Professional Training for Teachers of Diverse Learners: Strategies for Language Enhancement by Centro de Investigaciones Educativas

Professional Training for Teachers of

Diverse Learners The Professional Training for Teachers of Diverse Learners: Strategies for Language Enhancement Project was sponsored by the Center for Educational Research of the College of Education of the University of Puerto Rico in Río Piedras and the Council of Higher Education of Puerto Rico with funds of the No Child Left Behind Law (NCLB-08-13). The purpose of this Project was to achieve a high degree competent educator who can implement teaching strategies pertinent to the educational growth of diverse learners. To reach this goal, the Project facilitated the professional development of approximately 60 teachers from public and private schools. The areas covered were visual and performing arts, music, curriculum alignment, state of the art technology, and assessment strategies, as integrated to the teaching of English to diverse learners for a better academic achievement. The Project also promoted and disseminated participants’ strategic planning through the design of curricular matrix(es) based on standards of excellence. This manual includes the lessons designed by Project participants and illustrates how to integrate the visual arts, music and technology to the teaching of English so that students may have the opportunity to learn from those strategies and have practical experience with them.

Strategies for Language Enhancement Universidad de Puerto Rico Recinto de Río Piedras Facultad de Educación Centro de Investigaciones Educativas

Professional Tr a i n i n g f o r Te a c h e r s o f

Diverse Learners Strategies for Language Enhancement Universidad de Puerto Rico Recinto de R铆o Piedras Facultad de Educaci贸n Centro de Investigaciones Educativas

n Title: Professional Training for Teachers of Diverse Learners: Strategies for Language Enhancement Centro de Investigaciones Educativas Universidad de Puerto Rico Recinto de Río Piedras Project Director: Annette López de Méndez Telephone: 787-764-0000 ext. 4382, 4384 Fax: 787-764-2929 Graphic Designer: Nilsa Espasas Editor: Dr. María Antonia Irizarry

This Project is funded (in part) by a federal grant under the Tittle II of the No Child Left Behind Act. (P.L. 017-110) administered by the Puerto Rico Council of Higher Education. Opinions and findings expressed herein do not necessarily reflect the position or policy of the U.S Department of Education, and no official endorsement by either of these agencies should be inferred.

Resources

Administrative Personnel Annette López de Méndez – Director María Antonia Irizarry – Co-Director Lourdes M. Torres – Coordinator

