language arts course may have receptive/comprehension (viewing, listening, and reading) and expressive/communication (speaking, writing, and using other forms of representing) difficulties. Careful assessment and diagnosis is necessary to understand the language and learning abilities and needs of modified students and to inform better instruction.


Before placing a student in a modified course, teachers and other school personnel need to ensure that: • Appropriate adaptations have been provided with sufficient scaffolds for the student as

she/he strives to achieve the regular core course outcomes. • Cognitive and learning skills assessments have been completed and support the decision

to place the student in a modified course. • Student and student’s parents have been informed of the planned course change, they

understand future education implications of such a decision, and they agree to the course change.

Who is not eligible for ELA 21? Attendance, behaviour, laziness, motivation, confidence, poor work habits, failure to do homework, and multiple failures may affect students in a regular course but should not determine eligibility for a modified course. A student with average cognitive ability or learning disabilities typically completes the regular course. A student with a learning disability who has average or above average cognitive ability is capable of achieving a regular education program. However, in order to complete the regular course, a student with learning disabilities may require adaptations to instruction. A student who is learning English as a new language should be placed in English as an Additional Language (EAL) courses that are planned according to his or her level of English language proficiency and that explicitly teach the English language.

The English Language Arts 21 (Basic) Course The point of reference for a modified English language arts is regular English language arts curricula. Therefore, the aim and goals for English Language Arts 21 (Basic) course are the same as those for English Language Arts 20. The K-12 aim of the English language arts program, regular or modified (basic), is to help students understand and appreciate language, and to use it confidently and competently in a variety of situations for learning, communication, work, life, and personal satisfaction. The K-12 goals for English language arts are: • Comprehend and Respond (CR). Students will extend their abilities to view, listen to,

read, comprehend, and respond to a range of contemporary and traditional informational and literary texts from First Nations, Métis, and other cultures in a variety of forms (oral, print, and other texts) for a variety of purposes including for learning, interest, and enjoyment.


• Compose and Create (CC). Students will extend their abilities to speak, write, and use other forms of representation to explore and present thoughts, feelings, and experiences in a variety of forms for a variety of purposes and audiences.

• Assess and Reflect (AR). Students will extend their abilities to assess their own language

skills; discuss the skills of effective viewers, listeners, readers, representers, speakers, and writers; and set goals for future improvement.

The regular Secondary Level English language arts courses are organized around topics and issues that are of interest to adolescents and that focus on identity (self), social responsibility (society), and social action (agency). Organization in units and modules can facilitate the teaching of a modified course as well as of the regular course. Although the outcomes and assignments of a modified curriculum may differ, the focus of the units and modules can be common.


Outcomes for English Language Arts 21 (Basic) COMPREHEND AND RESPOND (CR) GOAL Students will extend their abilities to view, listen to, read, comprehend, and respond to a range of contemporary and traditional grade-level informational and literary texts from First Nations, Métis, and other cultures in a variety of forms (oral, print, and other texts) for a variety of purposes including for learning, interest, and enjoyment. CR 21.1 Comprehend and respond to a variety of cognitively appropriate visual, oral, print, and multi-media texts addressing identity, social responsibility, and social action including First Nations, Métis, Saskatchewan, Canadian, and international texts. CR 21.2 Select thoughtfully and use appropriate before, during, and after strategies to construct meaning when viewing, listening, and reading including:

• Setting purpose; posing questions; making predictions; building background (before).

• Making connections (text to self, text to world); asking questions; noting key ideas and supporting details; determining purpose and bias; pausing/thinking/adjusting understanding (during).

• Summarizing; reviewing, listening again, or re-reading; making and supporting conclusions; applying understandings (after).

CR 21.3 Understand and apply language cues and conventions to construct and confirm meaning when viewing, listening, and reading including:

• Considering intended purposes and biases of text (pragmatic). • Recognizing different text types (visual, non-verbal, verbal, print); identifying

and applying the text types’ key elements and techniques (textual). • Recognizing how sentences are constructed to communicate ideas and

feelings; recognizing how and to what effect these sentences can be altered by combining; manipulating word order and sentence length; adding qualifiers; using parallelism and balance (syntactic).

• Recognizing the emotional impact of words and the importance of word choice; understanding and applying a variety of strategies (e.g., using roots, context, print and electronic sources) to determine the meaning, pronunciation, spelling, and usage of unfamiliar words (semantic/lexical/morphological).

• Recognizing basic sound patterns in language (e.g., rhyme, rhythm, alliteration, repetition) and the effect these patterns have on text; recognizing the structure and spelling patterns of both frequently used and unfamiliar words encountered in text (graphophonic).

• Recognizing how graphics (e.g., charts, graphs, tables); visuals (e.g., diagrams, photos, paintings); dramatizations (e.g., tableaux, improvisations, role play);


sound and movement (e.g., gestures, music, dance); models (e.g., sculptures, diagrams, mobiles) and layout can aid in the communication of meaning (other cues and conventions).

CR 21.4 View, interpret, and demonstrate appreciation of cognitively appropriate informational and literary texts that use specialized visual features (e.g., illustrations, photographs, charts, graphs). CR 21.5 Listen to, interpret, and demonstrate appreciation of cognitively appropriate informational and literary texts including oral narratives, speeches, and spoken instructions. CR 21.6 Read, interpret, and demonstrate appreciation of cognitively appropriate informational and literary texts including procedural and fictional texts, scripts, poems, and essays. Note: Students must view, listen to, and read a range of literary and non-literary (informational) texts. Literary texts use language in “aesthetic, imaginative, and engaging was to entertain and move, reflect and express emotions, and shape and explore cultural values and identity” (e.g., novels, plays, poetry, short stories, feature films). Non-literary texts use language to “transact and negotiate relationships, good, and services, report on people, things, events, and issues, and to explain, analyze, argue, persuade, and give opinions” (e.g., reports, essay, feature articles, editorial, documentary films, websites, texts of work, family, and community life) (Queensland Studies Authority). COMPOSE AND CREATE (CC) GOAL Students will extend their abilities to speak, write, and use other forms of representation to explore and present thoughts, feelings, and experiences in a variety of forms for a variety of purposes and audiences. CC 21.1 Create a range of visual, multimedia, oral, and written texts that explore identity, social responsibility, and social action (agency). CC 21.2 Select thoughtfully and use appropriate before, during, and after strategies to communicate meaning when speaking, writing, and using other forms of representing including:

• Identifying purpose and potential audience; identifying sources and conducting research; considering form and possible organizational patterns (before).

• Shaping ideas into drafts including developing a focus statement (thesis); selecting information; developing supporting ideas; using transitions between sentences and paragraphs; sharing work in progress; creating an effective conclusion (during).

• Editing and revising drafts to enhance communication; sharing work with others and offering/incorporating appropriate feedback; ensuring an effective


introduction, clear middle, and conclusion; ensuring the identified audience, purpose, and context have been addressed; confirming appropriate language conventions, including spelling and usage; documenting print and/or electronic sources properly (after).

CC 21.3 Understand language cues and conventions when speaking, writing, and using other forms of representing including:

• Using language and language registers appropriate to audience, purpose, and context; using language to build and maintain an inclusive community (pragmatic).

• Selecting the text form most appropriate to purpose and audience; creating text with clear and coherent organizational patterns including effective beginnings, focussed supporting developments, and logical conclusions (textual).

• Using clear, complete, and varied sentence structures; recognizing and avoiding sentence fragments, run-on sentences, and misplaced qualifiers; linking ideas smoothly and logically; using appropriate punctuation (syntactical).

• Choosing words that are clear, concise, and accurate (semantic/lexical/morphological). • Using Canadian spelling conventions; enunciating clearly; pronouncing words

correctly (graphophonic). • Creating clear, appropriate, and appealing visual text by selecting effective elements

including font, colour, spacing, and visuals; employing appropriate and effective techniques including volume, gestures, pacing, and multimedia aids to support oral presentations (other cues and conventions).

CC 21.4 Create a variety of visual or multimedia texts including interviews and dramatizations based on course experiences. CC 21.5 Create a variety of oral texts to present ideas and information in informal (e.g., discussions and group work) and formal (e.g., dramatic reading, introductions, expressions of appreciation) situations. CC 21.6 Create a variety of written informational (application letter, résumé, argumentative paragraph, explanation of a process) and literary (personal essay, analysis of literature) texts. ASSESS AND REFLECT (AR) GOAL Students will extend their abilities to assess their own language skills; discuss the skills of effective viewers, listeners, readers, representers, speakers, and writers; and set goals for future improvement. AR 21.1 Identify and reflect on strengths when viewing, listening, reading, speaking, writing, and using other forms of representing. AR 21.2 Establish personal goals to improve language skills and strategies based on strengths, needs, and interests as a viewer, listener, reader, representer, speaker, and writer; develop a plan to achieve these goals; implement and monitor the plan.


Teaching Guidelines for English Language Arts 21 The teacher of a modified English language arts course should: • Choose unit topics, themes, or issues from the curriculum appropriate to student

background, interests, and motivation • Identify the appropriate teaching/learning and assessment/evaluation strategies to help

students achieve the outcomes • Use resources that best suit students’ competencies and interests, and include both literary

and informational texts. Students in a modified course typically benefit from instruction that: • Provides students with a clear overview of course, each unit of study, and expectations. • Helps students organize new knowledge, understand the relationships among the new

knowledge, and connect it to knowledge already learned. • Helps students understand where they have been, where they are now, and where they

are going in the learning process (Lenz, 2000). • Diagnoses the students’ current understanding and skill level. • Differentiates what students will learn in order to achieve the outcomes and teaches the

prerequisite skills if they are missing. • Differentiates the instructional approach and instructional groups (alone, pairs, small

group, total group). • Structures individual lessons in a systematic and organized manner, and presents course

content in a structured manner. • Models and uses scaffolded instructional strategies. • Teaches students strategies that are specific to particular learning tasks. • Provides enough guidance and practice so that students can master the strategies. • Provides timely feedback to students. • Teaches students self-management, self-reflection, and self-regulation strategies to assist

students in accomplishing tasks. • Provides assessment criteria to students with tasks. • Bases students’ assessment and evaluation on the knowledge, skills, and strategies that

help students achieve the outcomes. • Uses the information obtained from assessment and evaluation to individualize and inform

upcoming instruction. • Shares assessment and evaluation information (e.g., rubrics, checklists, etc) with students

before those items are used, to help students track personal growth and set learning goals.


Important Cognitive Strategies for Comprehending and Responding (CR) Goal

Learning Phase (Before): Strategies Learners Can Use as They Prepare to Comprehend and Respond to a Visual, Multimedia, Oral, or Print Text

Strategy Prompts

Tap, Activate, and Build Prior Knowledge

I already know that ….

This reminds me of ….

This relates to ….

Ask Questions I want to know ….

I wonder if ….

I want to answer these questions ….

Preview Text Title

Illustrations/Diagrams

Textual Cues and Features

Summaries

Table of Contents

Headings and Subheadings

Graphic Organizers

Anticipate Message and Author’s/Presenter’s Intent

I think that I will learn ….

I think that the author/presenter will say ….

The title of this text makes me think of ….

This text will likely present….

The information about the speaker/writer/presenter suggests ….

Predict what Text will be About

Because of the title, I think ….

Because of the picture(s), I think ….

Because of the text and features, I think ….

I wonder if ….

Set Purpose I am listening, reading, viewing this to ….

I want to know if ….

I think that I will learn ….

I want to answer these questions ….


Learning Phase (During): Strategies Learners Can Use as They Comprehend and Respond to a Visual, Multimedia, Oral, or Print Text Connect and Construct Meaning


I experienced this once when ….

I can relate to this because ….

Note Key Ideas and What Supports Them

The important ideas in what I hear, read, or view are ….

Here’s why (supporting ideas) ….

I think the author/presenter is really trying to make us think ….

Construct Mental Images

I can picture ….

In my mind I see, hear, smell, taste, feel ….

If this were a movie ….

Make, Confirm, and Adjust Predictions

I think ….

I suppose ….

If …, then ….

Make, Confirm, Adjust Inferences, and Draw Conclusions

Based on the clues in this text, I think the author/character felt/thought ….

I see why ….

My thinking changed when I heard, saw, read ….

Ask Questions and Self-monitor Comprehension

Does this make sense?

I need to listen again, re-read, or re-view this part because ….

I know that I am on the right track because ….


Use Cueing Systems to Construct Meaning:

Pragmatic Cues (audience, purpose, situation)

Textual Cues (genre and form)

Syntactical (sentence) Cues

Semantic/Lexical (word) Cues

Graphophonic (sound-symbol) Cues

Other Cues

The purpose of this text is to ….

This text represents … point of view

The author’s/presenter’s view of the world is ….

The author/presenter chose to use … genre/form

The author/presenter organized the ideas in a list, sequence, compare/contrast, cause/effect, problem/solution, concept/definition, goal/action/outcome format ….

The author/presenter probably chose this genre/form because ….

The key idea of this sentence is ….

The author/presenter used this word order to convey this particular meaning or emphasis of ….

This pronoun refers to ….

An important or key word in this passage is ….

Because of its context clues, … probably means ….

Because of its prefix, suffix, root, … probably means ….

… is pronounced ….

… is spelled ….

The author/presenter used these features (e.g., graphs, charts) to help us understand this text ….

Adjust Rate and/or Strategy

I need to skim this part to learn ….

I need to scan this part to find ….

I need to read this part carefully to learn ….

The “during” phase of listening, reading, and viewing cannot be treated as simply “assign and evaluate.” Students should not be told simply to listen, read, or view and asked questions in the after phases to determine if they have comprehended a text. Most students need the strategies in the “during” phase to be explicitly modelled and taught.


Learning Phase (After): Strategies Learners can use After They Comprehend and Respond to a Visual, Multimedia, Oral, or Print Text

Recall, Paraphrase, Summarize, and Synthesize

So the point is ….

This text was about ….

The main idea is ….

I learned ….

A conclusion that I am drawing is….

The overall message was ….

I need to listen again, re-read, re-view the part where ….

Reflect and Interpret (Identify new knowledge or insight)

A question that I have is ….

This is important and relevant because ….

I wonder if ….

What I learned was ….

I want to know more about ….

Evaluate I like/do not like … because ….

This could be more effective if ….

I would add or delete ….

The most important message is ….

The teaching in this is ….

This is accurate/realistic/artistic because ….

This was successful because ….

Analyze Craft and Technique

A “golden” line for me is ….

This word/phrase/sentence/part stands out for me because ….

I like how the presenter/author uses … to show ….

The thing that I could relate to the most was ….

Respond Personally (giving support from text)

My first reaction was ….

I thought ….

I felt ….

I enjoyed ….


A similar story to this is ….


Listen, Read, View Again and Speak, Write, and Represent to Deepen Understanding and Pleasure

I could deepen my understanding and pleasure by listening again, re-reading, re-viewing …

I could share my thoughts and insights with others by:

Speaking (e.g., discussing, giving a dramatic reading, role playing)

Writing (e.g., a script, a narrative, a poem)

Representing (e.g., creating a tableau, a graphic organizer, a storyboard).

Additional Strategies for Comprehending and Responding

Viewing: Think Alouds (Davey, 1983) View, Pause, Predict, and Think Aloud Collaborative Viewing Guide (Wood, 1994) Directed Viewing-Thinking Activity (DVTA) Picture Walk (Richards & Anderson, 2003) Viewing Guides Listening: TQLR (Tune In, Questions, Listen, and Review) (SRA, 2000) ACTION (Attention, Concentrate, Think, Interpret, Organize, and Note) (Sebranek & Kemper, 1995) Listen-Think-Pair-Share (McTighe & Lyman, 1992) Listen-Draw-Pair-Share (McConnell, 1992) DLTA (Directed Listening-Thinking Activity) (Stauffer, 1975) LAPS (Listen, Ask, Picture, and Summarize) Strategy (Matchullis & Mueller, 1996) Listening Guides


Reading: Anticipation/Reaction Guide (Herber, 1978; Readance, Bean, & Baldwin, 1989) KWL, K-W-L Plus (Carr & Ogle, 1987) Preview/Connect/Predict (Robb, 2006) List/Group/Categorize (Robb, 2006) SMART (Self-monitoring Approach to Reading and Thinking) (Vaughan & Estes, 1986) Read SMART (Buehl, 2001) B-D-A (Before, During, and After) Strategy (Laverick, 2002) Directed Reading-Thinking Activity (DRTA) (Stauffer, 1975) Reciprocal Reading (Palincsar & Brown, 1986) ReQuest (Manzo, 1969; Vacca & Vacca, 1999) Easy as 1, 2, 3 (Moore in Olson, 2003) Qta (Question the Author) (Beck, McKeown, Hamilton, & Kucan, 1997) QARs (Question Answer Relationship) (Raphael, 1986) GIST (Generating Interactions between Schemata and Texts (Cunningham, 1982) Mapping It Out (Hoyt, 2000) Double Journal Entries Justifying My Opinions (Hoyt, 2000) Open-mind Portraits (Tompkins, 2004) Coding the Text (Harvey & Goudvis, 2000) Think Alouds (Davey, 1983) REAP (Read, Encode, Annotate, and Ponder) (Eanet & Manzo, 1976) Reading Guides SQ3R (Survey, Question, Read, Recite, and Review) (Robinson, 1961) SEARCH (Scan, Examine, Act, Review, Connect, and Hunt) Discussion Circles Grand Conversations (Eeds & Wells, 1989) Literature Circles (Daniels, 1994) Reader’s Workshop


Important Cognitive Strategies for Composing and Creating (CC) Goal

Learning Phase (Before): Strategies Learners Can Use as They Prepare to Compose and Create a Visual, Multimedia, Oral, or Print Text

Strategy Prompts

Consider Prompts (e.g., RAFTS variables) or Find a Topic and Activate Prior Knowledge

About what am I speaking, writing, or representing?

What do I know about this topic?

What message do I want to communicate?

What questions need to be answered?

What is my role or point of view?

What do proficient speakers, writers, or representers do to create quality texts?

Consider Purpose and Audience

For whom am I speaking, writing, or representing?

What do I know about my audience (e.g., age, interests, needs, gender, background)?

Why am I speaking, writing, or representing?

What is my purpose (e.g., convince, persuade, defend)?

What am I trying to do in this communication?

Should I use a formal or informal stance?

Consider and Generate Specific Ideas and Information that Might be Included

What do I know and need to know about the topic?

What types of information (e.g., data, anecdotes, visuals) will appeal to my selective audience and serve my purpose?

What are the specific ideas that I need to include?

What points need to be made?

Where will I find missing or additional information?

Consider and Choose/Adapt a Possible Form

What form will appeal to my selected audience and best serve my purpose?

What form will engage my audience?

What shape will that form take?

How could the ideas and information be organized?


Collect and Focus Ideas and Information

What do I need to find out?

Where can I find reference materials?

With whom do I talk?

Is my topic sufficiently focused?

What is the key message?

Where is the best information found for this message?

Plan and Organize Ideas for Drafting (mapping and authoring)

What plan do I have?

How will I begin?

How will I make this interesting?

How will I end?

How will I arrange my ideas to make sense?

Consider Qualities of Effective Communication and the Language to Use

What are the key ideas for this message?

What is the best way to organize this message?

What is the best and most appropriate language to use?

