teacher appreciation thank you letter

Discover Creative Writing for diverse learners through Low Tech and High Tech partnership ACTFL 40th Convention November 17th, 2006 Nashville, USA Ashnadelle Hilmy/Mortagy Cairo American College Cairo, Egypt amortagy@cacegypt.org amortagy@cacegypt.org ahmortagy@aucegypt.edu ahmortagy@aucegypt. Writing in Ancient Egypt • • • • • • • The Egyptian God Thoth, was credited by the ancient Egyptians as the inventor of writing and was also universally worshipped by ancient Egyptian Scribes. He was thought to be scribe to the gods and one of his wives, the Goddess Seshat was also known as the goddess of writing. He was associated by the Egyptians with speech, literature, arts, and learning. He was also a measurer and recorder of time, as was Seshat. However, many ancient Egyptians believed that Seshat invented writing, while Thoth taught writing to mankind. This Goddess was known as 'Mistress of the House of Books', indicating that she also took care of Thoth's library of scrolls. Seshat was known as the Goddess of Libraries, all forms of Writing and the Measurement of Time. The name Sashet, Seshet or Sesheta means 'The Female Scribe', 'Sesh" meaning scribe. In many of the Egyptian temples and books, she was the only female that has been found actually writing. Other women have been found holding a scribe's writing brush and palette showing that they could read and write - but these women were never shown in the act of writing itself. I have always been interested in writing and I do believe that through the ages the love of writing has been passed on to Egyptian women through our ancestress, Seshat, the goddess of writing. www.crystalinks.com/ thoth.html Why do our students write? • Let’s think of that for a moment with our students in perspective? Are we just asking students to write to fulfill a curricular need I. Demystifying Writing • or Are we helping them acquire a life long skill while preparing them to leave an enriched legacy in L2? • Writing as a communicative skill is part of our Language Standards wherever we teach and whatever we teach: AP, IB, College Preparatory, Honors or regular language courses. We are in fact preparing our students to produce L2 texts that serve the following communicative purposes pending on their level and type of program followed. • Prescribed Authentic Communicative Purposes I. Type Description Purpose Factual Evocative Example Set of instructions Guidelines, introduction Brochure, pamphlet HL Statement to the police Anecdote Journal, diary Letter to a friend or family Business letter, Job application Report of a situation or event Proposal HL Letter to a newspaper, speech Speech to peers or others Review of book, film or play Narrative Poetry Brochure Advertisement, Publicity Narration Factual Imaginative Personalized Informal Formal Interaction Explanation Factual Argumentative Argument Controversial Persuasive Analysis & critique Creative Subjective Free writing Guided & unguided I. The framework of communicative modes INTERPRETIVE Writing Proficiency PRESENTATIONAL Strategic Competence INTERPERSONAL Grammatical Competence •Grammar -- morphology and syntax, including rules for subject/verb agreement, reference, etc. •The writing process -getting ideas, getting started, writing drafts, revising •Vocabulary •Mechanics -- handwriting, spelling, punctuation WRITING PROFICIENCY Sociolinguistic Competence •Rules and principles that enable writers to vary their writing according to such factors as the purpose, topic, and audience; includes control of various genres, knowledge of different discourse communities Discourse Competence •Cohesion •Coherence From Robin C. Scarcella and Rebecca L. Oxford. 1992. The Tapestry of Language Learning: The Individual in the Communicative Classroom. Boston: Heinle & Heinle Publishers, p. 118. I. Writing assessment criteria & Proficiency Guidelines Cultural interaction Selecting language appropriate to a particular cultural and social context Message f Language Handling the language system accurately (grammar, syntax, etc) Understanding ideas and how they are organized in order to communicate them appropriately Graphic: http://www.languagetesting.com/scale_writing_gov.htm http://www.languagetesting.com/scale_writing_gov. I. Competence vs Communication The eternal question • Planning à la carte activities where students can demonstrate writing ability in a gradual progression focusing on competence in some tasks and on communication in other tasks until an equilibrium is established based on both competence and communitcation. Graphic: http://www.richmond.edu/~terry/Middlebury/comphttp://www.richmond. com.htm com. -Linguistic Backgrounds How can we help our diverse students achieve success in L2 writing in spite of their diverse linguistic backgrounds? Challenges Patterns of Narrative Thought in Different Languages II. Differences English Semitic Oriental Romance Russian • • L1 / L2 Writing clearly and proficiently is a learned and acquired skill that can be challenging for both native and nonnative target language speakers. When we read our students’ written production we should keep in mind that transference of L1 rhetorical patterns might interfere at first with accuracy of expression. Identifying these patterns will be invaluable to our students. “In any language, the writing process involves a non-linear, often simultaneous, set of actions, including planning, generating ideas, organizing, editing, and revising. These strategies are often different for L1 writing than for FL writing.” Virginia Scott, Rethinking FL Writing, 19096, Heinle & Heinle. • Robert M. Terry, Richmond/Middlebury from Virginia M. Scott, "Write from the Start" Dimension. Southern Conference on Language Teaching. 