E l

Lymarie Berrios –Administrative Secretary

Carmen de Lourdes Ortíz –External Evaluator

Professors María Antonia Irizarry

Aníbal Muñoz Claudio

Elsie Candelaria Lowell Fiet Rosemary Morales Juan Carlos Vadi

Project Participants

Amarilis González Domínguez – Central de Artes Visuales

Marisol Almodóvar – Inés María Mendoza

Betzaida Figueroa - Colegio San Antonio de Padua

Mildred Rodríguez Rivas – Escuela Central de Artes Visuales

Elly Mallen - Colegio San Antonio de Padua

Miriam Ramos – Dr. Facundo Bueso

Evelyn Maldonado – Pascacio Sancerrit

Monserrate Nazario Torres – Julio Sellés Solá

Evelyn Menéndez Vega – Pachín Marín

Silvana Colón Rivera – Julio Sellés Solá

Gladys Arguinzoni - Central de Artes Visuales

Teresa Rodríguez Olivera - Colegio San Antonio de Padua

Gloria I. Alvarado – Antonia Sáez Irizarry

Wanda Ramírez Príncipe – Antonia Sáez Irizarry

Janice Busigó Cordero – Ernestina Bracero Pérez

María Teresa Arias Briceño – Carmen Gómez Tejera

Lillian del Río - Colegio San Antonio de Padua

Angel Campos Velez – Arturo Samohano

Linnette Arroyo Ortíz – Central de Artes Visuales

Carmen A. Zayas – Colegio Santa María Del Camino

Lissette Jiménez Fossé – Angeles Pastor

Ellie Fernández – Juan B. Huyke

Manuel L. Valle Meléndez – Elemental Eleonor Roosevelt

Enid Díaz O’Neill – Colegio Santa Gema

María T. Martell Sol - Pascacio Sancerrit

Evelyn García – Dr. Facundo Bueso

Marisol de León - Colegio San Antonio de Padua

Glenda J. Hurtado Torrellas – Colegio Angeles Custodios

Minell Peña – Dr. Gilberto Concepción

Héctor Sanchez Rius – Colegio Adianez

Patricia Ejiofor - Pachin Marín

Ivis M. Moyeno – Fernando Callejo

Rafael B. Díaz - Eleonor Roosevelt

Jessica Jover – Colegio Ángeles Custodios

Anabel Torregrosa Quirós - Colegio San Antonio de Padua

Katherine M. López Más – Colegio Santa Gema

Cynthia Nieves Cubero - Central de Artes Visuales

Marta M. Betancourt – Colegio Ángeles Custodios

Czarina Rodríguez – Colegio Sagrado Corazón de Jesús

Mary L. Rivera Hernández – Fernando Callejo

Delializ Rivera Nevárez – Colegio Beato Carlos M. Rodríguez

Maybel Rivera Castro – Carlos Conde Marín

Elizabeth Rivera Camacho – La Esperanza Luis Palés Matos

Michelle M. Acevedo Torres – Colegio Santa Gema

Ilka Carbó – República de Colombia

Miriam Ramos – Andrés Varcarcel

Julia B. Rodríguez Fernández – Ricardo Arroyo Laracuente

Norbert Rivera – First School Bilingual

Katharine Rivera Pérez - Colegio San Antonio de Padua

Ruth N. Canales – Juana Rodríguez Mundo

Laura Rosa Calderín – Dr. Juan Maunez

Sonia M. González Colón – Juana Rodríguez Mundo

Luz M. Rivera Acevedo – Ser de Puerto Rico

Zaidy B. García Pabón – Politécnico Amigo Inc.

Manuel Echevarría – Intermedia Berwind

Nina Hately – Colegio Santa Gema

María E. Rosa - Colegio San Antonio de Padua

Ilda García Velasco – Central de Artes Visuales

Content

7 Introduction Annette López de Méndez 13 The Spread of English and Its Variations María Antonia Irizarry 17 Reality Shows in the English Classroom Aníbal Muñoz Claudio 22 Preparing ESL teachers to include technology and art into their classrooms: A crucial adaptation Elsie Candelaria 24 Writing through digital narratives: The application of technology to the production of digital stories Rosemary Morales and Juan Carlos Vadi 32 Masks and masquerade in multi-aesthetic and transcultural education Lowell Fiet 38 Lesson 1: Lesson Plan for a Listening Activity Amarilis González Domínguez 42 Lesson 2: Animals and words that describe Enid Díaz, Maybel Rivera, Ruth Canales and Sonia González 44 Lesson 3: Lesson Plan for Verbs Application Enid Díaz 47 Lesson 4: Lesson Plan for a Writing Activity Enid Díaz, Ruth Canales, Maybel Rivera and Sonia González

50 Lesson 5: Teaching ESL: Complying with Content Standards and Grade Level Expectations Glenda J. Hurtado, Ivis M.Moyeno, Mary L. Rivera and Héctor Sánchez 53 Lesson 6: Going Beyond Manuel Echevarría 56 Lesson 7: The Night that George Came: A Lesson from Aníbal Muñoz’s Original Story Minell Peña Amarilis González, Gladys Arguinzoni, Linnette Arroyo, Hilda García, Mildred Rodriguéz, Laura R.Calderín, Betzaida Figueroa, Lillian del Rio, Marisol de León, Anabel Torregrosa, Katharine Rivera, María Rosa, Teresa Rodriguéz, Czarina Rodriguéz 62 Lesson 8: Music and Me Project Katherine M. López Más 68 Lesson 9: One world: Our World Luz M. Rivera 71 Lesson 10: Appointment with Love Amarilis González, Cynthia Nieves Delializ Nevarez, Lilian Del Río, Linnette Arroyo Ortiz 75 Lesson 11: Gingerbread Baby Janice Busigó 77 Lesson 12: Lesson Plan for Diversity Mask Carnival Amarilis González Cynthia Nieves Gladys Arguinzoni