What register and tone are appropriate?

What is the best way to present this message?


Learning Phase (During): Strategies Learners Can Use They Compose and Create a Visual, Multimedia, Oral, or Print Text

Create Draft(s) and Experiment with Possible Product(s)

What ways can I start?

What do I need to add, expand, modify, change, condense, delete, or rearrange in my next draft?

Is this the best approach for the chosen topic?

Pragmatic Cues (audience, purpose, situation)

Textual Cues (genre and form)

Syntactical (sentence) Cues

Semantic/Lexical (word) Cues

Graphophonic (sound-symbol) Cues

Other Cues

For whom am I communicating this and for what purpose?

What register and tone are appropriate?

What form should this take?

How should I arrange my ideas and sequence and connect them?

Are all new paragraphs clearly identified?

Are my sentences clear? Complete? Interesting? Varied? Correct?

Did I choose the right words? Did I use the words correctly?

Did I spell each word correctly?

Did I use punctuation to clarify meaning?

How can I make this more interesting? More effective? More vivid?

Are my accompanying visuals or multimedia choices appropriate?

Did I use legible handwriting or appropriate fonts, formatting, or props?

Confer with Others How do my peers and others respond to my drafts?

What suggestions for improvement do others have?

What do I need to add or change to create a quality text?

Do others have suggested ideas and sources of information that I can include?


Reflect, Clarify, Self-monitor, Self-correct, and Use a Variety of “Fix-up” Strategies

Does this mean what I want it to mean?

How clear is the meaning?

What are my strengths and what areas need improvement in this piece?

What should I now add, change, delete, or rearrange?

Experiment with Communication Features and Techniques

How well do the communication variables (e.g., content, organization, purpose, audience, context) work together?

How can I use different features to communicate my ideas more clearly and more effectively?


Learning Phase (After): Strategies Learners Can Use After They Compose and Create a Visual, Multimedia, Oral, or Print Text

Revise for Content and Meaning (adding, deleting, substituting, and rethinking)

Have I included everything I want to say? Do I need to add any other information? Are there enough details? Do I need to take anything out? Is the writing interesting?

Does the writing achieve the purpose? Are there unrelated ideas that distract the listener, reader, or viewer?

Revise for Organization (reordering)

Do I have an introduction?

Is my main idea clearly developed and supported?

Is my order clear?

Are the ideas and details arranged in an effective order?

Are the connections between ideas and sentences clear?

Do I have a good ending?

Revise for Sentence Structure and Flow

Are my sentences clear and complete?

Do my sentences read smoothly?

Is the sentence structure varied?

Do the subjects and verbs agree?

Revise for Word Choice, Spelling, and Usage

Does my language fit the audience and purpose?

Have I used the best words?

Have I used any words too many times?

Have I left out any words?

Are my words spelled correctly?

Proofread for Mechanics and Appearance (Punctuation and Capitalization)

Did I proofread for capitalization and punctuation?

Is it audible?

Is my polished draft legible?

Is the layout clear?


Confer with Peers, Teacher, or Others

What is the part that I like best? Why?

Does it say what I wanted it to say?

Does it have a clear form?

Does it make sense? Is it interesting?

Does it give the intended reaction?

Is it clear and easy to understand? Is it appropriate for my purpose and audience?

How can it be improved?

What could I do next?

Polish, Practise, and Decide how the Work will be Shared and/or Published

What do quality speaking, writing, and other forms of representing look and sound like?

Is my presentation ready?

In what context (situation) will my listeners, readers, or viewers engage with my text?

How will this context affect its presentation?

Share Final Product, Reflect and Consider Feedback, and Celebrate Learning

What is the listeners’, readers’, or viewers’ response?

What worked well?

What would I try next time?

What lessons have I learned from this experience?

How do I find opportunities to celebrate my achievements?

Additional Strategies for Composing and Creating

Representing:

Discuss/Brainstorm/Web

Asking the 5Ws + H

Representing Task Sheet

Talking Drawings (Wood, 1994)

Sketch to Stretch (Harste, Short, & Burke, 1988)

Read/View/Listen, Talk, Act, Draw, Write (Cox, 1999)


Speaking:

Talking Circle

Think, Pair, Share/Square (McTighe & Lyman, 1992)

Instructional Conversations (Goldenberg, 1993)

TAPS (Total Group, Alone, Partner, and Small Group) (Gregory & Chapman, 2002)

Grouptalk (Whipple, 1975; Moffett & Wagner, 1992)

Writing:

Discuss/Brainstorm/Web

Think-Pair-Share-Write (Robb, 2006)

Asking the 5Ws and H (who, what, where, when, why, and how)

Writing Frames

RAFTS (Adler & Vendeventer, 1989)

Fast Writes (Robb, 2006)

Authors’ Circle (Graves & Hansen, 1983)

Passes (Perrin, 1992)

Guided, Layered Revision (Forney, 1999)

Writing Workshop (Calkins, 1994)


English Language Arts 21 Model Unit One Goals Comprehend and Respond (CR) Compose and Create (CC) Assess and Reflect (AR) Suggested Resources: Print Resources

• “Credo” (Poetry Alive: Perspectives) • “I Grew Up” (Echoes 11: Fiction, Media, and Nonfiction) • “Luka” (Connections 1: Imagining or Your Voice and Mine 4) • “The Child Who Walks Backwards” (A Sudden Radiance or Family Issues) • “Child Abuse and Neglect” (brochure available from Public Legal Education. Available

by contacting [email protected]) • Students Oxford Canadian Dictionary, 2nd Edition • Response Journals Revisited: Maximizing Learning through Reading, Writing, Viewing,

Discussing, and Thinking • Communicate! : Western Canada’s Teacher Guide • A variety of informational brochures • A variety of children’s books • A variety of photographs focusing on children

Online Resources • Image of Dick and Jane primer (http://tagnwag.com) • Online dictionary (http://www.thefreedictionary.com/bottle; http://www.merriam-

webster.com/dictionary/bottle?show=0&t=1320680203;) • “Luka” (www.azlyrics.com/lyrics/suzannevega/luka.html) • Classic fairy stories (http://www.kidsgen.com/fables_and_fairytales) • “Deep Kindergarten” (http://www.enotalone.com/personal-growth/5985.html) • “English is a Crazy Language” (http://www.etni.org.il/farside/crazyenglish.htm) • “Ode to Family Photographs”

(http://poetryforchildren.tripod.com/poetryforchildren/id38.html) Appendix

• “Luka” and “Child Who Walks Backwards” Graphic • The Talking Circle Teacher Information Sheet • Oral Reading Rubric • Delivery – Verbal and Non-verbal • “Who’s Afraid of the Wicked Witch?” • “Before We Begin” • Viewing and Representing (Draft version in Appendix) • “Six Steps to Raise a Reader”

mailto:[email protected]

http://www.thefreedictionary.com/bottle

http://www.merriam-webster.com/dictionary/bottle?show=0&t=1320680203


http://www.kidsgen.com/fables_and_fairytales

http://www.enotalone.com/personal-growth/5985.html

http://poetryforchildren.tripod.com/poetryforchildren/id38.html


• Type of Connection/Comparison Graphic • Secondary-Level ELA Rubrics

Note: Additional resources used to address Extensions for Further Inquiry are noted in the body of the unit.


Unit One: Starting Out-Beginning and Becoming

OUTCOMES LEARNING ACTIVITIES ASSESSMENT &

EVALUATION Big Ideas:

• Childhood is a time of discovering. • Children may be influenced by many things. • Childhood can be a magical time, but it can also have

challenges. Questions for Deeper Understanding:

o What childhood experiences influence a person’s identity? How do these experiences influence a person’s identity?

o How do childhood memories shape a person? o What challenges do children face? o Questions students would like to explore. (When

teachers introduce this aspect of the course, there may be related questions students ask to explore).

Important Considerations for Teachers

There are aspects of this first unit (for example, the Show and Tell lesson and the examination of the PLEA brochure) which may cause some students to be uncomfortable as their childhoods may have been unpleasant. Students may still be in such distressing situations. Teachers need to be sensitive to this possibility and proceed accordingly.

There are places in this course where it would be preferable to read a selection aloud to students. In these cases, the selections could also be pre-recorded, allowing the opportunity to pause and monitor comprehension and/or listen again to particular passages. The focus will be on listening rather than reading although students may be encouraged to “follow along” with the text. There are also places in this course where students should

See Appendix for holistic and analytic rubrics that may be used in various places throughout the unit.


process text independently without a teacher’s direct guidance.

There are numerous possibilities in both units for students to consider privilege. Encourage students to reflect on questions such as:

• Whose world view is presented? • Who determines the language of power? • Whose cultural values are being reflected? • Whose voices are being represented and whose

are not? • Whose voices are given power and/or authority? • Whose world views or voices are marginalized?

The article, “Peeling the Onion: Teaching Critical Literacy with Students of Privilege,” provides educators with additional information on addressing the subject of privilege. The article may be accessed at http://middleyears2013.wikispaces.com/file/view/Foss+-+Peeling+the+Onion.pdf.

Another valuable resource, “The Changing Discourse of Language Studies” by Marilyn Wilson appears in the March 2001 edition of English Journal. The article examines dialects, language attitudes and biases, and issues of power related to language. The author describes class activities dealing with understanding the politics of language. The abstract can be found at http://www.ncte.org/journals/ej/issues/v90-4.

http://www.ncte.org/journals/ej/issues/v90-4

http://www.ncte.org/journals/ej/issues/v90-4


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Introductory Class: Impress on students the importance of learning names with an introduction such as the following: Names are important. When parents choose a name they often agonize over the decision. What nicknames will there be? What does it sound like with the surname (last name)? What does the name mean? Names are rarely chosen without thought. Indicate that while some people are very adept at remembering the names of those they are meeting, others have significant difficulty. Discuss the following questions with students providing examples of your own when necessary:

• Do you have difficulty remembering people’s names? • Have you ever been embarrassed in a situation

regarding names? • Do you have any advice/hints on how to remember

names?

(Source: http://www.glasbergen.com/business-computer-

cartoons/?album=1&gallery=105&nggpage=2)

Supplement the topic of remembering names by showing and then discussing a short You Tube selection such as

• http://deanlindsay.com/business-networking/business-networking-speaker-author-funny-video-how-to-remember-names/

• http://www.howdini.com/howdini-video-6635171.html

• http://www.videojug.com/film/how-to-remember-peoples-names

Composing and Creating: Interviews and Introductions Before: Model an interview about names and personal histories with another teacher, EA, or parent. Instruct students to listen to the questions asked as well as the

http://deanlindsay.com/business-networking/business-networking-speaker-author-funny-video-how-to-remember-names/



http://www.howdini.com/howdini-video-6635171.html

http://www.howdini.com/howdini-video-6635171.html

http://www.videojug.com/film/how-to-remember-peoples-names

http://www.videojug.com/film/how-to-remember-peoples-names

http://www.funnysalescartoons.com/photo/funny-sales-cartoon-sales/next?context=user


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responses. Each person will ask a somewhat different selection of questions. These questions will be different for each community’s situation. Possible questions could be as follows:

• What is your first name? Surname? • What do you know about the background of your

name? What does your first name mean? • Do you like your name? Why or why not? • What should your parents have named you? Why? • What do you wish to be called in class? Why? • Where did you grow up? • Where else have you lived? • What siblings have you? • Where are you in the birth order of your family? • What childhood memory stands out for you? Why

might that memory stand out? • What are a few things you liked doing when you were

a child? • What was your favourite toy? Favourite game? Why?

Each will deliver a brief introduction of the other using some of the information gleaned from the interview. Debrief by discussing the three parts of an interview

1. Planning the interview. Analyzing purpose and audience; researching the topic; formulating basic questions beforehand.

2. Conducting the interview. Keeping purpose in mind; speaking clearly, making eye contact*, and showing interest; asking follow- up questions.

3. Presenting the interview. Choosing the most interesting parts of the interview to highlight; presenting in an appealing manner, being both clear and succinct.

*Awareness of cultural norms may be an important discussion particularly related to eye contact. What could be the implications for an applicant who does not make eye contact with the interviewer? During: Students will create a number of questions they will ask of their interviewee in order to draft similar brief introductions. In pairs, they will conduct interviews of each other and write out short introductions that could be delivered to the class. Each pair will then join with another in

Can students generate appropriate questions?


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order to polish the introductions. Students could be instructed to exchange written introductions within the group so they are introducing someone they did not initially interview. After: Model volume, enunciation, and pace. Select a line from the previously modelled introduction. Using this line, deliver it with appropriate volume and then repeat the line almost inaudibly. Enunciate the line and then mumble through it; speak the line at an appropriate pace and then race through it. Each student will introduce another. Suggested Teacher Resources: Teacher’s Handbook Live Ink: Out Loud, pp. 76, 77; Student Book Live Ink: Out Loud page 47; My Name is Elizabeth. Extensions for Further Inquiry:

• In small classes the introductory lesson could be concluded by introducing the Name Game (also known as the Adjective Game) to students. This might be done to review names a few days into the semester. The Name Game starts with one person in the room picking a word that describes himself or herself as a person. The word must start with the first letter of their name. For example, you may introduce yourself with, “Hello! My name is Mighty Miss McPherson.” The next person will say, “Hello, Mighty Miss McPherson. I am Athletic Antonio.” The third would say, “Hello Mighty Miss McPherson and Athletic Antonio, my name is Sometimes Shy Stephanie.” This continues until all students have contributed. This game helps students get to know one another better. When students pick their adjective (or phrase) it will also double as a great clue for the next person if they get stuck and cannot remember the other student’s name.

• Share the children’s story, My Name is Elizabeth (Annika Dunklee) with students. This book both introduces the theme of the first unit and reinforces the importance of names. Set anticipation by indicating that the reasons for reading the book will be made clear in the next class.

Can students effectively conduct interviews? How effective is the introduction both in content and delivery?


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• Have students visit a site that changes names into barcodes and have them reproduce their names as barcodes. Discuss how digitizing one’s name may have an effect on a person’s sense of identity.

Comprehending and Responding: Passage Before: Explain ELA 20 is built around two units. The first unit examines aspects of a child’s world and the best way to examine that world is to enter into it. The second unit explores aspects of a person’s transition into the world of the adult. It is where currently they are on life’s journey. Slowly read the following passage as students follow along. Ask students to underline any words they are unsure of as the passage is being read. Pause to clarify vocabulary, discuss word choice, and then reread the passage. Life is a journey that starts at birth. As we travel the road of life, we make many discoveries that change the way we see ourselves, others, and the communities around us. The first stage, childhood, is a time of wonder, discovery, and experimentation. It can also be a time of absolute opposites: innocence and experience; laughter and tears; security and uncertainty. Childhood is a time of critical transformation and change, a time crucial for providing the foundation for life-long learning and good health. The early years are times of growth and development (social, emotional, physical, cognitive, cultural, linguistic, and spiritual). These early years of life are vital for building children’s identity and sense of self. This building of identity and sense of self contributes to a person’s individual and collective well-being in later years. Lessons learned in childhood are foundational influencing the person for years to come. During: Instruct students to reread the passage silently and in their journals, use any line, phrase or idea they wish as a stem. Model this strategy orally with a few partial examples by using an overhead, chalk board, or Smart Board. Consider stems such as the following:

• Laughter can sure change into tears quickly in a child’s world. But in most cases the tears dry up fast enough when some attention is paid to their “hurts” I saw….

• I remember one discovery I made in Grade One that sure

Can student use this strategy effectively?


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changed the way I saw the world. I was… • There is a reference to health in the passage. I wonder if

that is physical health or something more. Maybe health has multiple meanings here.

• I think it is a critical time in life because…. After: Share with a partner the line/phrase/idea selected and what was said about it. Determine with the whole group what aspects of the passages were most frequently commented upon. Explore why they think that was the case. Suggested Resource: Response Journals Revisited: Maximizing Learning through Reading, Writing, Viewing, Discussing, and Thinking explains what response journals are, why and how they are used, and the skills they help students develop. The book offers teacher support as you use response journals in the classroom. Comprehending and Responding: Poem Before: Have students consider the word credo. Indicate that in Latin, the word credo means “I believe,” but it may have originally been derived from two other Latin words, cor, meaning heart, and do, from the verb meaning to give. In its original meaning, cor-do meant, “I give my heart.” To believe in something would then be to “give your heart to it.” In modern times, credo has evolved to mean a “formula or statement of belief.” Ask students if they can suggest other words that may be part of this word’s family (credible, credibility, creditor, credential, incredible, creed). Indicate the title of the poem being examined is “Credo” and part of its first line is “All I really need to know I learned in kindergarten.” Invite students to jot down and/ or sketch something they remember from kindergarten. Suggest this could be an incident or perhaps a picture they have in their mind. Ask students to briefly share some of their memories. Indicate that the poet Robert Fulghum went to kindergarten many years before they did and has used some vocabulary and phrases they would be unlikely to know.

Can student make connections to text? Can student identify other words from the word family? Can student make connections? Can student write or otherwise represent? Can student effectively participate in this sharing?


CR 21.1 CR 21.2 CR 21.6 CR 21.1 CR 21.2 CR 21.3

Describe the popularity of the series of Dick and Jane books, a staple in North American classrooms for many decades. Explain this set of books was used to teach generations of children to read. Lines like, “See Spot run,” or especially, “Look, Sally, look,” might still be remembered by students’ grandparents. Images of the books (like the one below) are available on the Internet and could be shared with students. Explore how these images differ from the ones they visualized of their kindergarten experiences. How do the images differ from books they may have known in childhood? Explore the world views, cultures, and voices privileged in these books. Discuss questions such as the following: Whose world view was reflected in the Dick and Jane books? Whose world view was excluded? What stereotypes are present? Examine the idea of children’s primers such as Dick and Jane as agents of enculturation. Invite students to recall books they were exposed to in their primary years and explore any enculturation in these texts.

(Source: http://tagnwag.com/)

Possibly another credo such as the Golden Rule could be briefly explored. Invite students to research credos from their cultures. During: Have students listen and follow along as you read “Credo.” A Styrofoam cup may be sitting in plain sight as a prop. Form students into pairs or small groups. Divide the poem (omitting the last stanza) into two parts. Each group is given a section of the poem to focus upon (“All I really need to

Do student comments indicate understanding? Can student point out differences? Do student comments indicate understanding?


CR 21.1 CR 21.2 CR 21.3

know’” to “so do we’” could be the first section. The second section would be “and then remember the Dick-and -Jane books” to “clean up their own mess”). Have each pair or small group consider the following:

1. What specific life connections can you make to the world outside the Kindergarten classroom?

2. What images does the poem capture for you? Why? 3. Reflect as to what may be part of your credo as well.

Reread the first section. Share student connections and images. Reread the second section and do the same type of sharing. After: Ask students to consider how their kindergarten (or early elementary) experiences may have had an impact upon who they are now. Would they be different had they not had these experiences? How? Read the last stanza: And it is still true/No matter how old you are/When you go out into the world/it is best to hold hands and stick together. Have students rewrite the last two lines to reflect their own credo. (It is suggested this procedure be modelled first). And it is still true No matter how old you are…. Suggested Resources: “Credo” in Poetry Alive: Perspectives; a website such as http://tagnwag.com/ Extensions for Further Inquiry:

• View Christie Belacourt’s painting, “From Earth to Sky: Everything We Need is Right Here” in Strength and Struggle: Perceptives from First Nations, Inuit, and Métis Peoples in Canada and read what inspired her to create the painting. Describe the painting. Discuss how its title helps to understand it. How is it different, yet similar, to Fulghum selection?