1991. Valdosta, GA: Southern Conference on Language Teaching, p. 3. -Interlanguage • Interlanguage development means reliance on L1 proficiency in L2 writing *Errors in syntax and grammar present in oral speech occur also in writing *Spelling may reflect L1 letter–sound correspondence Jill K. Mora, Cross-cultural Language & Academic Development, San Diego State University - Howard Gardner’s Multiple Intelligences Gardner’s Multiple Intelligences It is not how smart our students are that matters, what really counts is how they are smart ! Which of the intelligences do our students favor? What are their strengths and how can we improve their writing skills through M.I.? How can we, as F.L. educators, help our students achieve their best potential in writing? I. Using M.I. In the classroom to enhance writing skills Students learn best by Planning Questions IB Learning Activities Intelligence Verbalizing, hearing, and seeing words Students use words effectively, orally or in writing. Are able to manipulate the structures, sounds, and meaning of language. How can I use the spoken and written word? Applying speaking Text-handling tasks followed by Written, Oral, writing tasks Listening Activities Creative writing, Poetry,Formal speech Humor or telling jokes Impromptu speaking Journal or diary keeping, Oral debate, Storytelling Words—used in reading, writing, speaking Students have the capacity to use numbers effectively and to reason well. Perform processes such as categorization, classification, inference, generalization, calculation, and hypothesis testing. How can I bring in numbers, calculations, logic, classifications, Applying Critical or critical thinking skills? thinking and analysis in writing Structured Debates Conceptualizing it, quantifying it, thinking critically about it Abstract symbols, Formulas, Counting, Deciphering codes, Finding patterns, Forcing relationships, Graphic organizers, Number sequences, Outlining, Problem solving, Syllogisms Intelligence Students learn best by Planning Questions IB Learning Activities Drawing it, sketching it, visualizing it Have the ability to perceive the visual-spatial world accurately and to perform transformation upon those perceptions. Able to visualize and to graphically represent visual or spatial ideas. Using webbing for writing, maps, pictures, DVDs, Theme mapping, diagrams, color illustration of cues & structures visualization Dancing it, building a model of it, doing a hands-on activity related to it How can I use visual aids, visualization, color, art, or metaphor? Active imagination, Color schemes, Designs and patterns, Drawing, Mind mapping, Guided imagery, Painting, Pictures, Pretending, Sculptures / models Students are body smart and have expertise in using their whole body to express ideas and feelings, and facility in using their hands to produce or transform things. Physical movement may enhance learning, role playing language concepts & situations Body language, Dancing-folk or Creative Drama / Acting Inventing, Martial arts, Mime, Physical gestures, Interactive oral Physical exercises, role play Playing sports / activities, Games, Personalization of Role-playing literary figures How can I involve the whole body or use hands-on experiences? Intelligence Students learn best by Planning Questions IB Learning Activities Observing it, classifying it, appreciating it Students have the ability to perceive, discriminate, transform, and express musical forms. Are sensitive to rhythm, pitch or melody, and tone color of a musical piece. A student’s understanding may be either figural / intuitive or formal / technical. Using songs, rhythm, music, differentiating accents and intonations Working on it with another person or group of people Cooperative/ progressive writing teams, skits, presentations, brainstorming, paired practice How can I bring in music or environmental sounds, or set key points in a rhythmic or melodic framework? interactive listening while writing Creating music, Environmental sounds, Humming, Listening to music, Music performance, Music composition/ creation, Rhythmic patterns, Tonal patterns, Vocal sounds and tones Collaboration skills, Cooperating, Cooperative learning, Empathy practices, Giving feedback, Group projects, Intuiting others’ feelings, Listening, Person-to-person communication, Receiving feedback, Sensing others’ motives, Talking to others, Team/division of labor Students can perceive and make distinctions in the moods, intentions,motivations, and feelings of other people. Are able to respond to cues such as facial expressions, voice, and gestures. How can I engage students in peer-shaping, cooperative learning, or large-group simulation? Debates & team work followed by writing tasks Intelligence Students learn best by Planning