Introduction

The Professional Training for Teachers of Diverse Learners: Strategies for language enhancement project was sponsored by a grant from the Puerto Rico Higher Education Council, No Child Left Behind Act and Title II Funds (NCLB – 08-13). Its purpose was to offer a professional training program to English teachers of diverse learners, which would result in the development of innovative strategies that would foster a better linguistic achievement of diverse learners. This initiative was a response to the urgent need of both public and private schools to bring the teachers’ knowledge up to date with regard to the latest development in language teaching and learning, as reflected in a school survey administered to a group of public and private educational institutions in San Juan District III. Thus, the goal for the project was meant to provide teachers with the opportunity to reflect upon the potential and needs of diverse learners, and to explore the integration of art and technology as a way to enhance students’ learning. The context The project concentrated its efforts in those public schools coming mainly from San Juan District III and a neighboring private catholic school. The San Juan District III has a total of 25 schools, of which 19 (76%) had not met the Adequate Yearly Progress (AYP) for the academic year 2007-08. As a result, these schools were classified as failure and were in need of an improvement plan. From this group of schools, two (8%) were in its eighth year, one (4%) was in its seventh year, seven (28%) were in its fifth year, six (24%) were in its fourth year, and three (12%) were in its second year of improvement plan. Learners’ scores in the Prueba Puertorriqueña de Aprovechamiento Académico (PPAA), demonstrated that students from public schools were unable to meet the required levels in Math, English, and Spanish. This tendency was also observed in the scores for students’ in the fourth, fifth, sixth, seventh, eighth, and eleventh grades. In addition, the District had a high percentage of special education students with learning problems, and similarly had a high percentage of students under the level of poverty and many from migrant families. In contrast, the participating private school in San Juan District III was a non-profit catholic preparatory school, which offered classes from preschool to twelfth grade. It had an enrollment of 1,390 students and had been accredited by the Middle States Association of Colleges and Schools. It served

middle and high-income families, but had a fund to provide scholarships to lowincome students. The school also had a diverse population, since their students came from different ethnic backgrounds (Puerto Ricans, Dominicans, mainland United States, and Chinese, among others) and socio-economical levels. It was also considered as one of the best preparatory private schools in the area, and although most of the students excel in learning, they also had students with special needs. Understanding the importance of providing quality education for all, teachers were always eager and interested in participating in projects in order to provide their students with the best practices. Teaching diverse learners

We live in a society dedicated to the idea of equality for all. For this reason, it is essential that the educational system afford every child an equal opportunity to progress and become a responsible and happy individual. The present vertiginous scientific-technological development and globalization require the use of English as a lingua franca in these processes. Every citizen is expected to be able to be part of these tendencies and respond to the demands of the existing reality, so that he or she can be a productive asset in the 21st Century. The effective teacher appreciates human diversity. An empowered instructor recognizes how diversity in the classroom creates an environment in which everyone accepts and celebrates both heterogeneity and the uniqueness of individuals. In such environment, teacher and students view race, ethnicity, religion, national origin, learning style, and gender of learners as strengths that foster learning with and from each other. The Educational System in Puerto Rico has a high percentage of students of diverse populations. Thus, it is crucial that teachers who impart education to these learners be equipped with the necessary tools to meet their needs. Educators must understand how students learn and develop language skills, and use this knowledge to plan, organize, and implement instruction, and assess learning. This is why this project was designed to provide teachers with the necessary knowledge and skills to develop teaching strategies that would enhance the learning of diverse learners. The project: How it evolved The Professional Training for Teachers of to Diverse Learners: Strategies for Language Enhancement represents a commitment to guarantee equal opportunities for students of diverse populations. The project envisioned the following goals: a. Achieve a high degree competent educator who can implement teaching strategies pertinent to the educational growth of diverse learners. b. Facilitate the professional development of teachers in the areas of visual and performing arts, music curriculum alignment, state of the art technology, and assessment strategies, as integrated to the teaching of English to diverse learners for a better academic achievement.

c. Promote and disseminate participants’ strategic planning through the design of curricular matrix(es) based on standards of excellence. In order to accomplish these goals, the project recruited 60 teachers from public and private schools in Río Piedras. They attended 122 hours of professional development in the areas of visual and performing arts, music, curriculum alignment, state of the art technology, assessment strategies, and strategic planning of innovative lessons integrating arts and technology to the curriculum. The Project was based on the premise that the development of linguistic and communicative competence benefits from the use of different approaches to prompt teachers’ and students’ awareness that language proficiency is required for effective communication. Researchers in the areas of linguistics, sociology, psychology, and education, such as Brown (2001, 2004, 2007), Dodge (1998), Ginn (1999), Guerra and Shutz (1999), Rassias (1998), and Zapel (1999), advocate the use of visual and performing arts, technology, and recent assessment strategies in the development of communicative competence. This project reaffirms the following postulates:The use of different approaches and strategies contribute to better, gratifying, and faster acquisition and learning of a language. This is accomplished through the integration of poetry, drama movies, music, and the radio to the teaching lessons. • Observing and thinking about art and poetry trigger in the individual the interpretation of the messages artists and writers intend to convey. This, in turn, stimulates critical thinking, creativity, and the construction and interpretation of meaning. • The use of technology for the creation of digital stories, blogs, and chat rooms contribute to the exploration and understanding of concepts, fostering the multiplicity of modalities of learning, perceptions, and learning styles. • The integration of different subject areas develops reasoning, the understanding of distinct perspectives, problem solution ability, and the use of figurative language, which are essential for thinking skills. • The effective educator understands the importance of ongoing assessment and uses a variety of assessment strategies to guide the teaching of diverse learners. •