• The book of essays containing “Credo” was a best seller. Fifteen years after Fulghum published All I Really Need to Know I Learned in Kindergarten; he wrote an essay on whether his original beliefs still

Can student make connections to text? Can student identify images? Can students effectively reflect on text Does student writing show evidence of reflection?

http://tagnwag.com/


were part of his credo. Read “Deep Kindergarten” (http://www.enotalone.com/personal-growth/5985.html) to students. Pause to clarify vocabulary by modelling appropriate strategies. Examine word choice for effective use. Invite students to do the following:

o As students listen, they will use a highlighter to mark lines to which they related.

o Discuss what they have highlighted. o Write a reaction in their journals using one of

the following prompts. So the point for me is.…; A question that I have is….; This is important for me because….; I see this all the time when….Because of this I believe…

Comprehending and Responding: Language Study Before: As we explore and examine childhood, we have an opportunity to understand the importance of this stage of life in shaping who we are as well as who we would like to be. Childhood may be viewed from many perspectives: innocence and experience; laughter and tears; security and uncertainty. A critical perspective in child development is examining the acquisition of language. Each time we listen, speak, write, or read a piece of material, something extraordinary happens. We decode the material and gather or express information from it for a variety of purposes - often, without being aware of the process at all. We can communicate with one another because our language is an agreed upon code, even though each of us has our own style. One of the most important tasks facing young children is learning that code. When they can only cry or babble they are very limited in communication. A child might call a bottle a “bahbah” and family members might come to understand that she means “bottle.” “Bahbah” is a word meaningful only to that child and her family. If the child wishes to be understood by other people he/she must learn the word for bottle that other speakers of English (or French, Hindi, or Cree, etc.) use. Many people learn special language codes either to cope


CR 21.3 CR 21.4 CR 21.6 CR 21.2

with a disability or to function at work. Helen Keller, who was both deaf and blind, eventually learned sign language in order to communicate. Chemists use a particular series of symbols and signs to express chemical reactions. In the past ships at sea often used semaphore, a code based on flag and arm position, to communicate visually from ship to ship. Two other modes of communication are Braille and Morse code. Ship to plane communication also uses a special code. It is important to remember that words are only symbols used to represent objects or ideas; they are not the objects or ideas themselves. If a child asks for a bottle, you do not give him the word “bottle, but the object represented by the word.” Words are always symbols. By agreement, people can use any sound to represent any object or idea. It is also important to remember that each language has its own code. This may be the opportunity to explore the issue of language and privilege with students. Who is privileged in this language code? Who is excluded? During: Point out that the dictionary is a reference tool to understand these language symbols. Consider the word “bottle.” Examine a dictionary entry with your students either online or in print. Look at the types of information in the entry. The entries provide definitions, parts of speech (how can you use “bottle” as a verb?), and examples of use including possible slang usages, pronunciations, and origins of the word. Some provide other pieces of information such as synonyms (words that mean the same or similar thing such as pitcher), words that are associated with the entry word (bottlebrush, bottleneck) and other words that rhyme with the entry (throttle). Print dictionaries have guide words in the corner to make locating a word easier. Invite students to consider how using the dictionary as a reference tool can improve their language skills. Ensure students realize a dictionary can help them with the following, providing examples to clarify:

• Checking spelling-indicate Canadian spelling may differ from British and American spelling.

• Determining when a word may be capitalized.


CC 21.6 CC 21.2 CC 21.3

• Finding the meaning of unfamiliar words when they encounter them in their reading.

• Determining what prefixes and suffixes can be used to change a word’s meaning.

• Forming the plurals of words. • Finding other information. Many print dictionaries

have such things as lists of countries and their capitals; lists of abbreviations; tables of weights and measures; statistics on populations; maps and other geographical information.

• Examining words in context. Many dictionaries will provide the word used in a sentence.

Invite students to apply their understandings to vocabulary that may be of interest to them (e.g. horoscope signs, names of cars). Also discuss the uses of the thesaurus (online and print) to find suitable words, explore synonyms, broaden vocabulary and improve their speaking and writing. After: Prepare a Kidspeak dictionary entry. Explain their entry should contain an invented (but possible) kidspeak word. They may have heard a toddler use such a word. The entry should contain the important aspects of dictionary entries. Their audience is a young child.

1. Begin with a question. Example: What is a “flur”? 2. Explain how it is pronounced. Flur rhymes with “purr”

(purr is what my cat does when I pet him). 3. Contain at least two sentences which clearly

explain/define the word. Example: A flur is always yellow, and it makes me sneeze. Flurs are pretty, but they taste terrible.

4. Contain a final sentence which mentions the next new kidspeak invented word. Example: My mom puts the flurs in a tasell.

5. Your definition should be accompanied by an illustration of the word.

Can student use the dictionary effectively? Do entries reflect audience? Do entries indicate pronunciation? Do entries demonstrate appropriate usage?


CC 21.5 CC 21.6 CC 21.2 CC 21.3 CR 21.1 CR 21.2

Share some of these entries. Extensions for Further Inquiry:

• Play the dictionary game. This consists of forming small groups each with a dictionary. The first player looks up a challenging word and uses it in a sentence. The other players have to guess if the use of the word is accurate or an outright fabrication. If a player guesses correctly, it's that person’s turn next. The commercial game Balderdash may also be played.

Discuss with students what an unbelievably difficult language English is to master. There must be lunacy in any language where you can say that a house can burn up as it burns down or that you fill in a form as you fill it out. And” If Dad is Pop, how come Mom isn’t Mop?” (Saskatoon Sun, August 14, 2001). Share the essay “English is a Crazy Language” (http://www.etni.org.il/farside/crazyenglish.htm)

Suggested Resource: Online dictionaries such as http://www.merriam-webster.com/dictionary/bottle?show=0&t=1320680203 or http://www.thefreedictionary.com/bottle. The print dictionary suggested for use at the secondary level is Student’s Oxford Canadian Dictionary, 2nd edition. Comprehending and Responding: Literary Essay Before: Ask students the following questions:

• What is CBC an acronym (stand for) for? • Has anyone heard of a CBC radio show called Vinyl

Café? Inform students a little about the popularity of this long running show and its host, Stuart Mclean. Close to one million people listen to The Vinyl Café every weekend on CBC Radio and Sirius Satellite Radio and on a growing number of Public Radio stations in the United States. Since 1998 McLean has taken The Vinyl Café to theatres across Canada, playing in both large and small towns from St. John's, Newfoundland, to Whitehorse in the Yukon. The Vinyl Café Website is found at http://www.cbc.ca/vinylcafe/



http://www.thefreedictionary.com/bottle


CR 21.1 CR 21.2 CR 21.1 CR 21.2 CR 21.3 CR 21.4 CR 21.1

During: Explain Stuart Maclean was asked to write an introduction to a book of essays whose topic was childhood. They will be reading that introduction which MacLean calls “Before We Begin.” Read the preamble (in italics) first and then have students listen to “Before We Begin” from the anthology, When We Were Young. Model a Venn diagram strategy for students by indicating a couple of elements common to both McLean and yourself. Each student will create a Venn diagram to show similarities to and differences between their memories and emotions of childhood and those of McLean’s. What commonalities overlap in the centre? After: Share the commonalities with another student. As a whole class,

• Discuss some of these commonalities exploring how emotions can be triggered by memory.

• Ask students to consider the illustrations. Enquire as to which aspects of the McLean essay they would have chosen to illustrate.

• Ask them to consider what visual text would appear if they were to write a piece similar to McLean’s. What images might represent their section of the Venn diagram?

Suggested Resource: excerpt adapted from “Before We Begin” (Appendix) taken from the anthology When We Were Young. Comprehending and Responding: Poem Before: The concept of ‘place’ can be very powerful in triggering memories and the emotions that often accompany those memories. Consider the kindergarten class in “Credo.” Consider the train station and the hospital from the last piece. The first line of “I Grew Up” is “I grew up on the reserve.” Invite students to consider the following Question for Deeper Understanding: How might growing up in a particular place (such as a reserve) influence a person later in life?

Can student demonstrate commonalities and differences? Does student participate meaningfully in discussion? Can student make reasonable predictions?


CR 21.1 CR 21.5 CR 21.2

Discuss with students their predictions of what this Canadian poet might include in this selection. What memories will Lenore Keeshig-Tobias have of growing up? Ask students to listen as the poem is read to see if their predictions are accurate. Responses may be varied depending on backgrounds of students. The responses may indicate the need for a discussion about stereotypical images of life on a reserve. Some possible guiding questions could include:

• How do the poet’s memories challenge stereotypical images?

• Why might such stereotypes exist? • How might the media reinforce such images? • How do the media reinforce the idea of privilege?

During: Reread the poem inviting students to note the objects she remembers. They can highlight, underline or use a check mark as they listen. Distribute the following grid to students or have students reproduce it. Ask students to put a small identifying symbol somewhere on the back so the paper is anonymous but can be returned to them later.

a) Message:

b) Poet’s images:

c) Choice of words:

d) Poet’s emotions:

e) Reversal:

f) Visual text

a) Message: Writers have a message, something they

wish to share with you, their audience. What’s your initial impression as to what her message is?

Instruct students to pass paper to the next student.

b) What one or two images from “I Grew Up” stand out in your mind?

Does student actively participate in discussion? Can student employ this strategy? Can student respond to text?


CR 21.3 CR 21.3 AR 21.1


c) “We used to laugh at teachers/and tourists who referred to /our bush as “forest” or “woods”/. What could be the difference in meaning between the words forest or woods and the word bush?


d) How would you describe the emotions that come across in “I Grew Up”? What is the poet feeling as she remembers?


e) Read the first two stanzas to students. Pause and then read the last two stanzas. Ask students why Keeshig-Tobias may have chosen to do such a reversal.


f) If this poem were to be accompanied with an illustration, what image should appear with it?

After: First, invite students to share the illustrations they would choose to accompany “I Grew Up.” Then look at the other aspects such as message, reversal, and word choice by students contributing perceptive comments found on the answer sheet they currently have in hand. With their own copy returned to them, have students reflect on their initial impression of Keeshig-Tobias’ message. How would you respond to the question, What is her message in “I Grew Up” now? Why do you think your response may have changed? Explain your responses to questions b, d, and f. Suggested Resource: “I Grew Up” in Echoes 11 and https://fc.deltasd.bc.ca/~dunrau/FOV2-0006A5AD/S027F5127-027F521A.0/I%20grew%20up.pdf. Suggested Teacher Resource: Echoes 11: Fiction, Media, and Nonfiction, Teacher’s Resource: Western Edition.

Can students reflect on word choice? Can student reflect on aspects of text? Can student contribute effectively to the discussion? Can student reflect on their thinking?


CR 21.4 CR 21.2 CR 21.3 CR 21.6

Extensions for Further Inquiry:

• View “It’s Good to be Woodland Cree" documentary. Talk about the importance of sharing a sense of community. What can a sense of community do for a child? See http://www.cbc.ca/news/canada/saskatchewan/story/2011/09/22/sk-stanley-mission-promo-1109.html

• Examine the graphic journal by Nadia McLaren, “I Am My Grandmother” in Strength and Struggle: Perceptives from First Nations, Inuit, and Métis Peoples in Canada. Discuss the impact of the photographs to the journal.

• Explore the sense of “home” in “My Whole Life Going Home” in Strength and Struggle: Perspectives from First Nations, Inuit, and Métis Peoples in Canada. What does the visual on page 73 add to the selection?

Compose and Create: Presentation Before: Ask students if they remember “Show and Tell” from their early grades. Perhaps have students share some of their memories. Remind students that they have read the works of three writers who have looked back upon their early years and presented memories connected with their childhoods. Consider this Question for Deeper Understanding: How would they say these early experiences may have influenced these writers? Draw students’ attention to the fact that all of these memories were associated with images of either people or places. Fulghum selection dealt with images from Kindergarten some of which may have been familiar to them. If he were to present a “Show and Tell “of his childhood he might bring in a hamster, or a Styrofoam cup, or a picture of a sandbox. If Stewart McLean were to participate in a “Show and Tell” what might he present? Why do you think that? If Lenora Keeshig-Tobias were to bring in a photograph for her presentation, what might this photograph be of? Justify your suggestion. Share Gary Soto’s poem “Ode to Family Photographs”

Does student actively participate in discussion? Does student listen respectfully?


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(http://poetryforchildren.tripod.com/poetryforchildren/id38.html), a humorous reflection on the art of taking family photos. Ask students to visualize the photo Soto is describing as you read the poem aloud. Share a family photo with students indicating what it is a picture of, what the history is behind it, and why it is important to you. If possible, choose a photo significant enough that who or what is depicted has affected who you are now. If no photo is available, student may share an object of significance. During: Students will write and present a “Show and Tell” associated with their childhood. It can take a number of forms, including:

• They may draw an illustrated road map of their childhood. This could include significant events, people, and places.

• They may bring a significant object to class. • They may bring in a photograph of a significant

object, person, or place. • They may produce a scrapbook page. The page might

have an assortment of items on it representing noteworthy images from their childhood.

For additional information on types and purposes of visual text, see the Ministry of Education publication, Viewing and Representing (Draft version in Appendix). In each format, there is to be an explanation for their choice. What are the critical elements behind the images? What is the history? The significance? The associations? As many of the reporter questions (5W’s) of who, what, when, where, why, and how as appropriate should be addressed. Students will examine their writing with a checklist similar to the following: Have I included everything I want to say? What other details could I include? Some sensory

details, maybe? How have I made it clear why this is significant to me? Are there any unrelated ideas that might prove too

distracting? How will my introduction grab attention?




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Are details arranged in a logical order? How does my language and word choice suit my

audience? Do I repeat myself unnecessarily? What makes it engaging enough that audience

interest will be maintained? Each student will review his/her writing with a partner. Each partner will complete the following for their partner’s revision consideration.

• I like____________________ because________________.

• It could be improved by____________________________.

• Questions I still have are____________________________.

Students will rehearse the presentation with their partners. The Composing and Creating Rubric from the Appendix can be adapted for this assignment. Share and discuss with this instrument with students. After: Each student will present to the class as a whole (or to a small group). Suggested Resource: “Ode to Family Photographs” (http://poetryforchildren.tripod.com/poetryforchildren/id38.html) Extensions for Further Inquiry; Saskatchewan Ministry of Education’s Viewing and Representing (Draft version in Appendix).

• Students will draft a poem about recollection and reflection. For example, after “Show and Tell”, students could write a memory poem about the article shared. The poem could also be modeled after “I Grew Up” with students:

• writing an extension to the line “I grew up thinking __X___ was the most beautiful place in the world” or

• “I grew up thinking __X___ was the most beautiful thing in the world.”

Can student apply the checklist to his/her composition? Do students offer appropriate feedback? Use the Compose and Create rubric in the Appendix to create a rubric for this presentation.



http://www.curriculum.gov.sk.ca/


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Note to teachers: An effective strategy is to model this writing process aloud for students before they attempt the task themselves. Students will learn from observing your efforts and listening to you think aloud about your efforts.

• Students write a journal entry using one of the above prompts.

Comprehending and Responding: Visual Text Before: Refer students to the quotation from an earlier lesson. Life is a journey that starts at birth. As we travel the road of life, we make many discoveries that change the way we see ourselves, others, and the communities around us. The first stage, childhood, is a time of wonder. One important influence on every child is what he/she reads and views. Literature produced for children aims to create this sense of wonder. It aims to attract interest and to entertain. Often, children’s stories set positive examples that young people can imitate, or contain a moral lesson to be learned: share, play fair, and say you’re sorry when you hurt somebody. Children’s stories are written at a vocabulary level and in a style suited to their audience. Illustrations are an essential aspect of children’s literature. Illustrators must study the stories they illustrate very carefully. An illustrator does not portray everything that happens in a story, but rather makes careful decisions about the story’s most important events. Read a short version of a classic fairy story to the class. It should be one that involves a prince and/or princess and a happily ever after type conclusion. See http://www.kidsgen.com/fables_and_fairytales for some possible sources. Have students suggest possible visuals that could accompany the selection. During: Indicate the next story is different in a number of ways from the classic story they have just heard. Have students note carefully what actions the illustrator has chosen to represent as they read The Paper Bag Princess by

Does student contribute to discussion? Does student practise the behaviours of an effective

http://www.kidsgen.com/fables_and_fairytales%20for%20some%20possible%20sources.%20Have

http://www.kidsgen.com/fables_and_fairytales%20for%20some%20possible%20sources.%20Have


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Robert Munsch, illustrations by Michael Martchenko. The story can be presented in print or displayed on overhead or Smart Board. Invite students to participate in a fast write about their initial reactions to The Paper Bag Princess. Students write without interruption for a set period of time (perhaps 90 seconds in this case). They are instructed not to let pen leave paper or reread anything they have written. The value of fast writing lies in slipping past that internal editor to commit words to the page without pausing for self-judgment. This strategy should initially be modeled for students by starting a fast write and writing a few lines of stream of consciousness. The overhead could be used for this. Start with something like the following: I have been thinking about the Dick and Jane books. I am amazed that they were used so long in schools and that nobody protested. Little blonde girls in dresses and bows talking is totally unrealistic. Was it ever really like that? I don’t think so, so who dreamed up that unbelievable world, anyhow? Follow the fast write with the following:

1. Have students examine the first illustration carefully. (In it, Princess Elizabeth is gazing at Prince Roland). What does the visual text tell the viewer?

2. Pictures can be worth a thousand words. Examine the last illustration carefully. (In it, Princess Elizabeth is dancing off into the sunset). What does the visual text tell the viewer?

3. Invite students to select one other illustration and comment on at least three aspects of the picture. This could include graphics, colours, and/or their reactions to the image. It could also include how they predict children would react to the image.

After: A picture is worth a thousand words. For those who have yet to learn to read, the colourful illustrations in their children's books bring the words of the story to life. Bring a number of richly illustrated children’s books into the classroom. Read a story and examine the visual text. (Polar Express would be a good choice here). Have each student examine another book looking for what would capture a

viewer? Can student effectively use this strategy? Does student practise the behaviours of an effective viewer? Do student comments indicate understanding?


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child’s interest and be appealing. Have students share their opinions and observations in small groups. Suggested Resource: The Paper Bag Princess plus a selection of other illustrated children’s books. Extensions for Further Inquiry:

• Have students read the visual text of a children’s story (consider physically covering the print text). Ask students to predict the story line using information such as the characters’ expressions, the colours used, and the foreground and background images.

• Have students watch the cartoon versions available on You Tube comparing and contrasting the images in the two versions. What are the advantages of each version? Drawbacks? Which do you think would children prefer? Why?

• Have students listen as Robert Munsch reads a version of The Paper Bag Princess at http://www.youtube.com/watch?v=hIPrb-sA6Uo&feature=related. What does he do as a reader to engage children’s interest?