Questions IB Learning Activities Students have the ability to act adaptively on the basis of their selfknowledge. Are aware of inner moods, intentions, motivations, temperaments, and desires; and have the capacity forself-discipline, self-understanding, and self-esteem. Relating it to a personal feeling or inner experience Reflection & journal & varied writing scenarios Observing it, classifying it, appreciating it How can I evoke personal feelings or memories, or give students choices? Theme analysis and introspection How can I relate the student’s learning to the physical world? Theme building and observation Complex guided imagery “Centering” practices, Emotional processing,Focusing/con centration skills, Higher-order reasoning, “Know-thyself” practices, Metacognition techniques, Mindfulness practices, Silent reflection methods, Telling about feelings, Thinking strategies Students are sensitive to the intricacies and subtleties of the connectedness in nature. They are able to listen, watch, observe, classify, categorize, discern patterns, and appreciate nature through a variety of activities in the outdoors (Fogarty, 1997). 9th “Existential Intelligence” ???? Take the activity or bring the outside to class through DVDs, visuals … Howard Gardner himself has considered the notion of the “Existential Intelligence” Discovering, Uncovering, Observing, Watching, Forecasting, Predicting, Planting, Comparing, Displaying, Sorting and classifying, Photographing, Building environments as the 9th one but seems to be uncommitted. Some questionnaires have questions for 8 or 9 Intelligences. Adapted from Nebraska FL curriculum frameworks D. I. Activities Appreciation of Literature through M.I. strategies Le Petit Prince Intelligence & Learning Styles Reading In-class reading, loud & silent Reading selections at home Translation Selection of passages with attention to “nuance” & “culture” Listening To self To student peers To teacher To professionally recorded audio & visual production Speaking /Dramatization /Role Play (Mozart, Bach background music) Main Characters, themes: forma!informal Presentations Pilot/P.Prince P.Prince/flower P.Prince/fox P.Prince/snake ….. Creative dialogues & role play with different characters : Turkish astrologer, king, conceited man, alcoholic, street lighter, explorer & the geographer….. Personalization of character Verbal / Linguistic Intelligence Verbal Linguistic Visual / Spatial Intelligence Verbal Linguistic Bodily Kinesthetic Musical / Rhythmic Interpersonal Intelligence D. I. Activities Discussion & analysis of themes Intelligence / Learning Styles Verbal Linguistic Intelligence Interpersonal Intrapersonal Existential Adults/children friendship conformity love jealousy responsibilities spirituality faith naïveté illusions sense of self death after-life Writing Creative/guided writing: bio-poem, acrostiche, free style poems, including graphic illustration & selected background music Essay / Commentary Brain Mapping Verbal Linguistic Visual / Spatial Musical / Rhythmic Intrapersonal Intelligence Cause & effect Webbing in theme analysis Technology Logica!Mathematical Spatia!Visual Logica!Mathematical Spatia!Visual Intelligence Intelligence Poems, free & guided: Power Point Portfolio Brain Mapping Link to student French webpage Adapted from CAC Curriculum Planning Mortagy/Sherbiny/Sadek Brainstorm in groups of 3 or 4 What are THE biggest challenges in getting your students to write well? Name two coping strategies that work for you ! III. Technology as a tool Integration Low Tech High Tech • Technology integration as a successful tool helps students achieve success in writing tasks. Many of our students are “Millenials”, students who have used computers throughout their academic experience. Students as Reluctant or Enthusiastic users of technology as a tool. Technology as a tool not as a methodology. Low tech solutions for some of our diverse learners will open the door to their emerging self confidence as language writers and will gently awaken their hidden muse. While High tech solutions for some of our diverse learners will open the gate to a dynamic approach to self expression that will liberate their muse from the limited confines of L2 proficiency. • • • • • III. Technology • Comfort zones We, as teachers, have to determine our students’ Technology Comfort Zones so that we can help them use technology as a tool to refine their writing. Guiding question: What can my students do? • • Administer survey to determine students’ technology repertoire and appropriate comfort zones in writing tasks. Use a variety of low tech and high tech tasks to guide students progressively into lowering their anxiety levels about using technology as a tool. • • Plan differentiated tasks using technology in a progressive mode. Find out who are the ‘techies’ in class and pair them with the technophobes. of Proximal Development Preparing for student readiness: a challenge to successful language learning! III. • “Distance between actual development level of independent problem solving and level of potential development of problem solving under adult guidance or in collaboration with more capable peers." ZPD ZONE OF PROXIMAL DEVELOPMENT ZPD Zone ZCD ZONE OF CURRENT DEVELOPMENT MKO More Knowledgable Other