In light of these assumptions, the following strategies were implemented in order to foster the professional development of participating teachers: 1. Lectures and workshop meetings (from February 14 to May 23, 2009) concentrated on discussing the definition of diverse learners and the learning needs of students whose first language is not Spanish, nor English. Participants also discussed other fundamental themes such as assessment, curriculum alignment based on the Department of Education Standards and Expectations, as well as theories that served as a foundation for the understanding of the importance of technology and innovative teaching strategies to enhance students’ language learning. These sessions were

complemented with workshops directed to explore the use of movies, poetry, and drama to learn idiomatic expression, use figurative language, and enhance oral communication. 2. A Summer Institute (from June 1 to June 12, 2009) had the objective to give teachers hands on experiences on learning innovative teaching strategies that integrated music, radio, and visits to the museum to the curriculum in order to enhance the writing production and comprehension process. They also had the opportunity to participate in a digital storytelling workshop intended to improve their students’ visual and writing process. This is a simple and low cost technology strategy that allows students to use photography as a cue for writing stories about their life and context.

3. Learning about the use of blogs and chats aimed to enhance learning and strategic planning (August 15 to December 19, 2009). During this section of the project teachers learned how to design a blog and create chat groups for teaching purposes. They also had time to write lesson plans integrating the innovative strategies learned and introduced through the project. Three English specialists, Dr. Maria Antonia Irizarry, Dr. Elsie Candelaria and Prof. Anibal Muñoz mentored participants during the strategic planning phase. The intensive training session concluded with the presentation of the participants’ work, which was submitted for editing and then considered for publication in this manual. The reader will find some exemplary lessons in the manual, as evidence of how teachers transformed their daily lessons to innovative teaching strategies. In addition to the training, the project coordinated follow-up school visits during the period of January to April 2010. During these school visits, mentors observed how participants implemented the strategic plans, as well as interviewed about their teaching experience and the integration of the learned innovative teaching strategies. Although not all participants were visited, through the eyes of those that were observed, it became evident that the project had made a difference in their lives and in their students’ learning. Teachers were grateful because now they could make better use of the technology. Some claimed to have found a bridge to listening skills and poetry through music, to writing skills through digital storytelling and blogs, to speaking skills through video production and art. In many occasions, we as visitors received thank you notes from the students, and were amazed at the quality of the video productions, poetry writing, and the effort that each student made to express him or herself in English, as the lingua franca. One of our greatest joys was to coincide with the day Middle States Association of Colleges and Schools (MSA) visited one of the participating schools for accreditation purposes. To our surprise the teachers and their students were presenting an exemplary lesson integrating one of the innovative strategies learned through the project. The MSA evaluators had more than words of congratulations to the faculty, who had presented the lesson as evidence on how they integrated art and technology to the English curriculum.