Comprehending and Responding: Stereotypes Before: Write the word stereotype on the board. Ask students to write down what they think it means and/or provide an example of a stereotype. Have students discuss what they wrote down with a partner or in a small group. Each group will put forward to the class both a definition of stereotype and an example. Explore the concept of stereotypes with students. During this discussion a definition should be established, numerous examples suggested, and some of the dangers of stereotyping examined. During: Indicate stereotypes are common in children’s literature especially fairy tales. Ask students if they can suggest some examples from fairy tales (wicked stepmother, beautiful princess, brave prince, etc.). Inquire as to what stereotypes are broken in The Paper Bag Princess (Princess Elizabeth is not a beauty. The dragon is more cute than fearsome. Princess Elizabeth dances off alone into the sunset, etc.). Which version, the traditional story or Munsch’s,

Do students contribute effectively? Can each group formulate an appropriate definition? Do students contribute effectively?

http://www.youtube.com/watch?v=hIPrb-sA6Uo&feature=related

http://www.youtube.com/watch?v=hIPrb-sA6Uo&feature=related


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better reflects reality? If you have not already done so, establish an account on Edmodo (See http://about.edmodo.com). Instruct students to post a message advising Prince Ronald on how he should change his behaviour in order to become less of a stereotypical male or, a more “with it” bachelor. Tell the prince at least two ways he should change and explain why for each. When finished their draft, have students reread their writing. Have students consider: How is my language appropriate to audience? Is my message clear? Has my purpose been achieved? Is my spelling and sentence structure accurate?

After: Invite students to share some of these e-mails. Suggested Resources: A selection of illustrated children’s books including The Polar Express by Chris Van Allsburg and The Paper Bag Princess by Robert Munsch. The children’s story, Kiss Me, I’m a Prince is a recent children’s story written by a Canadian. It could be used instead of or in addition to The Paper Bag Princess. Extensions for Further Inquiry: Have students consult a print and/or online

dictionary to determine the etymology of the word, stereotype.

Schools contain no shortage of stereotypes. Access the following music video of the song “Stereotype” from the band Powerman 5000. A high school student made this music video for a school project. There is a tour of STHS (Stereotype High School). Students may want to discuss the existence of such stereotypes in their school as well as marginalization and privilege. See (http://www.youtube.com/watch?v=qvIvoySLZ5s&feature=related).

Comprehending and Responding: NonFiction

Can student reflect on his/her writing? Does student participate?

http://www.youtube.com/watch?v=qvIvoySLZ5s&feature=related

http://www.youtube.com/watch?v=qvIvoySLZ5s&feature=related


CR 21.1 CC 21.5

Before: Are fairy tales fiction or nonfiction? Raise the question with students as to the major difference between fiction and nonfiction and where fairy stories fit. Ensure students understand that fiction is literature involving made-up people and events. Nonfiction is literature that deals with real situations or facts. It is hard to imagine childhood without fairy tales, without all the wonders of that magic world. Without the beautiful people, the heroes and the miracles that inhabit the land of fairy tales. But children grow up and they discover the real world can be very different from the world of wonder and imagination. Yet, our memories about fairy tales’ miracles make us believe somewhere deep in our hearts that everything is possible. Talk about the fairy tales students remember from childhood. This would be an appropriate time to make a distinction is between fairy tales and other children’s literature (e.g. Clifford, the Big Red Dog, Green Eggs and Ham, Pat the Bunny, etc.) if the topic has not already surfaced. A definition like the following can guide the conversation: A fairy tale is a fictional story meant for children. It is usually unbelievable and includes heroic deeds and mystical and magical creatures such as dragons and other supernatural creatures. Question: Which fairy tales to you remember? (List some of the fairy tales students remember on the board). Question: Reflect silently on your favourites. Why do you think they were favourites? Were there ones you didn’t like? Why? (Have students think and then share their thinking with a partner and then possibly share with the larger group). Lead a discussion with the whole group based on the following questions. Question: Parents have been reading fairy tales to their children for countless generations all around the world. Why? Suggest reasons for this.

Does student contribute to discussion? Can student listen effectively? Does student share memories? Do student comments indicate thoughtful reflection?


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Question: Why might some parents or caregivers object to exposing children to these tales? During: Read the article, “Who’s Afraid of the Wicked Witch?” (Appendix) Instruct students to listen carefully as you read highlighting or underlining the pros and cons of children’s exposure to fairy tales. Listen for reasons identified in class as well as others not brought up previously. After listening to the essay, talk about what students identified, organizing responses using the table below.

Reasons to Read Fairy Tales to Children

Reasons Not to Read Fairy Tales Children

Examine the essay’s format with students. What did the author do to make the essay easier to follow (language cues and conventions: bolding, italics, questions)? After: Borrow a small collection of traditional and modern fairytales from the library and/or elementary school. If possible, encourage students to bring any favourite books from their childhood to class. Provide an appropriate amount of time for students to examine the books. Each student is invited to:

• Indicate which appeals to them and which they would likely choose to read to their own children. Have them explain their reasons.

• Examine the visual text and comment on at least two representations.

• Respond in writing to one of the following prompts based on the essay and the children’s books examined : a) I learned…………………………………………….. b) I thought…………………………………………… c) I remember…………………………………………. d) I believe……………………………………………..

Can student listen effectively? Can student identify information from text? Can student identify stylistic devices? Can student make personal connections? Can student respond appropriately to chosen prompt?


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Encourage students to share some of their responses. Suggested Resources: “Who’s Afraid of the Wicked Witch?” (Appendix); a selection of children’s fairy stories borrowed from other sources (student, libraries, elementary schools). Extensions for Further Inquiry:

• Assign pairs of students a traditional fairy tale (or have students choose one independently). Have the students read together, then rewrite a modern version that would apply to children today. These would be presented to the class. This extension could be introduced with selections such as The Frog Prince, Continued and/or The Real Story of the Three Little Pigs (both by Jon Scieszka). These versions could be developed with students, possibly changing the story version into a script.

• Selections such as The Frog Prince, Continued and/or The True Story of the Three Little Pigs can be read to students. Have students discuss whether or not they would read these to their own children. Explore with students alternative perspectives and voice. What other sides of stories can there be?

Composing and Creating: Reading Aloud Before: One of the benefits of reading fairy tales and other literature written for children is to instill in children a sense of magic, wonder, and imagination. Another benefit is promoting literacy. Ask students if they have heard of Raise-a-Reader. What do they know about Raise-a-Reader? Explain it is a national campaign to support literacy programs. Twenty-seven newspapers across Canada participate in Raise-a-Reader. In the Saskatoon StarPhoenix special literacy edition (September 28, 2011), an article provided six steps to take in order to “raise a reader” (Appendix: Six Steps to Raise a Reader). Ask students to jot down some of their predictions as to what they think should be on the list. Point out to your students that by far the majority of them will someday be parents and, if they are like most people, will appreciate the value of raising their children to be

Does student share responses? Does student listen respectfully to others’ responses? Does student contribute meaningfully


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readers. Have them read the list and discuss the six suggestions with a partner or in a small group. Highlight that research is very clear on the benefits of reading to your child every day. Indicate to students the next few classes will work on developing that life skill of reading to children. This would be an opportune time to discuss how the meaning of literacy has evolved. No longer is literacy regarded as only the ability to read and write. While both of those are very important, literacy extends past the written text. To be literate in today’s world requires a multiple number of abilities including computer literacy, visual literacy scientific literacy, economic literacy, media literacy, and global awareness/multicultural literacy. It is about how we receive and process information. We need our students to think beyond the world of Dick and Jane because that is not the real world and likely never was the real world. Encourage students to search literacy websites for definitions of “literacy.” During: Ask students if they have ever noticed that they prefer to listen to some people over others. One thing that contributes to how well a listener pays attention to a message is how the message is delivered. Delivery includes both verbal elements and non verbal ones. Model by reading a short children’s story aloud. Choose a story that involves diverse voices, expressions, or sounds. Instruct students to listen for different verbal and non-verbal elements. So as not to distract students too much from the delivery aspects, a story read previously (e.g. Polar Express) might be a good choice. After the story is read, have the students suggest what elements could appear in each of the columns. Complete the table below with students. As students mention different elements, write them down and discuss with examples. Model the elements separately. For example, when “volume” is mentioned, read a line using an appropriate volume and then yell and/or whisper the same line. When “rate” is mentioned, deliver a line appropriately and then either rush or plod through the same line. With the non-verbal aspects like eye contact, use the same technique.

to the discussion? Does student actively engage in research?


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Note: Teachers need to be aware of and sensitive to different cultural norms (e.g., in some cultures it shows disrespect to make eye contact with others).

Verbal elements Non-verbal element

Students are unlikely to present all elements, so when they have offered all they are aware of, distribute the student handout (Appendix) entitled “Delivery: Verbal and Non-Verbal.” Examine the elements not already touched upon inviting students to use the handout during rehearsal for their reading. In addition, provide and discuss the rubric that will be used to assess their presentation (Appendix: Oral Reading Rubric). The rubric may be adapted with students identifying the criteria on which they will be evaluated. Students select a children’s story that they will read aloud. Longer stories might be divided between two students. Students will locate a quiet place to rehearse the story paying attention to verbal and non-verbal elements of the delivery. As they practise, instruct students to ask themselves questions similar to the following:

• Is my volume appropriate? • Am I reading at a suitable pace? • Do I use pauses and silences for dramatic effect? • Do I stress important words? • Does my tone convey thoughts and emotions of my

character? • Do I read my lines smoothly and fluently? • Do I make appropriate gestures and eye contact? • Are there any visuals that would enhance (but not

detract from) my presentation? After individual rehearsal, present to a partner using the questions above for feedback. After: Students will present the stories. This can be done

Use the Compose and Create rubric in the Appendix to create a rubric for this presentation. Can student reflect on learning (i.e. use strategies, set goals, and monitor achievement of goals)?


CC 21.5 AR 21.1 AR 21.2 CR 21.1 CR 21.6

within small groups in the classroom or in an elementary classroom setting. If students have their own children, they may choose to bring them to the classroom for the reading. Afterwards, students will identify and reflect on speaking strengths by completing the following prompts:

• Some of the things I did well include…. • Some of the things I need to work on include…. • Next time I would….

Suggested Resources: a selection of children’s books for both teacher modelling and student presentation; Echoes 11: Fiction, Media, and Nonfiction, Teacher’s Resource: Western Edition (provides numerous rubrics for presentations that may be adapted for specific classrooms); LiveInk: Teacher Handbooks ( provides support with speaking and listening); What’s Your Problem?(LiveInk series) p. 59 Extensions for Further Inquiry:

• Encourage students to visit the Raise-a- Reader website. The site contains a variety of articles on literacy programs, tips directed at different age groups of children including teenagers, as well as “book picks” for different age ranges. See http://www.canada.com/literacy/raiseareader/index.html

• Have students look at ”Top Ten Tips for Reading with Teens” and discuss. Do you think these are accurate? Explain why. See http://www.canada.com/literacy/raiseareader/Reading+tips+teens/5358789/story.html

Comprehending and Responding: Poetry Before: Return to the idea that childhood can be a difficult period by revisiting the passage: Life is a journey that starts at birth. As we travel the road of life, we make many discoveries that change the way we see ourselves, others, and the communities around us. The first stage, childhood, is a time of wonder, discovery, and experimentation. It can also be a time of absolute opposites-innocence and experience; laughter and tears; security and uncertainty.

Does student apply learnings to presentation? Can student offer meaningful feedback?

http://www.canada.com/literacy/raiseareader/index.html

http://www.canada.com/literacy/raiseareader/index.html

http://www.canada.com/literacy/raiseareader/Reading+tips+teens/5358789/story.html

http://www.canada.com/literacy/raiseareader/Reading+tips+teens/5358789/story.html


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Childhood is not always a carefree time. Children have challenges. They deal with fears, issues, and negative influences. Give individuals a short time to respond in writing to the following Question for Deeper Understanding: “What challenges do children face?” Afterwards, have students turn to a partner, comparing and contrasting lists. Share in the whole group noting similar issues. (Students will likely raise the issues of poverty, hunger, war, abuse, and privilege). Indicate these challenges are certainly the reality for children in your community as well as elsewhere. These are evils that exist throughout recorded history. During: Poetry comes in many forms including songs. Ask students to listen to this narrative song which requires the listener to fill in the details of the story being told. Play the Vega recording of “Luka.” What is the story? Students do a fast write using “I think the story is about …. “as a prompt. Students write without interruption for a set period of time (perhaps two or three minutes in this case). They are instructed not to let pen leave paper or reread anything they have written. The value of fast writing lies in slipping past that internal editor to commit words to the page without pausing for self-judgment. Students reread their fast write and, using a highlighter, highlight the key words in what they wrote down. Share these words in a small group. What words appeared as “key”? Were there similarities in word choice? Students listen as the Crozier poem, “The Child Who Walks Backwards” is read aloud. Ask them what mental pictures surface as they are listening to the images Crozier presents. Discuss what is happening in the poem. What injuries is the boy sustaining? What excuses does the mother offer the narrator? Does the narrator believe the mother? Have them use the highlighter from earlier to highlight words and/or lines in the poem that stood out for them as “key.” Why do they think those words and/or lines stood out? Ask some students to share these choices with the class.

Does student contribute meaningfully to the discussion? Can student listen to the text and determine storyline? Can student effectively apply this strategy? Does student contribute meaningfully to the discussion? Does student contribute meaningfully to the discussion? Can student connect to text?


CR 21.2 CC 21.6 CC 21.2

Lines will likely include: • “Like a wounded bird.” Explore this simile with

students. “Plummet” may be an unfamiliar word. Look at the effectiveness of that choice of word.

• Indicate the use of metaphor with “the sureness of a cat.”

• “Sparks burn stars in his skin” is another line that will likely catch students’ attention. Examine the effect of juxtaposition in this line.

Listen to both the song and the poem read again. After: We compare and contrast people, places, and things all the time in life. Likewise, comparison, and contrast is a very common literary technique. Looking for comparisons and noting differences can deepen our understanding of a topic. Walk students through how to write comparison and contrast essays. As a class, create a comparison between dogs and cats, the Riders and the Stampeders, or Adidas and Nikes, etc.

1. Generate Ideas. Have students complete a chart like the “Alike, Yet Different” grid below. (Live Lines: Is There a Place For Poetry in Your World p. 31 has a graphic organizer that also could be used to create an outline).

Child Who Walks Backwards ……………… Luka

DIFFERENT ALIKE DIFFERENT In point form, indicate how The Child Who Walks Backwards differs from Luka.

List common characteristics of the two selections.

In point form, indicate how Luka differs from The Child Who Walks Backwards.

2. Consider Organization.

a) Have students plan an introduction indicating what specific selections are being compared and contrasted.

b) Have students decide how they will order the main points of comparison and contrast. Write about all the similarities and then the differences? Write about the differences first? Dealing with

Is student able to explain why his/her choices of significant passages are meaningful? Can student organize his/her composition?


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each of the significant elements e.g., point of view, repetition, subject matter, style, and word choice in turn?

c) Have students consider how to conclude the comparison/contrast. Will they indicate which they prefer and explain their preference? Will they restate there are both similarities and differences between the two selections?

3. Consider Word Choice. Instruct students there are particular words and phrases that indicate to a reader that comparisons and contrasts are being made. Give examples of the usage of these words and encourage students to use them in their writing.

Type of Connection

Transitional Words and Phrases

Comparison Similarly, in a similar way, similar to, likewise, in the same way, both

Contrast On the other hand, on the contrary, instead, otherwise, whereas, still, however, yet, unlike, but, nevertheless

When the student drafts are complete, have students complete a checklist for revision such as the following: How does my introduction clearly indicate my

intentions? What appropriate transitional words did I include? Is the arrangement of my ideas logical? Have I included all the points I wish to make How does my conclusion complete my comparison? Are my sentences clear? Complete? Varied? Is each word spelled correctly? Does this say what I want it to say? Can I think of any ways to improve upon it?

When revisions are made to the draft, students confer with a peer for any revision suggestions. Adapt the Create and Compose Rubric (Appendix) for assessing this assignment. Share and discuss the instrument with students. Suggested Teacher Resources: Live Lines: Is There a Place For

Does student use appropriate transitions in his/her writing? Can student apply the checklist to his/her writing? Can student offer meaningful feedback? Use the Compose and Create rubric in the


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Poetry in Your World? ; Echoes 11: Fiction, Media, and Nonfiction, Teacher’s Resource: Western Edition has a compare and contrast rubric that may be adapted for specific classrooms (See Assessment Master 22); Communicate! : Western Canada’s Teacher Guide p.38 has a section on using transitions effectively in writing phrase as does the student book, Communicate! (.pp.76-77). Suggested Resources: “Luka” (Connections 1: Imagining, Your Voice and Mine 4); the “Luka” recording is available at www.azlyrics.com/lyrics/suzannevega/luka.html “The Child Who Walks Backwards” (A Sudden Radiance; Family Issues) Extension for Further Inquiry: Examine Lorna Crozier’s memoir, “What Stays in the Family” (Passages, pp.78-82). Encourage students to identify qualities that helped the young Crozier survive this family situation. Comprehending and Responding: Informational Brochure

Before: Note: This section has the potential to raise personally sensitive issues for some students. Consider sending a letter of permission to the homes explaining the nature of this lesson. This may also be an opportunity to consider bringing in an outside expert—a counsellor, an elder, or a staff member from PLEA. This outside facilitation could also be accomplished through teleconferencing. Family and peer relationships, though usually a great source of security and support, can be complicated by many personal issues and outside influences. Reading informational material, responding to issues, and oral speaking will be focused upon. The issue of child abuse and neglect is one that is relevant in all communities. In order to become informed about this issue, we will be examining the informational brochure, “Child Abuse and Neglect” provided by The Public Legal Education Association of Saskatchewan. The better informed one is about an issue the better he/she is able to express views coherently and to appreciate the views of others.

Appendix to create a rubric for this composition

http://www.azlyrics.com/lyrics/suzannevega/luka.html


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During: Ask students what brochures are. Brainstorm a list of places where they might find brochures. Display a selection of brochures for students indicating some are informational (and point to some examples) while others are commercial, selling a product or service. Basic content such as the name of the company or organization and contact information is also required in effective brochures. In small groups, students will briefly examine two or three brochures and determine the following for each:

• The purpose of the brochure • The intended audience of the brochure • The appeals (or negatives) of the brochure

Each group will share conclusions. Pause and clarify to discuss textual cues and conventions (the ways in which text is organized) including headings, bold type, and bullets. Consider as well other cues and conventions such as graphics, layout, colour, fonts, image choices, etc. Distribute the informational brochure, “Child Abuse and Neglect” published by the Public Legal Education Association of Saskatchewan. Invite students to briefly scan the brochure. (There may need to be a brief explanation of the technique of scanning. Ensure students understand this is not a close read). Each student will jot down at least three observations about the brochure. Share with the class. In pairs or small groups have students read the brochure using the “stop and think” strategy. Students read a section of the brochure starting with, When does a child need protection? And then stops. The teacher then writes a brief statement which summarizes the key learnings from that section. The first section is done by the teacher in order to model writing a summary. Instruct students to limit their subsequent summaries to an established number of words. They read the next section and as a class record key learnings. If there are questions they have they can also record those. They do this for all the questions posed. The first section is modeled for them. Complete the last section of the class as well. Note: Depending on reading ability, a teacher may want to read the sections aloud, pausing for students to consider and record key learnings and questions.