A more capable peer or teacher • ZPD: Gap between what a learner can • accomplish independently and what a learner cannot do, even with assistance. ZCD: What a learner can do independently is contained within one's "Zone of Current Development," with the help of MKO a more capable peer or teacher, "More Knowledgeable Other," who may help a learner accomplish tasks that may be in one's ZPD. (Vygotsky, 1978) • ZPD decreases as the ZCD increases. Application: “The successful application of Vygotsky's theories requires a learning environment dedicated to these principles. MKO's must be highly involved, must work in collaboration with their students to facilitate learning, and must be familiar with the students' individual ZPD's.” (Hausfather, 1996). III. Technology Comfort Zones ??? Too Easy •I understand … •I already know how … •This is a piece of cake •I can make an easy A … •I am killing time … •I feel bored … •I’m too relaxed … Just Right •I know some things … •I have to think … •I have to work … •I have to persist … •I can’t get it … •I’m on my toes … •I feel challenged … Too Hard •I don’t know where to start … •I don’t understand … •I am wasting time … •I am missing key skills … •I feel frustrated … •I feel angry … … No big effort necessary … Effort leads to success … This makes This is the achievement zone no sense … This is the place to be… At or below level = no growth Well above level = frustration Adapted from C.A. Tomlinson,” Teachers at Work”, UVA, Nov. 03 III. Technology Comfort Zones • The most important aspect of writing is the planning process Start with Paper & pencil III. Technology Comfort Zones & progress to webbing for planning III. Technology Comfort Zones Inspiration as a tool: outline for autobiographical writing task III. Technology Comfort Zones Inspiration as a tool: outline literary analysis writing task III. Technology Comfort Zones Inspiration as a tool: outline for a speech III. Technology Comfort Zones Template for essay outline (Appendix detailed guideline for essay writing) Low tech color coding Introduction Hook Thesis Brief discussion hand written essay sections Body paragraphs Thesis support Topic sentence Transition sentences 1st Thesis support Topic sentence Transition sentences 2nd Conclusion Summarize main points Personal response No new information IV. Sample à la carte writing scenarios Non-rigid practice of prescribed writing curriculum • Numerous opportunities to practice different tasks specified in our curriculum while keeping in mind the prescribed communicative purposes for each. Options for practice: Make sure that you practice all the tasks listed below. Remember to use your writing goals, writing resources and rubrics as guidelines for your practice work. Keep copies of drafts and put finished copies of each assignment in your portfolio on the server. Thank you note Invitation, Letter to a friend Journal Interview questions Speech to adults Web page entry Web page publicity Proposal to city hall Newspaper article Essay Speech on controversial issue Letter to the formal & informal editor Page in your diary Advertisement Brochure Speech to peers Greeting card Business letter C.V. Declining an invitation Guided poem Free poem Free Choice Set of instructions A nightmare Review of a book or film or play Rules for trip A dream Tiered Activities A Ladder Prelude to success through Differentiation IV. • Task: letter writing modules: Sample tiered tasks •Carte postale •Letter to self • • • • • Teacher plans different activities and versions to fit learning needs and levels of readiness of students. Teacher decides which tasks meet needs of different students. Teacher assigns different tasks to students for practice till comfort & achievement zones have been met. Teacher moves students progressively towards targeted function. Teacher moves advanced students to other tasks with achievement exit card. •Letter to friend •Letter to parent or sibling •Letter to pen pal •Thank you letter to host family •Letter to get information: summer job, hotel reservation •Letter of complaint to school principal proposing new dress code •Letter to editor to protest racial incident in the city IV. à la carte creative writing Word, PowerPoint & iMovie documents with a realistic outlook • *Guided Bio-poem: Le petit Prince Antigone • • • *Acrostic poem: the first letters of each line are aligned vertically to form a word. The word is often the subject of the poem. *Unguided Bio-poem: *Free “theme” poems: Le premier bonheur du jour (the first happiness of the day) Quand la vie est … (when life is…) Amitié Le Petit Prince Antigone : Créon • • • • • ^Haiku poem: is a poetry style which originated in Japan. It contains seventeen syllables consisting of three lines. Haiku often deals with nature. ^Limerick poem: combines a couple with a triplet. Lines 1, 2 & 5 rhyme with each other. Lines three and four rhyme. ^Diamond poem: 1st line one word, 2nd line two words, third line three words, fourth line two words, fifth line one word ^Five W’s poem: each line of a Five W’s Poem answers one of the five W’s (who? what? When? Where? Why?) ^Cinquain poem: includes five lines, names object/person, two adjectives, three -ing verbs or action words, describe how you feel, rename object/person ^http://okemos.k12.mi.us/users/pdunn/projects/samples.htm http://okemos.k12.mi.us/users/pdunn/projects/samples. IV. à la carte creative writing * Inspiring Montmartre 1996 Acrostiche Au C H N A D E L L E vent de vos cœur à cœur hampionne est la Belle Amitié orizon de votre face sur terre ! ectar de rêve face au monde entier mitié éternelle et universelle éesse au pays du Vrai Bonheur lle est la source de votre caractère umineuse essence de vos jours ibre création de chaque instant motive “Achnadelle” elle est votre printemps !!! IV. à la carte creative writing *Guided & free Bio-poem: Le petit Prince IV. à la carte creative writing *Acrostiche & Bio-poem : Le petit Prince Antigone IV. à la carte creative writing Antigone Poésie Libre Créon Qu'est-ce qu'on peut dire au sujet de la responsabilité On peut la mettre dans une boîte, Pas d'exceptions, c’est la responsabilité qui te donne la raison d’être. Mais il y a toujours des exceptions. Ton coeur force les exceptions avec ceux que tu aimes. Dans un moment une personne est tirée en deux. Un côté: ce que tu devais faire. L’autre: ce que tu veux faire, avec tout ton cœur. C’est la responsabilité envers une personne ou une cause ou un pays qui t'arrête de penser avec ton coeur. Créon, Tu as une responsabilité envers ton pays, mais aussi envers Antigone. Qu'est-ce que tu vas faire? Lizzy Clarke Français 4IB A, Mme Mortagy Le 6 Mars 2006 IV. à la carte creative writing *“Theme” poems: Le premier bonheur du jour (the first happiness of the day) IV. à la carte creative writing *“Theme” poems: Quand la vie est …(when life is…) L’Itinérant #12, Stéphanie Itiné Stéphanie IV. à la carte creative writing Brochure/Publicity with a realistic outlook A city, Travel IV. à la carte creative writing Brochure/Publicity with a realistic outlook: Boulimia IV. à la carte creative writing Brochure/Publicity with a realistic outlook: Anti-smoking, Ecology IV. à la carte creative writing Fibonacci poems • Gregory K. Pincus, a screenwriter and aspiring children’s book author in Los Angeles, wrote a post on his GottaBook blog (gottabook.blogspot.com) in April 2006 inviting readers to write “Fibs,” sixline poems that used a mathematical progression known as the Fibonacci sequence to dictate the number of syllables in each line. The Fibonacci numbers are named after Leonardo of Pisa, (1170 1250), an Italian mathematician also known as Fibonacci, although they had been described earlier in India. line 1 = 1 line 2 = 1 line 3 = 2 line 4 = 3 line 5 = 5 line 6 = 8 One Small, Precise, Poetic, Spiraling mixture: Math plus poetry yields the Fib. — Pincus, Gregory K. , GottaBook: The Fib. Retrieved on 28 July 2006 • • • • • • • Text on spiral path in Photoshop CS:http://www.heathrowe.com/tuts/spiraltext.asp http://en.wikipedia.org/wiki/Fibonacci_sequence IV. à la carte creative writing Fibonacci Poems 1. La Tarte This presentation is available at: http://www.cacegypt.org/french/PNFib_optimized.mov 2. Le Vent This presentation is available at: http://www.cacegypt.org/french/jemilafibpo_optimized.mov 3. La Gourmandise This presentation is available at: http://www.cacegypt.org/french/SerenaFibo_optimized.mov 4. Matinée This presentation is available at: http://www.cacegypt.org/french/Ashley2_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Unguided poem: Voyages exotiques: Le désert This presentation is available at: http://www.cacegypt.org/french/F5IBMolk_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Unguided poem: Voyages exotiques: la mer This presentation is available at: http://www.cacegypt.org/french/F5IBLauraMer_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Unguided poem: Voyages exotiques: Mon refuge préféré This presentation is available at: http://www.cacegypt.org/french/F5IBYasmin_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Unguided poem: Voyages exotiques: Mon île This presentation is available at: http://www.cacegypt.org/french/F5IBLaila_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Sample Historical character: Jeanne D’Arc This presentation is available at: http://www.cacegypt.org/french/F6IBJD_optimized.mov IV. à la carte creative writing iMovies with a realistic outlook Sample Historical character: Louis XIV This presentation is available at: http://www.cacegypt.org/french/F6IBLouis_optimized.mov IV. à la carte creative writing Music and writing for others, writing to be read Expressing feelings inspired by different types of music • • • • • • • • • • • • Activity: Five free writing tasks inspired by five different musical selections from around the world. Students write as inspired by the music and post their work in the classroom. Other students try to recognize which poems were inspired by which music. Material: Five 1 minute very different musical selections from around the world: jazz, classic, Bali, France, Brazil etc. 1 copy of the following questions for each student 1. Where am I? 2. Which season are we in? 3. What do I see? Which images come to my mind? 4. What are the dominant colors? 5. What does it smell like in this scene? Which perfume comes to my memory? 