The product: The teachers’ manual In order to complete the project, we embarked in putting together this publication, which is dedicated to all participating teachers for their great effort to pursue quality education for all and instilling passion to the teaching profession. In this manual the reader will find several articles written by the faculty that worked in the Project, lessons plans written by some of the participants, and photographs that allow us to see how teachers integrated the innovative strategies to their classrooms. In the article written by Dr. Maria A. Irizarry, co-director of the Project and an ardent advocate of diverse learners, the reader will be able to explore and reflect upon the idea of new Englishes, its uses, how it develops and spreads, how it is taught, and how this idea will evolve in the future. In her writing she reminds us that, “regardless of which variety [of new Englishes] we choose to teach, we should respect other varieties of English and teach students to speak correctly, clearly, and intelligibly. In order to speak intelligibly, students must be aware of the situation and the means they have at their disposal to convey a particular message or attitude to another person. In order to be clear students need to be aware of the other person’s ability to understand the message. Miscommunication occurs because people come with different backgrounds and conventions, not because of accent or lack of knowledge about the structure of English.” The articles written by Prof. Anibal Muñoz, Dra. Elsie Candelaria, Dr. Rosemary Morales Urbina, and Dr. Juan Vadi Fantauzzi serve two purposes. First, they will give the reader an opportunity to peek into some of the innovative strategies promoted in the project, making tangible some of the knowledge teachers were exposed to. Second, they serve as an excellent and articulated defense of the integration of technology to the curriculum. Prof. Anibal Muñoz affirms in his writing that “our students have grown up with technology at their fingertips. As a result, they bring expectations to the classroom on what technology will be available to use and that, indeed, faculty will use this technology to support learning inside and outside the classroom.” The question he poses to all educators is how can teachers fulfill those technological expectations that students bring to the classroom. He argues that teachers must attend this matter by finding a common ground for both and each of the fields, English skills and technology. The reader will find in Prof. Muñoz’s example, the Reality Shows, an innovative and creative solution, one that any adolescent would find attractive and engaging in the teaching and learning of English. Following this and in defense of Prof. Anibal Muñoz arguments, Dr. Rosemary Morales and Dr. Juan Vadi Fantauzzi advocate for the use of digital storytelling to teach English. “Effective visual storytelling will hold the interest of its audience and cut across age barriers. Storytelling is a task shared both by the storyteller and the audience. It is the interaction of the tow that

makes storytelling come to life.” They explain that telling stories is a natural human activity. So in order to enhance this natural act of expression they propose embarking students in a literary visual production with the use of a low cost digital camera. Writing, reading, speaking, and listening skills can be developed through digital storytelling. In addition, this activity offers students the possibility to explore a myriad of contemporary work skills and opportunities. This emphasis sees the classroom not as a sole place to learn English, but as a place to nurture values such as collaboration, respect for others contributions, and professional, as well as personal aspirations. Dr. Lowell Fiet’s article seeks to transform the “normative learning environment to insure that the classroom assumes a new identity and dimension as an open space of creative expression, even periodically and for brief periods.” This new space allows others to understand the complexity of the teaching and learning process. He presents an in-depth analysis of the act of mask-making, helping the reader understand how a simple, natural playful activity can combine a myriad of skills and knowledge, thus stimulating the creative intelligence. The manual ends with a series of lesson plans that were designed by participating teachers. The lessons demonstrate how the knowledge learned in the Project was transferred to the daily life of a regular classroom. They are vivid examples on how teachers, given the chance and opportunity, can bring art and technology into their classroom. In appearance, the lessons may look simple, but in reality the process of making teaching a joyful and creative act demands knowledge, thinking, and courage from the practitioner. These lesson plans are a testimony that with passion and effort we can transform our practice in order to provide quality education for all students. I invite you to view this manual as a gift and a testimony of what art and technology can offer and contribute to the improvement of the teaching and learning process.

Annette López de Méndez, Ed.D. Project Director

The Spread of English and Its Variations: María A. Irizarry, Ed.D.

Englishes

New Englishes

English has become a global language. According to Baker (2009), “…there has been much interest in and debate concerning the use of English as a lingua franca (ELF)” (p.567). English has been used as the lingua franca for communication among nations. The spread of English throughout the world has resulted in new variations of English or New Englishes.