Does student contribute meaningfully to the discussion? Can student identify purpose? Audience? Appeals? Can student discuss the graphic aspects of the text? Can students employ this strategy?


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Child Abuse and Neglect Laws in SK to protect those under 16 and unmarried

• Responsibility to protect children is shared by all when the parents are not responsible including Social Services and other organizations

• Question-why least disruptive to the family? What does that mean?

When does a child need protection?

What if you think a child is abused or neglected?

What are some of the signs of abuse and neglect?

What will Saskatchewan Social Services do?

How is a child protected?

What happens if a child is removed from the home?

Can a lawyer help?

Where can you get help with caring for a child?

For More Information • The contact information

for Social Services and the Public Legal Information Association (PLEA)

• A list of what Legal Aid can do

• The small print? After reading the brochure, examine questions students had about the text. This brochure raises a number of issues. Instruct students to write a few brief notes (point form is fine) in response to the following issue questions. Inform students the notes will help them organize their thoughts before participating in a talking circle. ISSUE QUESTIONS Who benefits when authorities remove children from their homes? Explain.

Can student extract information from text?


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Should parents/caregivers be allowed to contact their children once the children have been taken away? Explain. Should children who have been raised by people other than their natural parents be returned to the natural parents if more than ten years has passed since the separation occurred? Explain After: Arrange students in a circle. Explain the talking circle (Appendix) process and the protocols of the talking circle. Invite a student to volunteer to start the circle by presenting his/her views on the issue questions. Invite students to consider how they can be agents of change. Suggested Teacher Resources: A selection of brochures including enough copies of “Child Abuse and Neglect” for all students; Communicate! : Western Canada’s Teacher Guide pp. 23-24; Communicate! pp. 42-45; “The Talking Circle” (Appendix); extensive resources are available for high school students on the PLEA website at http://plea.org/legal_resources/?a=199&searchTxt=&cat=13&pcat=3. Comprehending and Responding: Photographs Before: “A picture is worth a thousand words” is a fairly common expression. Ask students what the expression means to them. Collect a variety of visual texts each of which has a different purpose (persuasion, information, entertainment) and/or different target audience-children, teens, seniors). An internet search for famous photographs will supply a wealth of images. Invite students to study the photos and complete the chart below. Do the first few with them.

Description Purpose Source Audience Picture of a flooded field

To inform, to move

newspaper Newspaper readers

Picture of a winning goal

To entertain, to inform

newspaper Sports fans

Picture of a crying child

To inform, to persuade

PLEA brochure

Grade 11 students

Does student contribute effectively to the talking circle? Can student complete the chart?


CR 21.2

(adapted from Communicate!: Western Canada’s Teacher Guide, p.18) Visual text is everywhere in today's society. From news articles to advertisements, we see visual images used in many forms of media. Photographs can be a very powerful means of communicating a message. A photographer uses images to create a message the way a writer uses words. Photographers, like writers, use a set of rules to suggest meaning in their work. To be an effective viewer, a person needs to know how to ‘read’ an image. During: Below are some questions to consider when “reading” a photograph.

1. What do you first notice in the photograph? 2. Who or what is the main subject of the photograph? 3. What is the setting of the photograph? What in the

setting leads you to think that? 4. How is the setting integral to the story the

photograph depicts? 5. What is in the background of the photograph?

Foreground? 6. What do you think is the story behind the

photograph? What has happened before? What will happen after?

7. How would you describe the photograph technically? Is it in black and white or colour? Is it a landscape? A portrait? From what angle was it taken? Has the photographer used contrast, texture, action, or pattern to add to the image?

8. What emotions are created by the photograph? 9. Explain what you think was the photographer’s

purpose? Message? 10. Who might be the photographer’s intended

audience? 11. What questions does the photograph raise for you?

For additional information on visual text, see the Ministry of Education publication, Viewing and Representing (Draft version in Appendix). This guide has a sample viewing guide for a photograph (page 9) as well as an analytic rubric for

Can student use these questions to read a photograph?



CR 21.4 CR 21.2 CC 21.5

viewing (page 12). Students are shown a number of famous photographs involving children and war. Supply some background for students. Each student is assigned a picture and analyzes that image using the questions above. Small groups are formed made up of those with the same picture. Groups discuss their responses. Each group suggests an appropriate title for the photograph. Note: It is highly recommended that teachers first select a photo distinct from the students” choices, to model the analysis. There are numerous sources available, but be aware of the disturbing nature of some of these images and select with that sensitivity in mind. Two sources with extensive images include: http://www.bing.com/images/search?q=photos+of+children+in+war&qpvt=photos+of+children+in+war&FORM=IGRE http://www.bing.com/images/search?q=images+of+children+in+worls+war+two&qpvt=images+of+children+in+worls+war+two&FORM=IGRE In order, the four pictures below are available at these sites:

• http://en.wikipedia.org/wiki/Phan_Thi_Kim_Phuc • http://furtherglory.wordpress.com/2011/02/05/famo

us-photo-of-settela-steinbach-a-gypsy-girl-who-was-gassed-at-auschwitz/

• http://www.facebook.com/pages/Wait-for-Me-Daddy/133511500065432

• http://www.holocaustresearchproject.org/nazioccupation/boy.html

Do students participate effectively in the discussion of their photograph?

http://www.bing.com/images/search?q=photos+of+children+in+war&qpvt=photos+of+children+in+war&FORM=IGRE

http://www.bing.com/images/search?q=photos+of+children+in+war&qpvt=photos+of+children+in+war&FORM=IGRE

http://www.bing.com/images/search?q=images+of+children+in+worls+war+two&qpvt=images+of+children+in+worls+war+two&FORM=IGRE



http://en.wikipedia.org/wiki/Phan_Thi_Kim_Phuc

http://furtherglory.wordpress.com/2011/02/05/famous-photo-of-settela-steinbach-a-gypsy-girl-who-was-gassed-at-auschwitz/



http://www.holocaustresearchproject.org/nazioccupation/boy.html

http://www.holocaustresearchproject.org/nazioccupation/boy.html


http://www.google.com/imgres?q=famous+photographs&start=284&hl=en&sa=X&domains=http://olc.spsd.sk.ca&biw=1366&bih=551&tbm=isch&tbnid=qs48ZHca_swefM:&imgrefurl=http://iconicphotos.wordpress.com/2010/06/17/napalm-attack-2/&docid=_HfgwxjC8c30uM&imgurl=http://iconicphotos.files.wordpress.com/2010/06/joejet-com_000132-66_famous-20th-century-photos.jpg?w=700&h=460&w=700&h=460&ei=dUjETtGzCMfo2gXI5bTiDg&zoom=1&chk=sbg&iact=rc&dur=0&sig=100855640409782836765&page=24&tbnh=140&tbnw=187&ndsp=12&ved=1t:429,r:1,s:284&tx=83&ty=85

http://www.google.com/imgres?q=famous+photographs&start=284&hl=en&sa=X&domains=http://olc.spsd.sk.ca&biw=1366&bih=551&tbm=isch&tbnid=qs48ZHca_swefM:&imgrefurl=http://iconicphotos.wordpress.com/2010/06/17/napalm-attack-2/&docid=_HfgwxjC8c30uM&imgurl=http://iconicphotos.files.wordpress.com/2010/06/joejet-com_000132-66_famous-20th-century-photos.jpg?w=700&h=460&w=700&h=460&ei=dUjETtGzCMfo2gXI5bTiDg&zoom=1&chk=sbg&iact=rc&dur=0&sig=100855640409782836765&page=24&tbnh=140&tbnw=187&ndsp=12&ved=1t:429,r:1,s:284&tx=83&ty=85


CC 21.1 CC 21.2 CC 21.3 AR 21.1

After: Students write an individual description and an analysis of their photograph including an explanation of the title they would give it. The following can be used as a checklist for self assessment. Checklist Did I describe the picture? Did I indicate the photo’s focal point? Did I indicate the context of the photo? What is

happening? Did I indicate the photographer’s purpose? Did I tell my reader what emotions the picture

created? Have I provided a title for the photo and an

explanation of my choice? When students complete their paragraphs, ask them to exchange with a partner for peer editing. Consider a partner who has been working with a picture other than theirs as that will introduce ‘fresh eyes.” Writers can make necessary revisions based on the classmate’s suggestions. (Numerous rubrics and checklists can be adapted for peer revision. Refer to Communicate! : Western Canada’s Teacher Guide; the LiveInk: Teacher Handbooks; Echoes 11: Fiction, Media, and Nonfiction, Teacher’s Resource: Western Edition). Conclude by discussing the similarities and differences in content among the pictures (all have children as the subjects, the children are all facing challenges, the emotions

Use the Compose and Create rubric in the Appendix to create a rubric for this presentation. Can student reflect on his/her composition? Can student offer meaningful feedback? Can students identify the similarities and


CR 21.1 CR 21.4 CR 21.5

vary, etc.). Suggested Teacher Resources: A selection of visual text including multiple copies of featured photographs; Communicate! : Western Canada’s Teacher Guide pp. 18-20; 23-24; Communicate! pp. 33-35; Dimensions 2 pp.2-12; Saskatchewan Ministry of Education’s Viewing and Representing (Draft version in Appendix). Extensions for Further Inquiry:

• Using “children and war” as an organizer, examine one or more of the following selections:

o “What Do I Remember of the Evacuation?” (Poetry Alive: Transitions, Interface V 2.1)

o “I Never Saw Another Butterfly”(Passages) o “GrAfrica? The Lost Boys and Girls of Sudan”

(Remix: A Revolution in Text Forms) o Who’s That Man?, an illustrated children’s book

with an accompanying CD • Using Four Feet Up, an NFB documentary, examine

the images of child poverty presented. (http://films.nfb.ca/four-feet-up/)

• “A Photographer at Work” is a photo essay starting on page 30 of Passages. The essay captures a variety of people engaged in their work. Examine these photographs. Invite students to describe each scene; examine the composition (e.g., choice of image, type of shot, angle); share their reactions and what the images communicate to them.

Wrap Up In this unit you have used numerous learning strategies to explore some aspects of childhood. With a partner, consider the following quotes:

• As we travel the road of life, we make many discoveries that change the way we see ourselves, others, and the communities around us. What learnings can you apply from this unit on childhood? How can you share what you have learned with others?

• It can also be a time of absolute opposites—innocence and experience; laughter and tears; security and uncertainty. Where were these opposites demonstrated? Should this unit only look only at the

differences? Does student contribute effectively to this discussion?


http://films.nfb.ca/four-feet-up/


AR 21.1 AR 21.1

positive aspects of childhood? Do the challenges a child face need to be examined as well? Why or why not?

After students have had the opportunity to discuss these quotes with a partner, individuals will write a journal entry regarding what they have learned in the childhood unit. Students are to include mention of specific selections and activities as well as personal connections made. They are to indicate what work they were most pleased with in the unit and what they feel still needs attention. They may choose to use “I learned in this unit that…” as a lead.

Can student reflect meaningfully on his/her learning?


English Language Arts 21 Model Unit Two Goals Comprehend and Respond (CR) Compose and Create (CC) Assess and Reflect (AR) Assessment and Evaluation See Appendix for holistic and analytic rubrics that may be used in various places throughout the unit. Resources Used in this Unit Print Resources

• “Bus Shelter.” Donna McCarthy. (Passages). • “Teens held for six hours at Barrhaven Walmart on bogus shoplifting suspicion.” Hugh

Adami. Get Real (in Live Ink series). • “The Vanishing Trace.” Keesic Douglas. Looking for Me (in Live Ink series). • “We’re More Than Just Beads and Feathers.” Jason EagleSpeaker. Strength and Struggle

(in iLit series) . • “Rising Above.” Steven Keewatin Anderson. (Remix in iLit series). • “Service to Others.” (Interface 1.1). • Communicate! : Western Canada’s Teacher Guide. • Fishtailing. Wendy Phillips. • “Fish Cheeks.” Amy Tan. (Interface 2.2). • “To My Daughter.” Jean Cazabon. (Interface 1.2). • “The Metaphor.” Budge Wilson. Various anthologies. • “The Worth of a Boy.” Michelle Shapiera. From Discord to Discourse: a Collection of

Canadian Essays (in iLit series). • “The Children of Bogota.” Patrick Lane. A Sudden Radiance.

Online Resources

• http://www.tvspots.tv/video/17548/COVENANT-HOUSE--BUS-SHELTER • http://www.bing.com/images/search?q=ageism&id=EB64DF1ED7E5CD36D2A87166A

70617C03A32226C&FORM=IGRE1#x0y360 • http://www.bing.com/images/search?q=ageism&id=EB64DF1ED7E5CD36D2A87166A

70617C03A32226C&FORM=IGRE1#x0y2699 • http://www.education.gov.sk.ca/AFL/student-questionnaire-2011 • http://www.drkenhunt.com/papers/question.html • http://www.nfb.ca/film/for_angela and http://www3.nfb.ca/sg/100037.pdf • http://en.wikipedia.org/wiki/Elizabeth_Eckford • http://www.globecampus.ca/in-the-news/article/top-20-under-20-awards-

researchers-entrepreneurs-and-activists/ • http://www.sasknetwork.gov.sk.ca/html/jsh/JSearch_Index.htm

http://www.tvspots.tv/video/17548/COVENANT-HOUSE--BUS-SHELTER

http://www.bing.com/images/search?q=ageism&id=EB64DF1ED7E5CD36D2A87166A70617C03A32226C&FORM=IGRE1#x0y360




http://www.education.gov.sk.ca/AFL/student-questionnaire-2011

http://www.drkenhunt.com/papers/question.html

http://www.nfb.ca/film/for_angela

http://www3.nfb.ca/sg/100037.pdf

http://en.wikipedia.org/wiki/Elizabeth_Eckford

http://www.globecampus.ca/in-the-news/article/top-20-under-20-awards-researchers-entrepreneurs-and-activists/


http://www.sasknetwork.gov.sk.ca/html/jsh/JSearch_Index.htm


• “Oranges” by Gary Soto, page 72 http://books.google.ca/books?id=bPOcuGbgGYYC&pg=PA72&lpg=PA72&dq=The+first+time+I+walked+with+a+girl,+I+was+twelve,+Cold,+and+weighted+down&source=bl&ots=l3ubqE1SoO&sig=8FgUHqRZ09mjPpWVfWsaJJ5jADI&hl=en#v=onepage&q=oranges&f=false

• “Warren Pryor” Alden Nowlan http://sussexhigh.nbed.nb.ca/jjohnston/pdf%20files/poems/Nowlan,%20Alden%20--Warren%20Pryor%20with%20questions.pdf

• Language and the Interview (available at http://www.bodylanguageexpert.co.uk/BodyLanguageAndTheInterviewProcess.html)

R.O.V.E.R.

• “Fish Cheeks” • “Reservation Soldiers” • “For Angela” (also available through Media Group)

Appendix

• Viewing and Representing (Draft version) • Secondary-Level ELA Rubrics

Note: Additional resources used to address Extensions for Further Inquiry are listed in the body of the unit.

http://books.google.ca/books?id=bPOcuGbgGYYC&pg=PA72&lpg=PA72&dq=The+first+time+I+walked+with+a+girl,+I+was+twelve,+Cold,+and+weighted+down&source=bl&ots=l3ubqE1SoO&sig=8FgUHqRZ09mjPpWVfWsaJJ5jADI&hl=en#v=onepage&q=oranges&f=false




http://sussexhigh.nbed.nb.ca/jjohnston/pdf%20files/poems/Nowlan,%20Alden%20--Warren%20Pryor%20with%20questions.pdf

http://sussexhigh.nbed.nb.ca/jjohnston/pdf%20files/poems/Nowlan,%20Alden%20--Warren%20Pryor%20with%20questions.pdf


Unit Two: Moving Forward: Establishing and Realizing OUTCOMES LEARNING ACTIVITIES ASSESSMENT

& EVALUATION

Big Ideas: • Youth is a time to prepare for the future. • Youth can make a difference in their world. • There are challenges to face as young people take their

places in the world. Questions for Deeper Understanding:

• What challenges are there as people transition from childhood to the adult world?

• How will you prepare for your future? • What is society’s perception of youth? • Questions students would like to explore. (When teachers

introduce this aspect of the course, there may be related questions students ask to explore).

Indicate to students that the second unit of this course is framed by the following paragraph. Read it with them. (This paragraph may be displayed somewhere in the classroom). Youth is a time of anticipation. The young consider the many paths they might pursue. Along the path will be turning points and transitions that result in new roles and responsibilities being taken on (personal, family, and career). Along their journey, they might reconsider their values and goals and may veer from the path they initially chose. Through a variety of texts, students are presented with opportunities to investigate the complexities and dynamics of these new and changing directions and to begin to chart their own course. Write the word “predict” on the board or overhead. What does the word “predict” mean? What synonyms are there for this word? Where could they find such information about this word, ‘predict’? Examine the etymology of the word (pre meaning before /dicere meaning to say). Why is it a fitting word to use at the beginning of this second unit? Ask students what they predict they might be learning in the next few weeks within the unit.


CR 2.1 CR 21.2 CR 21.3 CR 21.4 CR 21.5

Comprehend and Respond: Viewing Images Before: Discuss PSA’s with students posing the following questions:

• What is a Public Service Announcement? • What is the purpose of PSA’s? • What are some examples you have seen? Who is the

audience in each case? • How would audience influence PSA’s? • What elements might make them effective?

Show an example (e.g. Echoes, p.451 and/or You Tube selections such as:

• http://www.youtube.com/watch?v=9a9El93UhEw&feature=related

• http://www.youtube.com/watch?v=nWJut7KQhI4&feature=related

• http://www.youtube.com/watch?v=__C7sd_UDU0&feature=related

During: Invite students to examine the three visuals in “Bus Shelter” (Passages p.166 or in the video link). If using the video, mute the sound for the first viewing. Have students consider each of these (or similar) questions:

• What do you think the story is behind the three distinct images? What’s happening?

• Is there a message here? What do you think it may be? Why do you think that?

• The third image has a logo, the name Covenant House, and a telephone number. Explain what you think Covenant House might be.

Play the PSA (http://www.tvspots.tv/video/17548/COVENANT-HOUSE--BUS-SHELTER) with sound:

• Did that confirm your predictions? Were you surprised? Why?

• What did the music add to the effect? Do you know the name of the music selection? Why might it have been chosen?

• Who do you think is the intended audience? Why do you think that?

• PSA’s raise awareness. Do you think this one was successful? Why or why not? Suggest some other elements that might make it more effective.

Does student demonstrate an understanding of PSA’s? Do student responses indicate understanding? Can student identify audience? Can student suggest other elements?

http://www.youtube.com/watch?v=9a9El93UhEw&feature=related

http://www.youtube.com/watch?v=9a9El93UhEw&feature=related

http://www.youtube.com/watch?v=nWJut7KQhI4&feature=related

http://www.youtube.com/watch?v=nWJut7KQhI4&feature=related

http://www.youtube.com/watch?v=__C7sd_UDU0&feature=related

http://www.youtube.com/watch?v=__C7sd_UDU0&feature=related




CR 21.4

After: Suggest this Public Service Announcement may indeed illustrate another issue. The sentence, “How young do they have to be …before we give a damn?” may be more than a reference to the issue of homelessness. It would seem to suggest a societal perception of teenagers. How do people view teenagers? Have students consider ageism. What does the term mean? (Also called age discrimination, it is stereotyping of and discrimination against individuals or groups because of their age). Ageism is an attitude used to justify age based prejudice, discrimination, and subordination. . Explore with students the concept of power and privilege. In our society, which people are privileged? Students may examine some pictorial examples such as the ones below.