6. How do I feel? What’s my mood like? 7. What am I doing now? 8. With whom am I? With whom would I like to be? 9. Which object am I reminded of? Which object would I take to this place? How does this feel? • 10. Which questions am I asking myself? No correction today! This writing is for the pleasure of others !! Sample 1: Lully music object Je dors. J’ouvre les yeux. Je suis dans un parc qui ressemble au paradis. Dix mille papillons volent au-dessus de l’eau, les oiseaux chantent. Je suis emportée par un vent très doux. Je le vois avancer, il me sourit. Puis, je me réveille… Sample 2: reggae music Je suis propulsée dans l’air. Je vole. Je me sens bien. Je touche un nuage! Je suis heureuse. Je vois la vie en couleur. Je vois une île pleine de gens: il y a une grande fête. Je suis à cette fête avec des amis. Il y a beaucoup de soleil. Je suis dans un rêve…. Le français dans le Monde ˆNo 325. P. 325 IV. à la carte writing Authentic Portfolio task IV. à la carte creative writing A historical Perspective IV. à la carte creative writing A historical Perspective IV. à la carte creative writing Practical advise on saving documents: 7 ways to save yourself & your WORK ! • • Mme Mortagy, F3, F4. F5 IB, F6 IB French Projects: How to save your documents at home for inclusion in presentations saved on CAC servers without loosing your mind • 1. • 2. • 3. • 4. Copy your finished work on a CD & then burn it. Copy your file on a Flash Disk (Thumb drive). Make sure to remove it safely. Avoid attaching your saved document to an email when it is a large file (greater than 700 KB) Make sure your Microsoft Office Version installed on your home computer is later than 2002. IV. à la carte creative writing • • • 5. • 6. • 7. Do NOT use very unusual fonts which might not be compatible with CAC computers and will change your formatted document when printed at CAC. Always make sure that the file name includes its extension (i.e.,.ppt,.doc,.pdf,.mp3, etc…) Once you are done, OPEN the document from the storage device to check it before coming to school in order to avoid unpleasant suprises !!!!!! IV. Realistic Expectations RESEARCH & LANGUAGE ACQUISITION ON AN AVERAGE, AS LEARNERS, WE RETAIN • • • • • • 10% of WHAT WE READ 20% OF WHAT WE HEAR 30% OF WHAT WE SEE 50% OF WHAT WE SEE & HEAR Precious AHA !!! MOMENTS 70% OF WHAT WE SAY / DISCUSS WITH OTHERS 90% OF WHAT WE SAY AS WE DO / WHAT WE TEACH SOMEONE ELSE Hermann Ebbinghalls In groups of 3 or 4 LET’S FIB ! Musical Inspiration Task: write a Fibonacci poem .1 .1 .2 .3 .5 .8 Task: write an Acrostic poem . . . . . . V. Rubrics & Teaching Tools Rubrics define the characteristic of L2/FL writing where students need further development and refinement Numerous Varieties of Rubrics include basic components: Different systems manipulate these components in different groupings: Implications for Instruction of L2/FL learners: Teachers must carefully structure a progressive curriculum with oral language development and literacy learning activities to reflect the relationship between proficiency in listening and speaking and growth in reading and writing based on assessment data. Content Organization Vocabulary Language Use Mechanics AP IB Honours 6 + 1 Traits Regular FL classes Jill K. Mora, Cross-cultural Language & Academic Development, San Diego State Universithttp://coe.sdsu.edu/people/jmora/WritingRubrics/ http: //coe. sdsu. V. Rubrics & Teaching Tools 6 + 1 Trait Writing @Northwest Regional Educational Laboratory @Northwest http://www.cesa12.k12.wi.us/teach/models/kelly/6point.jpg http://www.cesa12.k12.wi.us/teach/models/kelly/6point.jpg V. Rubrics & Teaching Tools AP & Generic Rubrics http://schoolcenter.k12albemarle.org/education/components/docmgr/default.php ?sectiondetailid=20413&fileitem=13598&catfilter=941 V. Rubrics & Teaching Tools (Appendix 2nd detailed rubric and creative writing task) General Rubrics V. Rubrics & Teaching Tools Ready made Rubric Templates http://edweb.sdsu.edu/triton/july/rubrics/Rubric_Template.html http://teachers.teach-nology.com/web_tools/rubrics V. I.B. Writing assessment criteria . Language Use/Vocabulary/Grammar /Cultural interaction/Organization/Mechanics /Message/Content Handling the language system accurately (grammar, syntax, etc) To what extent does the student write the language fluently and accurately? •How varied and accurate are the grammar and vocabulary used by the candidate? •How clear are the sentence structures? To what extent is the candidate able to use complex structures? •How accurate is the spelling or calligraphy? (The importance of the spelling or calligraphy varies from language to language. For example, calligraphy is important in languages such as Chinese and Japanese, whereas spelling takes greater importance in languages such as English or Russian.) •Has the candidate written the prescribed minimum number of words? (Levels 5 to 10 may only be awarded for this criterion if at least the minimum number of words has been written.) Selecting language appropriate to a particular cultural and social context To what extent does the student select language appropriate to the audience and type of text? •How convincing and expressive is the text? •How effective and appropriate is the choice of register and style to the task? Understanding ideas and how they are organized in order to communicate them appropriately. To what extent does the student communicate the message in a developed and organized manner? •How relevant