New Englishes New Englishes are new variations of English that are learned in areas where English is not a first language, but still has a role. Through the creation of New Englishes, English acquires different identities and ownerships (Foley, 1988). According to Mesthrie (1992), another name for New Englishes is “non-native institutionalized varieties of English.” Tan (2009) affirms that these New Englishes are used in multilingual or multicultural communities that are culturally divergent from Britain or the United States. New Englishes are systematic, organic, rule-governed, symbiotic systems that are relevant to the contexts in which they arise. There is not a precise, clear-cut answer to what a New English is. Notwithstanding, Platt, Weber, and Ho (1984) state that a New English is one that fits into the following criteria. A New English is developed through the school system where it has been taught as a subject or used as a medium of instruction, depending on the country and the school. New Englishes develop in areas where a native variety of English is not the language spoken by most of the population. New Englishes are used for a range of functions among those who speak it or write it. For instance, the New English can be used for letter writing, writing of literature, in parliament, for communication between the government and the people, in the media, or for friends and family to communicate. The new English may be used as a lingua franca in places where there is more than one native language or may be used because the people in the area feel that it is more appropriate for a particular purpose. New Englishes also become “localized” or “nativized” by adopting some language features of its own, such as sounds, intonation patterns, sentence structures, words, or expressions. It could also develop some different rules for using language in communication (Platt, Weber, & Ho, 1984). Following the criteria provided by Platt, Weber, and Ho, (1984), there are some varieties of English that are not considered New Englishes. Creoles and pidgins are not New Englishes because they are not developed through the educational system. They are not taught, but rather they develop to meet the needs of communication of people. Furthermore, many of the words are changed too much in pronunciation and meaning from English. Newer varieties of English other than British English, such as American English and Australian English, are not considered New Englishes because they developed in areas where English was spoken all along. Newer Englishes of the British Isles are not considered New Englishes because they did not develop through the school system. Immigrant Englishes are also not New Englishes because they develop in areas where most of the population speaks English. Additionally, the differences between immigrant English and the language they encounter (English) when they arrive disappear in later generations. Uses of New Englishes New Englishes serve several functions in the places where they are spoken. Obviously, the functions vary depending on the New English and the country where it is used. In some New Englishes, like for example Singaporian English, there is a more standard variety that is used in official contexts and the more colloquial variety, which is used in more informal settings. In some places New Englishes are used in certain significant, more formal social spheres, where they complement the native language, which is used in more domestic, everyday situations. For some users, New Englishes have begun to assume wider roles and have entered into their lives and everyday interactions, often alongside the native languages of the region (Tan, 2009). In some areas the New English is used by groups as a regular language for communication in some area of everyday activity (Platt, Weber, & Ho 1984). The New Englishes also allow their speakers to highlight their identity and membership of a speech community (Kirkpatrick, 2007). Now that speakers of New Englishes are getting more education, New Englishes are beginning to be used in some places for more than just informal communication (Platt, Weber, & Ho, 1984).

Formation and Spread of New Englishes New Englishes form in areas where English is not used as the native language. Some of those places were colonized by Britain or the United States. New Englishes are the result of the transformation of English as it interacts with the new context and adapts itself to handle new objects, relationships, and experiences and develops new resources to express new meaning, cultures, and viewpoints (Tan, 2009). A New English can develop in one of three situations. In the first situation people already use a local language when English enters the scene. In the second situation, people already know an English pidgin, but learning a New English is still like learning a foreign language. In the third situation, the people know a creole (Platt, Weber, & Ho, 1984). In any case, the contact with the other language or language variety influences the New English that will develop (Kirkpatrick, 2007). When English enters a country there is a process by which New Englishes develop, even though not all New Englishes follow these steps in the same order. The first step is when English enters the country. In the second step, English is stabilized. In the third step, people begin to take ownership of English and begin to find more innovative uses for the language. In the fourth step, the local version of the language begins to stabilize, and perhaps even begins to show a new identity. Lastly, in the fifth step, differences between different social groups start to become noticeable (Tan, 2009). The formation of New Englishes can also be described as a life cycle. According to Moag (1992), the life cycle of New Englishes start with transportation. This is when English enters the country or region. Then, indigenization occurs. This is when the people take the English and make it their own. Once the New English has emerged, it begins to fulfill more functions. Institutionalization occurs eventually. A fifth process, which does not always occur, is restriction of use and function. As the New English is formed, it spreads throughout the region by the educational system. In many countries English is taught by native speakers. However, since more teachers are needed, local, non-native speakers are hired to teach English. Therefore, their English is different from the “standard” and they teach that English to others in the region (Platt, Weber, & Ho, 1984). Differences Between New Englishes and Other Englishes Looking at some of the features New Englishes have in common among themselves and that are different from the other Englishes will allow us to learn more about New Englishes. One of the differences between New Englishes and other Englishes is in terms of formality. New Englishes are often more formal with more complex vocabulary and grammatical structure. For example, Indian English has lengthy constructions, bookish vocabulary, and exaggerated forms, which make it appear more formal to speakers of other varieties. Greeting and leave-takings are also different, since they are often direct translations from the native language (Jenkins, 2003). When a New English is created, the people using it modify the vocabulary to fit their needs. Some words will have their meaning changed. Locally coined words or expressions are added into the language. This can be done by adding a prefix or suffix to an existing word or by compounding words. Words can also be borrowed from the native language or language varieties. For example, words from the Creoles in the Caribbean are borrowed and used in some of the New English varieties used in that region. Idioms are also changed. Sometimes they are modifications of English idioms that emerge because of the differences in pronunciation. Other times, the idioms are direct translations from the native language (Jenkins, 2003). According to Platt, Weber, and Ho (1984), there are some linguistic tendencies that most New Englishes share and distinguish them from other Englishes, such as: • Shortening vowel sounds • Replacing central vowels by either front or back vowels • Shortening diphthongs and leaving out the second sound element in the diphthong • Not marking nouns for plural • Changing the form of quantifiers • Not marking verbs for past tense • Implying rather than explicitly stating subject and object pronouns that can be understood from context • Not inverting WH questions and yes/no questions Criticisms of New Englishes The features that distinguish New Englishes also cause some people to think that New Englishes are less than other Englishes. Some people think that new Englishes are the result of imperfect learning. Some people also think that New Englishes are merely second languages, that they are unsystematic or idiosyncratic, unintelligible, and nobody’s language. According to Tan (2009), other criticisms include that: • They are reserved for use with specific individuals in narrowly restricted range of situations. • They show widely shared aberrancies. • Each individual typically adds in his own speech a large and idiosyncratic collection of features reflecting his particular native language, educational background, and personal temperament.