(Source: http://www.ncaop.ie/newsevents/SNTA2009.jpg)

Do student responses demonstrate an understanding of the issues being explored? Does student contribute effectively to the discussion?

http://www.bing.com/images/search?q=ageism&view=detail&id=985BC00294BADDDD1278A4A6908F03E244040322&first=0


CR 21.2 CR 21.1 CR 21.2

(Source: http://www.google.ca/imgres?imgurl=http://rlv.zcache.com/ageism_should_never_affect_a_person_in_the_present_tshirt-r52a3e188715743e49169f7e1215095db_f0czj_512.jpg%3Frlvnet%3D1&imgrefurl=http://www.zazzle.com/ageism_should_never_affect_a_person_in_the_present_tshirt-235631902548012777&usg=__PyapPbvBGooMCBLnqyWTyKP7OW4=&h=512&w=512&sz=28&hl=en&start=4&zoom=1&tbnid=yYwKchRp8qAkNM:&tbnh=131&tbnw=131&ei=xoIuUK6qCOKLywHVo4GYBw&prev=/search%3Fq%3DAgeism%2Bshould%2Bnever%2Baffect%2Ba%2Bperson%2Bin%2Bthe%2Bpresent%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:*%26tbm%3Disch&um=1&itbs=1)

Using the following grid, “What Are Societal Perceptions of Different Age Groups?” have students suggest what stereotyped attitudes might lead to ageism in each of the following groups: (address teens last) What Are Societal Perceptions of Different Age Groups?

AGE ATTITUDE EXAMPLES ELDERLY

MIDDLE AGED

CHILDREN

TEENS

Read and discuss the news report, “Teens held for six hours at Barrhaven on bogus shoplifting suspicion “(Get Real in Live Ink series).What did the teens feel? The parents? The security staff and other personnel?

Can students respond meaningfully? Can student make connections? Can students

http://www.google.ca/imgres?imgurl=http://rlv.zcache.com/ageism_should_never_affect_a_person_in_the_present_tshirt-r52a3e188715743e49169f7e1215095db_f0czj_512.jpg%3Frlvnet%3D1&imgrefurl=http://www.zazzle.com/ageism_should_never_affect_a_person_in_the_present_tshirt-235631902548012777&usg=__PyapPbvBGooMCBLnqyWTyKP7OW4=&h=512&w=512&sz=28&hl=en&start=4&zoom=1&tbnid=yYwKchRp8qAkNM:&tbnh=131&tbnw=131&ei=xoIuUK6qCOKLywHVo4GYBw&prev=/search%3Fq%3DAgeism%2Bshould%2Bnever%2Baffect%2Ba%2Bperson%2Bin%2Bthe%2Bpresent%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:*%26tbm%3Disch&um=1&itbs=1









http://www.bing.com/images/search?q=ageism&view=detail&id=F504A629F9D38D09076DFB5F4F265F632E6855BE&first=121&FORM=IDFRIR


CR 21.1 CR 21.2 CR 21.6 CC 21.2

Share examples of ageism directed at teens they may have encountered and how they felt as a result. What did they say and/or do when this occurred? Discuss what might be appropriate reactions in such situations. Suggested Resources:

• “Bus Shelter” in Passages; Literature and Language, p.166 and http://www.tvspots.tv/video/17548/COVENANT-HOUSE--BUS-SHELTER)

• “Teens held for six hours at Barrhaven Walmart on bogus shoplifting suspicion” (Get Real in Live Ink series).

Extension for Further Inquiry: “Read Teens Tired of Criminal Image” in Dimensions II. These are 1990’s statistics. Invite students to conduct an Internet search for more recent statistics. How do they compare or contrast? Invite them to consider how societal attitudes towards youth have changed (or not) from the 1990’s. Compose and Create: Questionnaires Before: Administer a brief questionnaire to students or draw on parts of one such as the Assessment for Learning’s student questionnaire 2011 (See http://www.education.gov.sk.ca/AFL/student-questionnaire-2011) Indicate to students they will be examining questionnaires as a text form and should be considering the format of the instrument (as well as their answers). In small groups of two or three, have students list at least three qualities of a good questionnaire. Remind students that all writing demands consideration of audience and purpose and these are elements they should think about when addressing this task. With students, discuss aspects such as the following:

• The qualities they listed of a good questionnaire. • Other qualities they may not have considered. • Whether the Ministry example is a good instrument. Why

or why not? • The importance of including background and

demographic information. • What is anonymity and why is it a consideration?

make personal connections to the discussion? Can student contribute appropriate reactions to similar situations? Can students identify qualities of an effective questionnaire? Can students contribute meaningfully to the conversation?



CC 21.2 CC 21.2 CC 21.3 CC 21.2 CC 21.4 CC 21.5 CC 21.5

During: In the same small groups, have students discuss how they would go about developing a questionnaire to reveal societal perceptions of teens. Indicate they will be creating a questionnaire to administer to an authentic audience.

• Who would they ask? (Who is their audience?) • What would they ask? (What do they want to find out?

What is the purpose?) • What would you do with the information?

Have each group share its thinking and then return to the smaller group to draft a brief questionnaire including background information and appropriate demographic questions. When the first draft is finished, each group will consider the following checklist and revise as needed: Is the questionnaire an appropriate length? (Consider your

audience. Consider the examples seen previously). Are the questions clear? Will the questions provide the information we are seeking? Is every question important to finding out the information

we want? (Eliminate those that are not necessary). Is there repetition? Are there any ‘leading’ questions? (Provide examples of a

leading question). Does the background information indicate purpose and

consider audience? The instruments will be passed around to other groups. Each group will provide revision suggestions based on the checklist. Drafts are revised based on appropriate suggestions. A class discussion will identify a sample of suitable responders to approach. Attempt to ensure the same person is not approached too often. Some compromise may be required here. (Encourage students to go beyond the school (e.g. neighbourhood events, work situations, Facebook connections). Each student will approach a suitable number of responders and administer the questionnaire. After: Debriefing could take a variety of forms including using a talking circle. The talking circle allows all students the opportunity to share.

Can student identify audience and purpose? Do students generate appropriate questions? Can group effectively draft the questionnaire? Can students revise questionnaire using the checklist? Can students offer meaningful feedback? Can students use meaningful feedback for the purpose of revision?


AR 21.1 AR 21.2 CC 21.1

Option 1: Students meet again in their small groups and look at the information they have. What can they determine from the information? What questions worked? What would they do differently the next time? Were they surprised with anything they found? Students meet with another group and share their information. Option 2: Students meet again in their small groups and look at the information they have. What can they determine from the information? What questions worked? What would they do differently the next time? Were they surprised with anything they found? Students meet in a round table discussion to pool their findings. The discussion should examine both the findings about attitudes to teens as well as what was discovered about the instruments they used.

Possible panel discussion questions could be: • What did we discover? • Did we discover anything surprising? What? • Do we think our responders were a suitable target

audience? Why or why not? • Did the instruments provide us with the

information we required? Explain. • What new questions might you ask if you were

given the opportunity? • What were the flaws in our questionnaires? Explain.

After the panel discussion, invite the class to brainstorm what actions they could take on the issue under discussion. Suggested Teacher Resources:

• Website dealing with questionnaires such as http://www.drkenhunt.com/papers/question.html

• questionnaire model such as http://www.education.gov.sk.ca/AFL/student-questionnaire-2011)

Extension for Further Inquiry: Invite students to write journal entries on experiences they have had with ageism. What can they do to address ageism? Comprehend and Respond: Viewing Before: Explore the four words below with your students using

Does student contribute meaningfully to the debriefing? Can student reflect on strengths and weaknesses?

http://www.drkenhunt.com/papers/question.html




CR 21.3 CR 21.1 CR 21.2 CR 21.1 CR 21.2 CR 21.4 CR 21.2

the think/pair/share strategy. Students will jot down the distinctions they believe exist among the similar words; discuss and come to some agreements with a partner; and then present their conclusions to the class for further discussion.

• prejudice • stereotyping • racism • discrimination

(See the Teacher Guide attached to the docudrama “For Angela” for a definition of these four terms. Available at http://www3.nfb.ca/sg/100037.pdf) During: Examine “The Vanishing Trace” from Looking for Me with students. Read the explanation above the photos and then engage students in the following adaptation of the second activity on page 56. Look at each of the images.

• What has the artist included in each? • What stereotypes appear in each? • How effective is each in getting a message across? • What is the message?

Choose one of the following texts for viewing:

• “For Angela” Introduce this short docudrama by telling students it is a portrayal of Rhonda Gordon and her daughter, Angela’s, experiences of a simple bus ride that would change their lives forever. The Teacher’s Guide (http://www3.nfb.ca/sg/100037.pdf) attached to this docudrama reminds teachers to be sensitive to the classroom climate when showing “For Angela.” It warns teachers to be prepared for emotional reactions to the video. Ask students to think about connections to “The Vanishing Trace” as they watch the video.

• “We’re More Than Just Beads and Feathers”

Introduce this graphic novella by examining information on page 4 pertaining to the author (What’s the meaning of NDN? What are examples of humour?). Examine the graphic novel form (What is it? How is it to be read/viewed?).

Can student use this strategy effectively? Can student contribute meaningfully to the discussion? Can students make distinctions among terms? Are student responses thoughtful? Can students make connections between texts? Can students identify the text’s purpose?




CR 21.4 CR 21.2 CC 21.1 CR 21.2

Ask students to consider the purpose of the text as they read the selection.

• “Rising Above”

Introduce this graphic story by examining information on page 36 pertaining to the author (Where is he from? What does he do? What are some of his accomplishments? Why did he write this selection?). Ask students to think about what the author is saying about stereotypes as they read this selection.

After:

• “For Angela” Invite students to respond to the drama by briefly writing their reactions. They may choose to write from one of the following leads. My first reaction was…. The image that stood out for me was…. A question I have is…. I feel…. I think….

Follow this with a discussion with students. One way to initiate this discussion would be to first have students who responded to the same stem share their writing in a small group. A number of discussion questions (below) are in the Teacher Guide. They may be used to use to guide discussion. 1. Brainstorm lists of emotions felt by the following people:

Rhonda, Angela, Ian, Ian's friends, the bus driver, the others on the bus, and the principal of the school. Compare and show similarities.

2. Why do you think Ian did what he did? 3. Why do you think Angela did what she did? Identify what

cutting off her braids symbolized to Angela? To Rhonda? To Ian.

4. Why do you think Rhonda decided to go to the school and look for Ian and his friends? Do you agree this was the best she could do? If not, what should she have done instead?

5. What do you think should happen to Ian? Do you think he understands the results of his actions towards Rhonda and Angela?

6. What do you believe should be done to assist Angela and

Can student suggest author’s message from text? Can student respond meaningfully to the prompt? Can student contribute meaningfully to the discussion?


CR 21.2 CR 21.2 CC 21.1 CC 21.2

Rhonda to deal with their feelings? After the discussion, have students (either individually or in their small groups) return to their original reactions examining how their thinking may have changed.

• “We’re More Than Just Beads and Feathers” Invite students to respond to the graphic novella by briefly writing their reactions. They may choose to write from one of the following leads. My first reaction was…. I like/do not like because…. A question I have is…. I feel…. I think….

Follow this with a discussion with students. A number of discussion questions (below) are on page 17. Some of these may be used to guide discussion.

• “Rising Above” Invite students to respond to the graphic story by briefly writing their reactions. They may choose to write from one of the following leads. My first reaction was…. The image that stood out for me was…. A question I have is…. I feel…. I think….

Follow this with a discussion with students. A number of discussion questions (below) are on page 45. Some of these may be used to guide discussion. Invite students to bring in or sketch a picture of themselves. Ask students to consider how they see themselves. How do they believe others see them? Instruct them to mark up the photo or drawing of themselves similar to those in “The Vanishing Trace.” If students are comfortable with doing so, have them share the visuals with a partner or in a small group.

Can student respond meaningfully to the prompt? Can student contribute meaningfully to the discussion? Can student respond meaningfully to the prompt? Can student contribute meaningfully to the discussion? Can student use this strategy to explore understanding? Can student discuss


CR 21.1 CR 21.2 CR 21.3 CR 21.4

Suggested Teacher Resources: • “For Angela” (1993). National Film Board. See

http://www.nfb.ca/film/for_angela, R.O.V.E.R., or Media Group.

• “For Angela”: Teacher’s Guide (http://www3.nfb.ca/sg/100037.pdf)

• “We’re More Than Just Beads and Feathers” in Strength and Struggle pp.4-17.

• Rising Above in Remix pp.36-45. • “The Vanishing Trace” in Looking for Me (from the Live Ink

series) pp.56/57. • A selection of graphic organizers, including Venn

diagrams, is available through http://eduscapes.com/tap/topic73.htm


• More than one of the visual selections can be examined. • Read and discuss “3740166701” from Strength and Struggle

(pp.48/49). Invite students to consider similarities and differences with the visual selection previously examined. A Venn diagram could be used.

• If either “For Angela” or “We’re More Than Just Beads and Feathers” were used as the visual selection, the poem “Footprints” (pages 18-19 of Strength and Struggle) could serve as a companion piece to examine role modelling and identity.

Comprehend and Respond: Informational Essays About Making a Difference in One’s Community Before: Have students examine the photo of Elizabeth Eckford at http://en.wikipedia.org/wiki/Elizabeth_Eckford Ask students what they can determine from the photo. Inform students that the picture has been recognized as one of the top 100 pictures of the 20th century. Talk to your students about the history of Elizabeth Eckford. Indicate to them that this young woman made a difference to her generation and to the generations that followed. Teachers may want to share the photo of Elizabeth and one of the yelling girls in the photo. What do they observe from this visual? Inform students that the Eckford incident took place a long time

representation? What observations do students make when viewing the visuals?


http://en.wikipedia.org/wiki/Elizabeth_Eckford


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ago and in another country, yet young people are still making a difference today. Indicate they will be looking at a more recent and Canadian examples. During: Invite students to briefly scan pages 156 through 158 of “Service to Others” (Interface 1.1). What do they notice in this scan (the title, a picture of a cheque being presented, text in white, orange lines and graphics, a patterned background, etc.)? Students then read the two profiles. Instruct students to particularly note the bolded words in the profiles. Underline any other words in text they are unsure of as they encounter them. Discuss the profiles with students:

• What award did Justin Lui receive? • What contributions did Justin make to his community? • How does the profile suggest Justin’s modesty? • What did Roz Roach do to make a difference in her

community? • What was Ms Roach’s inspiration? • How did Roz choose the specific location for the Centre? • What sacrifices did she make? • What do Justin and Roz have in common?

Examine the words students were unsure of. Are the meanings clearer after the discussion? Discuss the words which still need clarification. After: Visit the Top 20 Under 20 website (http://www.globecampus.ca/in-the-news/article/top-20-under-20-awards-researchers-entrepreneurs-and-activists/). Read some of the other young award winners’ profiles. What have these young people done to make a difference? Discuss with a partner or in a small group, which of their causes would best serve your community? Brainstorm suggestions as to what actions could be taken to address these needs and issues. Students may wish to explore what other needs and issues are important to their community. Encourage students to consider what actions they could take. Teacher Resources:

• For information on Elizabeth Eckford, see http://www.spartacus.schoolnet.co.uk/USAeckford.htm. Another useful website is http://www.tolerance.org.

What do students observe from scanning the visuals? Can students respond meaningfully to these questions? Do student comments reflect an understanding of the vocabulary found in text? Do student comments reflect an understanding of issues? Can student suggest reasoned actions?




CR 21.1 CR 21.2 CR 21.3 CR 21.1

• “Service to Others” (Interface 1.1) and http://www.globecampus.ca/in-the-news/article/top-20-under-20-awards-researchers-entrepreneurs-and-activists/)


• Visit the Free the Children website at http://www.freethechildren.com/

• Read David Suzuki’s essay “Young People” in Echoes: Fiction, Media, and Nonfiction aloud to students. Pause to clarify vocabulary when necessary by modelling through a think aloud strategy. Continue examining similarities and differences among the three selections.

• “How Clean are Your Jeans?” (http://www.education.gov.sk.ca/AFL/2011-reading-booklet-grade-10). The 2011 AFL Reading Assessment has a rubric at this site which could be adapted for the responses. This essay explores the issue of child labour and encourages teen consumers to make responsible choices when shopping for clothing. Students answer each of the following questions about “How Clean Are Your Jeans?”

1. Why do many people oppose child labour? 2. What is the negative effect of companies pulling out of the

countries where there is child labour? 3. According to the text, discuss two (2) ways you might

educate yourself in order to make more informed purchasing decisions.

4. After reading the essay, “How Clean Are Your Jeans?” will you change your purchasing habits? Explain why or why not.

5. Is “How Clean Are Your Jeans?” a good title for the selection? Explain why or why not. Suggest another possible title.

• Visit some of the websites suggested in the essay, “How

Clean Are Your Jeans?” Ask students to share with a partner what stood out for them on the site.

Compose and Create: Panels and Symposiums Before: Draw students’ attention back to the introduction to the second unit.




http://www.education.gov.sk.ca/AFL/2011-reading-booklet-grade-10

http://www.education.gov.sk.ca/AFL/2011-reading-booklet-grade-10


CR 21.1 CR 21.2

As the journey of life unfolds, the young consider the many paths they might pursue. Along the path will be turning points and transitions that result in new roles and responsibilities being taken on (personal, family, and career). Along their journey, they might reconsider their values and goals and may veer from the path they initially chose. Through a variety of texts, students are presented with opportunities to investigate the complexities and dynamics of these new and changing directions and to begin to chart their own course. One of the roles and responsibilities you will be taking on will be in the area of employment. Invite students to suggest some of the challenges they expect they may face in the area of employment. Indicate that although many already have part-time jobs, there is pressure to consider the long term direction. What are your occupational interests? What employment skills have you? What will be your career path? It is projected that today’s generation of young people will have numerous jobs over their lifetimes. Different numbers are suggested from 7 to 15. Some suggest even more. These numbers indicate people will need to build various skills over their working lives. There are those who suggest time spent in the Canadian Armed Forces would build the skills and talents useful throughout these numerous jobs and that all youth should spend some time in the military. View the video, “Reservation Soldiers.” Indicate this video targets a particular segment of First Nations and Métis youth. Invite students to reflect while viewing on the advantages pointed out in joining the military. What disadvantages are highlighted? Ask them to consider how they would handle military life as shown. When students have finished viewing, have them turn to an ‘elbow partner’ and complete the following adaptation of the plus/minus/interesting strategy. Each pair is then to share at least one thought from their chart with the whole group. Afterwards, each student completes one of the stems below the chart (I think that/I believe that….) Military Service

Pluses Minuses Things to Think About

Do student comments indicate thoughtful reflection? Can student use this strategy to organize understanding?