are the ideas presented by the candidate? •How developed are the ideas? How appropriate are the supporting details? •To what extent are the ideas organized into an overall plan? •Where appropriate, how varied and effective are the rhetorical devices? (Rhetorical devices include all techniques used to present the message more vividly, such as metaphor, exaggeration and repetition.) •To what extent do structural elements contribute to the clarity of the text? (Structural elements include cohesive devices.) Graphic:http://coe.sdsu.edu/people/jmora http://coe.sdsu.edu/people/jmora /WritingRubrics/sld005.htm /WritingRubrics/sld005.htm V. I.B. HL Writing assessment 30 point Rubric Language Use/Vocabulary/Grammar 10 points Handling the language system accurately (grammar, syntax, etc) Cultural interaction/Organization/Mechanics 10 points Selecting language appropriate to a particular cultural and social context Message/Content 10 points Understanding ideas and how they are organized in order to communicate them appropriately. 0 Level 1 is not achieved 0 Level 1 is not achieved. 0 Level 1 is not achieved. •1-2 Command of the language is very limited and generally ineffective. •3-4 Command of the language is fairly limited with many inaccuracies. •5-6 Command of the language is effective despite some inaccuracies. •7-8 Command of the language is good and effective. •9-10 Command of the language is very good and may show evidence of sophistication. •1-2 The text is often unclear and unconvincing. •3-4 The text is partly clear but unconvincing. •5-6 The text is clear and mostly convincing. •1-2 The message has been communicated with very limited competence. •3-4 The message has been communicated with fairly limited competence. •5-6 The message has been communicated fairly well. •7-8 The text is clear and convincing. •9-10 The text is convincing and expressive, with some imagination. •7-8 The message has been communicated well. •9-10 The message has been communicated very well. IB Diploma Programme guide: Language B, February 2002 www.online.ibo.org www.online.ibo.org V. Rubrics & Teaching Tools Technology Rubrics Components For Multimedia Rubric Out of 4 point scale 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. Content Navigation Spelling & grammar Completion Screen Design Use of Enhancements Organization Branching Citing Resources Originality Depth & Breath of Project Content Subject Knowledge 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Components For DST Digital Story Telling Rubric Out of 4 point scale Purpose of Story Point of View Dramatic Question Choice of Content Clarity of Voice Pacing of Narrative Meaningful Audi Soundtrack Quality of Images Economy of Story Detail Grammar and Language Usage Story Board for Each DST Frame Storyboarding allows the user to organize images, text, motion, script, and music before they begin making their digital story. It allows the user to visualize how the story will be put together and what holes exist so that they can be filled. Storyboarding also inspires new ideas for the user’s digital story because the user sees all of the pieces of the story laid out in front of them. SHOT:_________________________ ACTION:_______________________ AUDIO:________________________ RESEARCH:____________________ Primary Sponsors:ISTE’s HyoerSIG, SAS inSchool, North CarolinaState, HyperStudio, Ezedia http://www.coe.uh.edu/digitalstorytelling/evaluation.htm CAC Information Services-2005 Created by M. Khattab V. Rubrics & Teaching Tools Technology: PowerPoint Skill Check List Can do this Independently Need some help, Have done it before Never done this before Taks/ Skills Can start PowerPoint and add new slides Can make buttons with actions Can make links to sources and graphics Can add sound effects Can scan and insert a picture Can get clipart or picture from the Internet Can create a background using a design template 8. Can create a background using fill effects 9. Can use WordArt 10. Can create a KIOSK mode ppt 11. Can add animation to objects 12. Can add transitions 13. Can add narration 14. Can use the built-in or external microphone to record my voice 15. Can add music from iTunes, Internet or a CD 1. 2. 3. 4. 5. 6. 7. CAC Information Services-2005 Created by M. Khattab V. Rubrics & Teaching Tools Technology: Digital Story Preparation Check List Am I ready to start on my DST ?? No x Tasks 1. 2. 3. 4. I have a title I have written an initial script as a word document I have planned an accompanying storyboard (paper & pencil) I have chosen all the pictures to be included: ____Digital Camera ____Scanned Images ____Scanned Drawings ____Internet Pictures ____Other: ____________ 5. All my pictures are in either Giff or JPEG format and are ready to be copied from my HS student folder. 6. I have chosen my mp3 music selection from: _____itunes _____Garage Band _____audio CD _____http://magnatune.com _____http;//creativecommons.org _____other:________________________ 7. I have listed all the references I have used (if any) in order to complete an hand in my work. 8. I have listed any questions on “How to?” For referral to my Technology teacher, Mme Mortagy or my Tech buddy. 9. I have included all my components for my DST in my student HS server for easy reference and retrieval. 