They represent chains of imperfect imitations of the original model. They are fossilized interlanguages. They display lower standards. In Singapore, for example, those ideas let to a rejection of the New English variety. When Singapore English first emerged, people were only thinking in terms of what was wrong with it in relation to the language spoken in English speaking countries. They later started thinking that their English might be considered in their own right and eventually Singapore English became accepted. Nevertheless, there are still some negative attitudes towards Singapore English (Foley, 1988). Those criticisms are negative ideas and prejudices against New Englishes. New Englishes are systematic, rulegoverned language varieties, spoken by a speech community. • • •

New Englishes and the Teaching of English In most of the world the English varieties that are taught and tested are the British and the North American variety. The materials used are based on those norms. Students are expected to take tests in which their performance is measured against native-speaker norms (Jenkins, 2003). Some schools act as if New Englishes did not exist. They try to teach English to eliminate those varieties, even when the teachers themselves sometimes speak those varieties (Nelson, 1992). Teachers are blamed for the continued existence of New Englishes (Platt, Weber, & Ho, 1984). Deciding which variety is taught is a difficult task. Even though in many places American English or British English is taught, this may not be very realistic for the students who do not speak like that. However, teaching the local variety is also problematic because not everyone speaks the same in every context. Which local variety should be taught? If teachers are trying to crate realistic dialogues for students to read, realistic would be for them to use informal varieties, pidgins, creoles, or other languages. However, that would not be appropriate for teaching English (Platt, Weber, & Ho, 1984). In settings where there are New Englishes, or even in ESL or EFL settings, students come to the classroom with native languages. Sometimes they bring a pidgin, a creoles or a colloquial version of English. This leads to the questions of how much of those language varieties should be allowed. In the past, these were penalized as being local or low-class. However, now these varieties should not be thought of by teachers as unacceptable (Crystal, 2006). Rather, they should be used as a starting point for the teaching of a continuum of English forms that go from formal to informal so that students learn what varieties are appropriate in which contexts (Foley, 1988; Platt, Weber, & Ho, 1984). Teaching students what is appropriate when and where is important because what is appropriate in the students’ culture might not be appropriate in a native English speaking culture. Also, what is appropriate in the New English might not be appropriate in the older Englishes and vice versa (Nelson, 1992). Regardless of which variety we choose to teach, we should respect other varieties of English and teach students to speak correctly, clearly, and intelligibly. In order to speak intelligibly, students must be aware of the situation and the means they have at their disposal to convey a particular message or attitude to another person. In order to be clear students need to be aware of the other person’s ability to understand the message. Miscommunication occurs because people come with different backgrounds and conventions, not because of accent or lack of knowledge about the structure of English (Platt, Weber, & Ho, 1984). There is discussion in regards to what speakers make the best teachers of English as a second language or a foreign language. The position of some people is that native speakers would be best because they know the language best (Jenkins, 2003). Some also think that having a teacher who is a native speaker will help students who plan to go somewhere where English is spoken as a native language. This might not necessarily be true because even in countries where English is spoken as a first language, students will hear a wide range of dialects and informal varieties that they might not learn in school. Moreover, having a native speaker be the model can make some students feel that they should not even try to learn English because they will never be as good as a native speaker (Kirkpatrick, 2007). Just the same, some people think that being a native speaker does not mean you are better qualified to teach English as a second or especially foreign language, if you have no particular training in that area. Still others think that a non-native speaker might make the best teacher because he/she has experienced learning a foreign language and can therefore empathize with the students (Jenkins, 2003; Kirkpatrick, 2007). Having a teacher who speaks the students’ native language can also be an asset, since he or she can use the language as a starting point and be able to recognize where some difficulties stem from. For example, some teachers who speak their students’ pidgins can use them as a springboard to teach English (Platt, Weber, & Ho, 1984). Notwithstanding the controversy, sometimes students learn English as a second language from a teacher who is also a second language speaker, who learned it from a teacher who is also a second language speaker. Therefore, there might be little input from native language speakers (Moag, 1992). The Future of New Englishes New Englishes will continue to develop. We cannot generalize how it will happen because there is a range of social, ethnic, and linguistic differences between countries (Crystal, 2003). Although some people are afraid that New Englishes will