CR 21.5 CC 21.5 CR 21.2 CC 21.5

I think that…. I believe that…. Indicate to students they will be participating in a forum, where everyone will have the opportunity to express views or ask questions on a topic. The forum will begin with a panel discussion where a number of students sit and discuss the case for mandatory military service amongst themselves-but loudly enough for the class to hear. Other members of the class will then be encouraged to offer comments and ask specific questions of any particular panel members. The teacher would serve as chairperson for the forum. Time would be well spent reminding students about the qualities of effective listeners. Remind students of the following: listen with their whole body by sitting up straight and

keeping eyes focused on the speaker (remembering cultural expectations regarding eye contact)

block out distractions avoid getting upset and presenting counter-arguments

before the speaker is finished evaluate what is being said, not the speaker’s clothing,

speech patterns, or mannerisms jot down questions you have of the speaker for question

period later. It would be useful for students to see what panel discussions look like. These are often televised and a clip could be shown. Even better would be student attendance at a forum in the community. Failing those options, some of the clips below, or ones like them, could be shown.

http://www.youtube.com/watch?v=NGcNKE0jEh4&feature=related where the topic is student experiences of immigration

http://www.youtube.com/watch?v=S52cJBl0KX0&feature=related where the topic related to black students’ experiences of being a minority on a university campus.

http://www.youtube.com/watch?v=78XRwWwUkow is a discussion of digital rights management.

Depending upon the class, it may be more appropriate to organize a different type of speaking event possibly a round table discussion or an informal debate.

Can student respond meaningfully to the given stem? Does student demonstrate the qualities of an effective listener?

http://www.youtube.com/watch?v=S52cJBl0KX0&feature=related

http://www.youtube.com/watch?v=78XRwWwUkow


CC 21.1 CC 21.2 CC 21.3 CC 21.5 CR 21.1 CR 21.2 CR 21.3

During: Invite students now they have heard a discussion about mandatory military service, that it is time to present their informed opinion about the topic. Indicate, in writing, what you now believe about compulsory military service and why you believe that. Explain in what specific ways your life might be affected if compulsory military service for both males and females were implemented in Canada. Read aloud to a partner or in a small group. Discuss opinions among the group. Teacher Resources:

• Reservation Soldiers available on R.O.V.E.R. • Communicate! : Western Canada’s Teacher Guide pp. 121-

122 and Communicate! pp. 273-274 Extensions for Further Inquiry:

• Watch military recruitment advertisements (two links appear below) and invite students to reflect on their appeals. http://www.youtube.com/watch?v=6D7URaVZwlQ

• “Students Protest Against Military Recruitment at Local Schools” (What’s Your Problem in the Live Ink series) deals with the issue of military recruiting in schools. This news report could serve as the basis for a classroom forum.

• Read the essay, “The Case for a National Service Program” http://www.education.gov.sk.ca/Default.aspx?DN=16586f6b-1cf9-4d6a-a52c-cde4c5852e1a&l=English. Possible ideas to include with this selection is as follows: 1. The national service should be for everyone. This

egalitarian program would reflect the entire country in that it would bring together men and women from all social classes. Look again at these two sentences. Given what comes before and after, what might the word ‘egalitarian’ mean?

2. Further, there is a growing concern that the armed forces will soon face an exodus of experienced personnel. The study of populations-ages, genders, etc. is called demographics. Canadian demographics show a large number of people retiring. Reread the sentence and given this information about demographics, suggest what the word “exodus”might mean?

Can student effectively present his/her opinion in writing? Can student present his/her opinion to others? Can students respectfully listen to others opinions?

http://www.education.gov.sk.ca/Default.aspx?DN=16586f6b-1cf9-4d6a-a52c-cde4c5852e1a&l=English

http://www.education.gov.sk.ca/Default.aspx?DN=16586f6b-1cf9-4d6a-a52c-cde4c5852e1a&l=English


CR 21.6 CR 21.2

3. Examine the word “demographic.” It has two root words. Demos (Greek for people) and graph (Greek meaning to write). What other English words have the root demos, meaning people? What English words have the root graph?

4. Examine word choice. What is the effect of using words like patriotism, democracy, and egalitarian?

5. In pairs, students reread the selection aloud to each other. One student underlines the advantages while the other does the same with the disadvantages. Display a T-chart with students contributing the advantages and disadvantages. Invite students to add their own ideas to the T- chart.

Compose and Create: Written Text: Application Letter and Résumé Before: Discuss with students how they can prepare for the world of employment. Students will no doubt mention writing an effective résumé Introduce the task of creating an application letter and résumé. Discuss what is important about an application letter and résumé (including language cues and conventions). Ensure students recognize they should have a résumé for their employment portfolio upon graduating high school. Collect samples of application letters and résumés. (School counsellors would likely have this material already). Numerous web sites provide samples (and tips) that could be downloaded. For example: http://jobsearch.about.com/library/samples/blhsresume.htm; http://www.samplestudentresumes.net/sample-student-resume-%e2%80%93-tips-on-making-your-resume-look-more-professional/; http://www.careercruising.com/ Students will examine samples of application letters and résumés. In groups, they will analyze the samples of writing, reflecting on what is important in creating each (including how information is effectively communicated). Together, the class will list the ideas and create criteria (recorded on a T-chart) for the tasks of creating an application letter and

Can student identify criteria of effective letters and résumés? Can students

http://jobsearch.about.com/library/samples/blhsresume.htm

http://www.samplestudentresumes.net/sample-student-resume-%e2%80%93-tips-on-making-your-resume-look-more-professional/




CC 21.6 CC 21.5 AR 21.1 CC 21.5 CC 21.6 CC 21.6 CC 21.6 CC 21.3

creating a résumé. During: Assign a practice application letter and a practice résumé that students will do in small groups. (The practice will be done before they create an application letter and résumé independently.) Each group will present its application letters and résumé to the class. The class will assess each using the criteria agreed upon earlier. After the presentations, each group will review its writing. Students will take a few moments to write in their journals about what they noticed they were able to do well and what they needed to work on. Once students have completed their practice application letters and practice résumés, the class will revisit the criteria they set. Students have the opportunity to add, change, or delete ideas on the criteria T-chart. Specific teacher feedback should be provided Display or distribute online and/or newspaper want ads. Each student will create an application letter and an accompanying résumé in response to an advertisement. (Alternative: Students are informed they are applying for their dream job five to ten years in the future. In an application letter and an accompanying résumé, students will convince a prospective employer to hire them). A checklist similar to the following should be available (adapted from Communicate! pages 202 and 205). Letter How did I clearly identify the job I was seeking? Did I refer to my résumé that I would be including? How did I clearly show that I am interested, sincere, and

enthusiastic? Does my writing reflect an awareness of my audience and

situation? Is my writing clear and free from mechanical mistakes?

Résumé Did I state my contact information on every page (if my

generate appropriate criteria? Can students apply previous criteria to letters and résumés? Can student reflect meaningfully on writing? Can student adjust criteria successfully? Can student use checklist for revision?


CR 21.6 AR 21.1 AR 21.2 CR 21.2

résumé is longer than one page)? Did I outline any education, training, or experience that

applies to the job? Did I clearly outline my work experience, including

volunteer work? Did I include my interests and hobbies that show that I

would be a good employee? Did I include a References section? Are my references people who know me well enough to

speak knowledgably and fairly about me (and are not relatives)?

Is my writing clear and free from mechanical mistakes? Pairs of students will respond to one another’s draft letters and accompanying résumés by looking at them as if they were the prospective employers. Would they hire the applicant based on the letter and résumé? Why or why not? They should consider the checklist as they determine their response. What suggestions have they for revisions? Each student will rewrite, based on appropriate suggestions. After: Reflect on the process of writing an application letter and a résumé. Did anything surprise you as you went through this process? What might you want to consider doing in near future to add to your résumé? What language skills do you need to work on? Student’s submitted résumé is reviewed by teacher with suggestions. Work is resubmitted until it is completely accurate. Teacher Resources: Communicate! : Western Canada’s Teacher Guide; Communicate!; Job Search Handbook, print or online version http://www.sasknetwork.gov.sk.ca/html/jsh/JSearch_Index.htm Compose and Create: Oral Communication: Job Interview Before: Ask students how many have had job interviews. Invite volunteers to share some questions they have been asked in these interviews and write these on the board/overhead. Are there patterns among the questions? Do you know why each of these questions has been asked? A job interview is an opportunity for a prospective employer to find out if you are the person he/she wants to represent his

Is appropriate feedback provided? Does student apply appropriate feedback to revisions? Does student reflect meaningfully on writing? Does student strive for accuracy?

http://www.sasknetwork.gov.sk.ca/html/jsh/JSearch_Index.htm


CC 21.3 CC 21.1 CC 21.2 CC 21.3

business. However, it works both ways. It is also an opportunity for you to find out more about the position and whether you are interested in it. Preparing for the interview, particularly by anticipating the questions and your responses to these questions, will help you feel more comfortable in the situation and make for a better interview. Indicate to students that the school’s guidance counsellor (or a person working in a human resources capacity) will be coming into the classroom to talk about job interviews. She/he will be discussing typical questions and guidelines on how to respond; good questions you can pose; general demeanour (conduct and appearance) during the interview; and possible follow up to the interview. Ask students to put forward any questions they might have regarding either the application or the interview question so that these can be given to the counsellor (HR person) beforehand. Take this opportunity to instruct students on how to introduce and thank a speaker explaining this is a skill frequently used in adult life. The introduction should be brief and interesting. The most important job is who is speaking and why. Students should include information that will catch the attention of the audience and that is complimentary to the speaker. All words should be pronounced correctly, especially the speaker’s name, which should be mentioned at the beginning and at the end. Provide students with some pertinent information on the speaker. Invite students either individually or in pairs to write brief introductions that could be delivered when the guest arrives. Remind them of the qualities of a good delivery-volume, pace, pauses, eye contact, etc. Model a number of introductions by introducing two or three students to the rest of the class as if they were guest speakers. One student will be chosen/will volunteer to introduce the speaker. A student will introduce the speaker who has been asked to speak about the employment interview including typical questions and guidelines on how to respond; good questions to pose; general conduct and appearance during the interview, possible follow up to the interview and any other areas students have previously

Do students generate meaningful questions? Is student introduction effective? Does student demonstrate equalities of an effective speaker?


CR 21.1 CR 21.2 CC 21.2 CC 21.6

identified. An interview will be modelled. One suggestion is to alert students that a few examples of weak interviewee technique will be exhibited and instruct them to watch and listen carefully to see if they can identify these examples later. These examples could include such things as interrupting the interview to shut off a cell phone; having no questions to ask of the interviewer when asked, usually towards the end of the interview; or arriving rushed, explaining the place was difficult to find. Ask students, after the model interview, to reflect on what they noticed. Invite them to ask any other questions about the interview process that may have occurred to them. Briefly thank the speaker. During: Work with students on generating typical questions and appropriate responses. Invite the class to suggest a number of questions they believe, after listening to the speaker, they could expect at an interview. Have individuals make notes on their responses responding with the job used in the application letter in mind. A template (with questions inserted) appears below. Adapted from Communicate! : Western Canada’s Teacher Guide.

Questions Response Tell me about yourself. Why are you interested in this job?

What experiences do you have that will help you in this job?

Where do you see yourself five years from now?

How do you respond to criticism?

What has been your best work experience?

What are your major strengths? Weaknesses?

What questions do you have of me?

When completed, students will discuss responses with a partner.

Are student observations perceptive? Are student questions thoughtful? Can students generate important questions? Can student respond appropriately to questions? Can student meaningfully discuss the responses?


CR 21.1 CR 21.2 CC 21.4 CC 21.2 AR 21.1 CR 21.1

Ask students about what they already knew or what they have learned about body language and the interview process. Distribute the article, Language and the Interview (available at http://www.bodylanguageexpert.co.uk/BodyLanguageAndTheInterviewProcess.html), inviting them to read the article and note anything they had not thought of before. Students will work in pairs to practise their interview skills. They will take turns being the interviewer and the interviewee. Interviews might be videotaped, so they can be reviewed and critiqued with the class. After: Examine the interview tapes, either in small groups or in a class situation depending upon the size and composition of the class. What did the interviewee do well? What could/should they improve for their next interview? Extension for Further Inquiry: Investigate body language further. One suggestion is to examine “Don’t Stick Out Your Tongue and Other Rules of Good Body Language” (In Out Loud from the Live Ink series). Resources:

• Communicate! : Western Canada’s Teacher Guide and Communicate!

• “Language and the Interview” (Available at http://www.bodylanguageexpert.co.uk/BodyLanguageAndTheInterviewProcess.html

• A school counsellor (or a person in the Human Resources field)

Comprehend and Respond: Fishtailing, a Novel in Verse Form Before: Fishtailing works with many themes central to the second unit of ELA 21. It is the story, told through free verse, of four teens in the same high school who are dealing with issues of abuse, violence, identity, sexuality, fitting in, and following their dreams. It also includes the voices of two adults in the school-the English teacher and the school counsellor. Each page is a poem by one of the characters. The students “fishtail” together in English class, with notes from the teacher and counsellor interspersed. Some of the themes to examine include:

• Relationships

Do students demonstrate good interview skills? Can students realistically reflect on their interview skills?


CR 21.4 CR 21.3 CR 21.5 CR 21.1 CR 21.2 CR 21.3

• Identity • Family • Friends • Sexual experiences • Careers and futures • School stresses • Culture clashes

During: Invite students to look carefully at the cover.

• What do you predict this book will involve? • What clues are there?

Invite students to read the back cover.

• Are you familiar with the expression “shooting fish in a barrel”?

• What does it mean? • Could it have any relationship to the title of the book? • The problem with games is that there are always losers. Do

you agree? Invite students to leaf through the book.

• What do you notice? • How is this book different from a novel?

Points out there are three sections in Fishtailing each one starting with the same visual of the razor blade. Inform students there are four major and two minor characters in Fishtailing. Between pages 9 and 16, we meet them all. Students listen to pages 9 through 16. As students may be initially confused by these first pages, previously record them for students with different people reading each character’s ‘voice’. Perhaps ask the school counsellor to read Janice Nishi’s memo on page 11. After: Consider the early poems as you reread them with students in the order they appear in the book.

• Where is Tricia? How do we know? Why are the lines in italics?

• What are Miguel’s dreams? What is the dominant image the first time we meet him?

• Who might Janice Nishi be? Margaret Farr? What do we learn from the memo Janice Nishi sent to Mrs. Farr?

Do students make reasonable and thoughtful predictions? Does student contribute meaningfully to the discussion? Does student make thoughtful observations? Can student listen for “voice”? Can student respond thoughtfully to questions?


CR 21.1 CR 21.2 CR 21.3 CR 21.6 CR 21.5 CR 21.2 CR 21.2 CR 21.3

• Natalie has written the poem “Birthday.” What do we learn about Natalie through her poem? How might what she says in her poem relate to her saying ‘‘like shooting fish in a barrel’ on the previous page?

• Syntax. Images. Diction. Optimism. What exactly is Mrs. Farr saying in response to the poem?

• We learn more about Tricia in this poem. With a partner, identify a number of things you learn about her.

• Kyle is introduced on page 16. Who might he be talking about in this poem?

Relationships Before: Explore the poem on page 16 which focuses on the attraction he has for (we believe) Tricia. Have students consider such things as:

• Simile (hair like black velvet) • Who uses similes?(poets, writers) • Points of comparison (shiny, soft) • Contrast (greasy fingernails-why might they be greasy?) • The nature of the attraction itself (he keeps his fingers busy

tapping instead of reaching out while, meanwhile, she is unaware of him).

During: There is innocence to Kyle’s poem. There is a sweet, innocent attraction. There is also an innocence to Soto’s poem, “Oranges.”(Appendix) Read (or have recorded) the poem, “Oranges.” After students have listened to it invite them to do a fast write. Students write without interruption for a set period of time (perhaps two minutes in this case). Remind students not to let pen leave paper or reread anything they have written. The value of fast writing lies in slipping past that internal editor to commit words to the page without pausing for self-judgment. They may wish to use one of the following:

• I can picture…. • If I were the director for this movie…. • I can/cannot relate to this because…. • This reminds me of….

Share a few reactions with the class before looking at certain aspects of the poem, including:

• The poem is a narrative. What is the story being told in

Do student comments demonstrate understanding? Can students use this strategy make personal connections? Does student share reactions?


CR 21.6 CR 21.5 CR 21.2 CR 21.3

“Oranges”? • There are two main characters-the young couple-but there

is also a third. What is the role /purpose of the woman in the store? What does she do for the author? Why do you think she might have done that?

• There are two similes the poet uses. Explain the image in each. Why are these similes effective?

• The poet sets the poem in “the gray of December”, yet there is a lot of colour in the poem. Where does colour play a role? What is the impact of colour use in the poem?

• The poem is also lyrical, meaning it conveys an emotion. What emotion is/are captured in “Oranges”?

After: Reread Kyle’s poem on page 16. Indicate to students that Kyle’s story will be followed in the first section. Read the following poems:

• Page 24 followed by Mrs. Farr’s comments. What is plagiarism? What does she accuse him of? What do you think of her charge?

• Page 28. We can guess why Kyle’s fingernails are greasy. Why is Kyle taking extra care?

• Page 46. Who is the ‘her’? What common classroom practice is happening? Look at the word choice in this short selection. What words are fitting for Kyle to use?

• Page 51. What is Kyle doing in the mirror? What advice is given? Why is that good advice? What fitting words/images does Kyle use? Why are these choices suitable?

Extension for Further Inquiry: Deeper Reading: Comprehending Challenging Texts, 4-12 (pp.127-129) outlines a lesson on the power of metaphorical language using the poem, “Oranges.” Students compare two versions of the poem, highlight the differences and decide which version is better. (The author, Kelly Gallagher, writes that the students always choose the original with its metaphorical images). Teacher Resources:

• Fishtailing • “Oranges” (Appendix).

Clash of Cultures: Tricia Before: Re-examine Tricia’s poems on page15 with students.

Do student comments demonstrate understanding? Do student


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Look at Tricia’s last line on page 15. “I wonder why she couldn’t choose someone a little less white.” What are Tricia’s issues? Why do you think those are her issues? Two other poems in the first section deal with Tricia’s issues with her family situation and her culture.

• The poem on page 44 shows Tricia’s attention wandering from classes. What is she dwelling on? What is she feeling? Why do you believe that?

• What aspects of Tricia’s culture are shown on page 59? What is her conclusion in this poem, the last time she speaks in the first section?

During: Tricia is struggling with her cultural identity with her father who is Japanese-Canadian and her mother, with whom she lives, who is not Japanese. Amy Tan is an author who also writes about issues surrounding her cultural background, even though both her parents were Chinese. “Fish Cheeks” is a nonfiction memoir; a memory Amy Tan is sharing about an experience. Listen to “Fish Cheeks” being read (Interface2.2 audio) by Amy Tan. Listen for examples of conflicts of cultures. After listening, have students share and comment on the differences noted. Invite students, first in pairs then with the whole group to comment on some of the central lines. Some of these could be:

• (He) was as white as a Mary in the manger. • You must be proud you are different. • The only shame is to have shame. Perhaps compare this to

“For Angela” if that documentary was shown earlier in the semester.

• It wasn’t until many years later…that I was able to appreciate her lesson and the true purpose behind our particular meal.