10. I have a CD to copy a compressed format of my presentation. Signed: __________________ Date: _________________ Yes ! Teacher’s signature: ______________________ Adapted from M. Khattab CAC Information Services-2005 V. Rubrics & Teaching Tools http://194.79.113.147/HS_English/rubrics/rubrics.htm V. Rubrics & Teaching Tools Helping Tools icharts.org/ill/Language/ grammar-symbols.gif V. Rubrics & Teaching Tools Avoiding Error Fossilization: Important Resources for students • *List of Common errors particular to target language with corrections: Catch errors before their metamorphosis from pre-systematic to systematic fossilized errors. •(Appendix extra detailed handout) Faux amis/ les bêtes noires: each language has its own set of “false friends or cognates and expressions” Transition and cohesive devices with examples of usage Grammar visual guides Students keep Personal error log of frequent or repetitive mistakes To correct or not to correct? When to correct? Constructive Feedback “importance to the writing process. Without individual attention and sufficient feedback on errors, improvement will not take place. We must accept that L2 writing contains errors; it is our responsibility to help learners to develop strategies for self-correction and regulation. L2 writers require and expect specific overt feedback from teachers not only on content, but also on the form and structure of writing. If this feedback is not part of the instructional process, then students will be disadvantaged in improving both writing and language skills.” http:/www. Fossils.facts.fins.com/ • • • • • • • James Myles http://www-writng.berkeley.edu/TESI-EJ/ej22/al.htm VI. • • • Brain-Compatible Classroom How to accomplish the task of making writing accessible to all students? How do we motivate the Eager as well as the Reluctant or challenged learner? How do we best reach ALL of our students? 1. 2. 3. 4. 5. 6. 7. 8. -Eight important factors to consider: Ensuring a threat-free learning environment for students; Providing meaningful content teamed with choices for learning and assessment; Incorporating many different teaching methods such as differentiated instruction, basing our choice on the appropriate stages of the teaching / learning process; Utilizing collaborative learning methodology Actively incorporating Gardner’s theory of multiple intelligences and Bloom’s Taxonomy into the lesson design process; Providing adequate time for students to become involved in projects and activities that will enhance their writing skills; Using multiple resources for teaching, and Providing immediate feedback for all activities. Bimonte, R. (1998), “Mysteries of the Brain” VI. Language predisposition Non-invasive brain imaging & mapping confirmed: We are all born with a Language predisposition • • • Each brain has, from birth, the predisposition to learn language in a particular natural way. Language is hereditary. A child born today has the innate capability of recognizing about 100 sounds quite enough to combine in various forms to create all the alphabets of the earth’s 5,000 plus languages. The neurological structures that make the acquisition of language possible are • identical to all human beings, regardless of culture. This innate language predisposition has largely disappeared by the age of 11 or 12. Hello _The Unfinished Revolution, John Abbott & Terry Ryan, Network Educational Press, Ltd. 2000. Chap. 1 Buenos Dias • The Window of Opportunity for 2nd/3rd language learning: 9-11 years. The Brain becomes less plastic after that age. In essence, it becomes rigid and cannot develop richly and normally any real cognitive system, including language." _Susan Curtiss, Prof. Linguistics, UCLA Ahlan wa sahlan • – – – – – – – – – – – – FL Teacher as Language Facilitator Provide students with resources for all language skills: VI. Grid of typical errors to avoid, outline & different samples for writing tasks Transitional words and conversation fillers Guidelines & Rubrics Partnership with Technology teachers Authentic forma!informal letters, invitations, publicity, surveys Internet online practice & resources: pertinent sites Authentic assessments: Text handling, Writing, Oral activities Use of online language curriculum centers, College Board, AP Central, IBO Numerous scenarios for all prescribed language tasks Practice, practice and more practice…. Simulated interactive timed and spontaneous written activities Encourage exploration of topics of interest and multi-media projects Be consistent in your expectations and give students the feeling of being in a partnership for success in their language of choice – Participate in all the tech activities, learn with your students and don’t be an Ivory Tower Teacher! – Inspire the “spark” and the “passion” needed to motivate students to be immersed in their second or 3rd language Picture1:www.marylandpublicschools.org Picture2:http://www.foothill.edu/news/h eightss2003/images/student-teacher.jpg Writing for Eternity at CAC . Thoth Seshat Graduation at the Guiza Pyramids! Recipe for success in High Tech & Low Tech Writing for Diverse Students Teaching as an inspiration since Ancient Egypt Inspiring Teacher Student On Mission Possible! Accessible Writing Tasks Flexible Teaching & Learning Strategies