After: In groups of three, role-play the conversation that Robert and his family might have had in their car on their way home from the Tans’ home. Teacher Resources:

• Fishtailing

comments demonstrate understanding? Do student comments indicate understanding? Does student role playing demonstrate an understanding of the


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• “Fish Cheeks” may be accessed through R.O.V.E.R. as well as found in Interface 2.2.


• Ask students to volunteer what advice Amy Tan might give Tricia.

• Study another written form on the same theme with students. One suggestion would be “Letter to My Immigrant Mother” in Interface 2.1. Examine similarities and differences with Tan’s “Fish Cheeks.”

Clash of Cultures: Miguel Before: Miguel is also dealing with a clash of culture. Read Miguel’s poem on page 17. Ask students to talk and turn. What is the clash of culture Miguel is dealing with? Explore how he has two distinct types of past memories, both very different from the Canadian students around him. During: Read pages 19, 33, and 58 with students. All three deal with Miguel’s life of violence.

• Page 19 involves a dissection of a perch in biology class. Why is Miguel so skilled? How do we know he is skilled? Look at Kyle’s confirmation on page 20.

• Page 33 is Miguel’s “feelings poem.” However, he doesn’t so much express his feelings as tell a story. The feelings are implied/hinted at rather than stated. Explain. What is the effect of the Spanish words used in place of English? What do you think vamenos might mean? tu eres seguro? Comment on Mrs. Farr’s reaction to his poem (page 35). Read the memos exchanged between the teacher and Janice Nishi, the counsellor.

• Page 58 is the last time we hear Miguel’s voice in section one. We learn about his home life in this short selection. What do we learn? How does his home life affect his identity?

Ask students to conduct online research concerning the issue of the street children in Bogota. They could work individually or in pairs. Pose basic questions such as the following in order to get students started:

• Where is Bogota?

situation portrayed in text? Do student comments indicate understanding? Can student respond meaningfully to questions? Can student locate


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• What is life like for many children in Bogota? • How are Bogota’s children marginalized? • What is happening to many children in cities like Bogota? • What are some of the reasons for this situation?

Students share the information they have uncovered. A talking circle could be used to facilitate this sharing. Patrick Lane is a Canadian poet who travelled extensively through Central and South America. His tour of Columbia was the motivation for the poem, “The Children of Bogota.” Read the Patrick Lane poem, “The Children of Bogota,” aloud to students as they follow the text. Who do you think Manuel may be? What bias does he show? What might the poet’s attitude be? Ask students to point out connections they see between Miguel and the situation shown in the poem. What do they see as differences? After: Read the poem on page 22 with students. It is Kyle’s voice, but the focus is on Miguel. Ask students what they think the moral of the Social Studies skit is probably supposed to be? What do you think is meant by the line, “At the end of course we all belong”? Have students experiment with stress, pauses, and tone to change meaning. Assignment: Have students reread the entire first section of Fishtailing in the order in which the poems appear in the book. In their journals, students explore questions such as the following:

• What poems caught your attention? Why do you think they did?

• What else did you notice as you read the section through? • What questions do you have from the first section?

Resources:

• Fishtailing • “The Children of Bogota” in A Sudden Radiance • Useful websites include:

http://pangaea.org/street_children/latin/spin1.htm and http://www.guardian.co.uk/journalismcompetition/street-children-bogota

School and Teachers Before: Fishtailing deals with four students who attend a high

significant information? Does student contribute to the discussion? Can student make connections between texts? Do student comments indicate understanding? Can student vary vocal elements to change meaning? Does student writing demonstrate reflection, understanding, and engagement?


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school on the west coast of British Columbia. School experiences play a significant part in the story of the four students particularly the experiences with Mrs. Farr. What are your impressions of the writing teacher thus far? Why do you think that? Re-examine some of the exchanges thus far in the book (13/14; 24/25; 33/35; 55/56). Have students make a brief note on the students’ poems and Mrs. Farr’s reaction to them in the chart started below.

Character Title Page Teacher Response Natalie Birthday 13 Too violent; be more

optimistic!

Character Title Page Teacher Response Kyle Feelings poem 24

Character Title Page Teacher Response Miguel Feelings poem 33

Character Title Page Teacher Response Tricia NHI

Share the following anecdote with students adapting it as appropriate: A high school teacher walked into her classroom and placed a small chalk dot on the blackboard. She asked her students what it was. A few uncomfortable seconds passed and then someone said, “A chalk mark on the blackboard.” The rest of the class nodded, relieved that the obvious had been stated, and no one had anything more to say. “I’m surprised at you,” the teacher said to the class. “I did the same exercise yesterday with a group of

Can student use this graphic organizer effectively?


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kindergarten students and they thought of fifty things it could be: an owl’s eye, the top of a telephone pole, a star, a pebble, a squashed bug, a rotten egg, dust in someone’s eye, but not one said a chalk mark on the board. (Adapted from Echoes: Fiction, Media, and Nonfiction, pp.469-470).

• Ask students to suggest the point to the anecdote. • What happens in those ten or so years between

Kindergarten and grade 11? • How does this connect to the comments made in the

writing class in Fishtailing? During: As students read the second section (pp 63-99) have them particularly note the poems written by the characters and the teacher comments about the poem. Continue filling in the chart with brief notes. After: When finished section two, have students share charts with a partner. As a class:

• Examine the sustained metaphor on page 64/65 • Examine the nature of Natalie’s word choice on page 69 • What evidence can you find in this section that Kyle is

beginning to realize he has a gift for poetry? • Examine the response to Miguel’s poem on page 98. What

does Mrs. Farr mean by, “You seem to find writing cathartic and therapeutic”? (Instruct students to use a dictionary if necessary). What does she mean when she says, “Those devils don’t always melt away, do they”?

Invite students to note what has happened in the story line and their own reactions to characters and events. Have students listen to a reading of the short story, “The Metaphor” by Budge Wilson. How is this short story similar to Fishtailing? Different?

How are the selections similar?

How are the selections different?

Teacher Resources:

Can student make connections? Do student comments reflect insight? Can student identify similarities and differences?


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• Fishtailing • “The Metaphor” (numerous anthologies)


• Play the Harry Chapin song, “Flowers are Red” to students and/or read “About School” in Poetry Alive: Transitions. Although both deal with young children, can students make connections to Fishtailing?

• Echoes: Fiction, Media, and Nonfiction has a section (pp 467-476) on thinking which could be tied into the theme of school, imagination, and creativity.

Home and Family Tensions Before: As adolescents grow towards adulthood, there are some topics that can cause tension between them and their parents/caregivers. These tensions are often a result of the transitions from childhood to the world of the adult. Invite students to discuss some of these challenges in small groups. Each group will make a list of the most common home challenges faced as students transition from childhood. Compare lists among groups identifying the most frequently identified. Ask students under what circumstances they believe a parent might decide to give a child to someone else to take care of? Indicate that in the letter “To My Daughter” that is what actually happened. After months of trying to reach out to their runaway daughter, the author of the letter and his wife made a tremendously difficult decision. The couple knew that if they didn’t take action they might lose their daughter for good. In this letter, the father tries to explain to his daughter the decision to put her into the care of the Children’s Aid Society. Invite students to read the letter aloud with a partner. Have them note specific things that the father writes that show he is a good father and discuss whether the action of giving up their daughter is a show of strength or weakness. What other options could they have tried? Share the highlights of your discussion with another pair of students. During: The letter, “To My Daughter” is told from the viewpoint

Does student participate effectively in discussion?


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of the parent whereas the poems in Fishtailing are written from the adolescents’ viewpoints. In both selections, however, there are issues and tensions being expressed. What tensions have we already seen in the first two sections of Fishtailing? Read the third section (pp. 103 through 148) looking particularly at the tensions from parents/caregivers and the home. Scan Fishtailing and document the home challenges (conflicts/issues/tensions) in the chart below including page numbers where these challenges are shown: What Challenges Do Each of the Characters Face?

Natalie Tricia Kyle Miguel

After: Students share the completed chart in a small group. Discuss any advice they could offer to each of the characters to make the home situation better. Students write a letter as one of the characters to her/his parent or caregiver. Conversely, students can play the role of the parent/caregiver and write to the adolescent. Examine the student poetry found in the third section (107, 111, 115, 125, and 132) and the reactions to it. Invite students to add to their previous charts. Teacher Resources:

• Fishtailing • “To My Daughter” in Interface 1.2

Extensions for Further Inquiry

• Examine Michael Ondaatje’s poem, “To a Sad Daughter”, in Interface 2.2, Literary Experiences 1, or Poetry Alive: Reflections. What advice does the father offer his daughter? What do you think of the advice?

• Invite students to write both letters in the previous “After” section.

Can student identify and document using the graphic organizer? Do student responses indicate an understanding of text?


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Explaining the World: Explanation of a Process/Procedure Before: Each of these four students has challenges, conflicts, and issues with which they are dealing. In Kyle’s situation, he is challenged by the expectations of his father who wants him to follow him into the trades. Reread the poem on page 137 with students. What is Kyle’s conflict? What is he realizing about himself? What is his mother’s advice? Examine his poem on page 143. Invite students to look at how the poem’s structure shows Kyle living in two different worlds. In the next section his father will say about his writing and music, “That’s not a career. It’s a hobby.” Ask students what they think about Kyle’s issue. Kyle could follow either career path. Even in the first section of Fishtailing, his automotive ability is shown. We get the impression that Kyle could tune up any vehicle. But could he explain the process to another person? Indicate to students that their next writing task is going to move away from the novel for a short time and look at writing an explanation. Kyle could explain how to do an oil change or tune a guitar. Ask students to begin to think about a process or procedure that they know well enough that they could explain it to another person. During: First, define for students what a procedure is using a definition similar to the following: A procedure is a form of communication that informs your audience about how to do something. A procedure gives detailed instructions that the reader/listener should be able to use to transfer the explanation into action. A procedural explanation is a common type of transmission. Ask students if they can suggest where they would encounter this type of communication (cooking instructions, technical manuals, science classes, how to books, etc.) Explore an example together first. Students work collectively to explain one of the following:

• How to make a sandwich • How to change a tire • How to set up a secure Facebook account

Do student comments reflect insight? Can students identify applications for procedural texts? Can students work together to produce procedural text?


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Have students

• Begin by identifying the topic and the importance of knowing how to do the thing that is being explained (e.g., have you ever been hungry late at night and don’t have the money to order a pizza? Make a sandwich!)

• Proceed by identifying the goal of the procedure (e.g., the sandwich is easy to make and your hunger will be satisfied)

• Identify the equipment and materials needed. • Produce detailed, step by step instructions related to the

procedure in the order these steps occur.

Provide guidance to students such as the following: When formulating your instructions, think of who your

audience might be. The age and interests of the audience will determine your tone and choice of language. For example, if you are drafting instructions for changing a tire for a person who drives, they would be different from instructions for a non-driver.

Use an organizer such as a flow chart to plan the sequence you will describe. What comes first? Then what? Finally?

Try to start each sentence with a verb (action word). Define all the terms (e.g. parts of the tire). Remember the expression “a picture is worth a thousand

words” and this includes visual text. As they develop the steps on the board or on a flip chart, play “devil’s advocate.” For example, if they are explaining how to change a tire, ask what a “jack” is. If they are explaining sandwich-making and use the verb, “cut,” ask what you use to cut and in what direction. When students have collectively produced a successful explanation of a process/procedure, indicate they are to do the same with a topic of their choice. They will be writing explanations on a topic they know or, if they wish, research a process or procedure they might wish to learn about. Convey to students that the best way to learn to do something is to teach it to someone else. Share the template below (or one like it) with students : Template for Writing a Process/Procedure

Introduction-Topic and importance

Can students reflect meaningfully on writing?


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Goal-What is the end product? What will be accomplished? Audience-have I a clear sense of who my audience is? Does my language suit my audience? Materials-What is needed to accomplish the goal? Method-What steps need to be followed? In what order? Terms-Which words need definition Visual Text- What visuals would enhance the explanation?

After: When students have completed the draft of their explanation, instruct them to share their work with a partner. Each student reviews their partner’s explanation using a checklist similar to the following: Do I know who the audience is? Were all tools and materials included? Were all technical/unfamiliar objects defined? Were there illustrations? Did this visual text assist the

explanation? Were the steps easy to follow? Were the steps in the correct order? What improvements could be made to the explanation?

Students then rework their explanations using appropriate partner suggestions. Resources: Fishtailing Communicate! : Western Canada’s Teacher Guide provides

an alternative method of introducing this form to students (p. 103 and BLM 8-24)

Communicate! pp. 226-228 Extension for Further Inquiry: Students practise their explanations with their partners and present these procedural communications to either small groups or the entire class. What Does the Future Hold? Before: Does everyone leave high school with the same opportunities for the future? Present this question to students and encourage a discussion about contributing factors such as academic success, socioeconomic considerations, as well as family background and support. Have students read “The Worth of a Boy” (From Discord to Discourse: a Collection of Canadian Essays in iLit series). As they

Can student use the template to produce a procedural explanation? Is appropriate feedback provided? Does student apply appropriate feedback to revisions? Use the Compose and Create rubric in the Appendix to create a rubric for this procedural explanation. Does student contribute meaningfully to the discussion? Can student identify


CC 21.5 CR 21.3 CC 21.6

read, record what the boys have in common, and how they are different. Use a graphic organizer, such as a triple Venn diagram.

After reading, have a conversation with students comparing their diagrams. In small groups have students discuss what each boy would say about his own worth. How would the parents of each boy feel about the worth of their son? What connections can they make with the characters and situations in Fishtailing? Examine the author’s comments regarding her inspiration behind the essay, pausing to clarify vocabulary as appropriate. “As a long time educator, I have become increasingly concerned about the disparity of opportunities available for equally striving individuals. Philosophically speaking, our societal judgment of worth has, in my estimation, become increasingly skewed. As a parent of a son with autism, I look at the future for my son based on the societal estimation of his worth, and I am determined to become an advocate for change.” Ask students if they agree with the author? Why or why not? Invite students to rework this comment putting it into their own words. During: Not one of the characters in Fishtailing is without issues. Students will write brief notes (bullets are fine) on each character’s issues and the responses of each to the issues.

commonalities? Differences? Can students use this strategy to make meaning? Can student put him/herself in others’ situations? Can student make connections with/to text? Do student comments reflect understanding? Can student express the author’s ideas in his/her own words?

Tyler

Simon Dante


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Character Issues Reaction /response to issues Natalie Tricia Kyle Miguel

Read the last section of Fishtailing. Look for resolutions. After students have finished, pose questions similar to the following to promote discussion:

• What happens to each character in this last section? • Is there a resolution for each? • What are your feelings about the resolutions? • What questions would you ask of each of the characters if

you could? After: Skim Fishtailing once more. Jot down anything you notice in this read through that you may not have noticed previously. Discuss these discoveries as a class. Imagine that ten years have passed. You are one of the surviving characters (students, teacher, or counsellor) going to the high school reunion for your class. The night before the occasion you pull out your journal and reflect on the events of those weeks ten years ago. Students can use one of the following prompts if they wish. I remember…. I really believed…. I thought at the time that…. Students share entries with those who wrote from the same viewpoint. Each small group will decide on one student to read his/her entry aloud to the class (Remind students of pace, volume and other speech qualities they have examined previously.). Discuss what may have happened to each of the characters in the ten years that have passed and why they think that. Remind students of “All I Ever Needed to Know I Learned in Kindergarten” and the concept of a creed, words to live by. Have each student make a list of a half dozen values or so that they hold and some of the things they’ve learned so far in life. Values may be a difficult concept to define at this age. It may be

Can student identify issues and responses in text? Does student contribute effectively to the discussion? Can student write using these prompts? Does student contribute effectively to the discussion?


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clearer if it is explained as ‘principles to live by’ and/or ‘standards to guide one’s thoughts and actions’. Invite students to explore a site that highlights words of wisdom to live by. See the following:

• http://www.quotegarden.com/wise-words.html; • http://www.wisdomquotes.com/topics/generosity/; • http://www.quotestoliveby2.com/

Students write down a quotation that speaks to who they are at this point in their lives. Invite them to reflect on why they believe these words have meaning to them. This process should be modeled. Suggest what visual might be associated with these words to live by. Indicate they will be sharing the quotation in the near future. Encourage students to create a visual representation of their creed. Perhaps they might be interested in laminating this visual to reminder them of what they hold important. This ‘mantra’ could be displayed at home, in a school locker, as a bumper sticker, or simply carried in a purse or pocket. Teacher Resources:

• Fishtailing • “The Worth of a Boy” in From Discord to Discourse: A

Collection of Contemporary Canadian Essays (iLit series) Extensions for Further Inquiry: A number of directions are possible including the following:

• Examine the short story, “Marcus the Great” in Reality Imagined (iLit series). Students conduct an internet search on organizations in the community which help teens make good life choices and/or plan for the future. Present findings to the class.

• Read Richard Wagamese’s tale, “The Raven” (Looking for Me in the Live Ink series). What connections does this tale have to Fishtailing?

• In “Better Late than Never” (From Discord to Discourse in the iLit series), Rupinder Gill writes about what was missing from her childhood, and how she dealt with those absences as an adult. While the tone of the story is light, she does make the point that it is never too late to pursue dreams or to be the person you dreamt of being when you were younger. What was missing from the lives of each of

Can student locate an appropriate quotation? Can student explain his/her choice of quotation? Can student represent his/her creed?


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the characters (including Mrs. Farr) in Fishtailing? What advice would you offer to each?

• Read Alden Nolan’s poem, “Warren Pryor” with students. What similarities and differences are there in Kyle’s situation in Fishtailing?

• View “Turning 32.” This is a documentary follow up to a 1992 television series, “Turning 16.” Filmmakers look at the journey to adulthood and the important role of family in countries around the world. What is universal about this journey?

Wrap Up A final discussion may take the form of a teacher-student conference. Inform your students that during this discussion, they should be prepared to address some of the following:

• What have you learned in this unit? • What can you apply to your own life from this unit? • What would you add to this unit that students in the future

would find interesting? • What piece of your work are you most pleased with in this

last unit? Why? • What creed did you discover that you could live by? Why

did you choose those words? • What visual would represent this creed? • What learning strategies did you use successfully during

this unit? • What did you do in this unit that made you a better

communicator? • What areas do you think need further attention?

Can student express understanding? Can student make connections to his/her own life? Can student identify personal strengths? Can student identify areas where they can grow?


Appendix Included on this CD are documents for the units within the Modified English Language Arts 21.

• “Before We Begin” by Stuart Maclean • Delivery: Verbal and Non-Verbal • “Luka” and “Child Who Walks Backwards” Graphic Organizer • Oral Reading Rubric • Secondary-Level ELA Rubrics • Six Steps to Raise a Reader • The Talking Circle Teacher Information Sheet • Type of Comparison Graphic • Viewing and Representing (Draft Version) • Who’s Afraid of the Wicked Witch?


References Gallagher, K. (2004). Deeper Reading: Comprehending Challenging Texts, 4-12. Portland, ME:

Stenhouse Publishers. Glasbergen, R. (2004). You’re a pretty good sales rep. Business Cartoons.

http://www.glasbergen.com/business-computer-cartoons/?album=1&gallery=105&nggpage=2

Queensland Studies Authority (2009). English learning area. Brisbane, AUS: the State of

Queensland.

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