continue to change and will eventually become mutually unintelligible, the necessity of communication might prevent that from happening (Crystal, 2006; Kirkpatrick, 2007). Some New Englishes will get more functions in their countries, others will get less. In different countries English will either become a dominant language, will have important roles, or will have minimal roles. What will happen from place to place will depend on communicative needs, government and educational policies, and globalization. Thus, we agree with Baker (2009) when he asserts: Owing to the vast extent of English use on a global scale, which Crystal (2008) roughly estimates as involving two billion users, it is necessary to construct a conception of English that accepts a plurality of Englishes and an understanding that English is not seen as the property of one culture or community. (p. 568) References Baker, W. (2009). The cultures of English as a lingua franca. TESOL Quaterly, 43(4), 567-592. Crystal, D. (2003). English as a global language (2nd ed.). Cambridge: Cambridge University Press. Retrieved May 4, 2009, from Google Books: http://www.google.com.pr/books?id=d6jPAKxTHRYC&pg=PA147&dq=The+New+Englishes+what+are+they&Ir=&as_ brr=3#PPP1,M1 Crystal, D. (2006). English worldwide. In R. Hogg & D. Denison (Eds.), A history of the English Language (pp.422). Cambridge: Cambridge University Press. Retrieved May 4, 2001,from Google Books: http://google.com.pr/books?id=U5FDi8WksqYC&pg=PA435&dq=The+New+Enishes+hat+are+they&1r=&as_ brr3#PPP1,M1 Crystal, D. (2008). Two thousand million? English Today, 24, 3-6. Foley, J. (1988). World Englishes: The case of Singapore. Kent Ridge: Singapore UniversityPress. Retrieved May 2, 2009, from Google Books: http://www.gooble.com/books?ID=9DjSLnWIC&pg=PR11&11dq= The+New+Englishes+what+are+they&as_brr=3#PP1,M1 Jenkins, J. (2003). World Englishes: A resource book for students. London: Routledge. Retrieved May 4, 2009, from Google Books: http://www.google.com.pr/books?id=Te30hxBuCGkC&printsec=copyright&dq=%22 New+Englishes%22&lr=&as_brr=3#PP1,M1 Kirkpatrick, A. (2007). World Englishes: Implications for international communication and English language teaching. Cambridge: Cambridge University Press. Retrieved May 4,2009, from Google Books: http://google.com.prbooks?id=sB0mytUc9FEC&pg=pg=PA34dq=The+New+Englishes+

Reality Shows

Reality Shows in the English Classroom:

An Innovative Strategy for Diverse Students and English Language Enhancement Aníbal Muñoz Claudio, MA

Let’s face it! In this day and age, students not only fear but they also resist conducting research and oral presentations in the English class. Unfortunately, this is the case for most ESL educational scenarios around Puerto Rico. However, when we examine closely the traditional (routine) methods in which these two academic tasks are typically assigned, the challenge can become a nightmarish event for our students. It’s time to turn this nightmare into a pleasant experience in which our students not only practice and enhance these two skills, but also enjoy themselves while doing it. ESL educators need to convert their unadventurous research and oral presentations projects into “reality shows” in their classrooms. Nowadays, available technologies such as the Windows Movie Maker (WMM) program (or others), allow students and faculty to take pleasure in working with research and oral presentations assignments while enhancing English language skills in classrooms. According to Pamela Eddy (2006), in her article Lights, Camera, Action: The Role of Movies and Video in the Classroom, our students have grown up with technology at their fingertips. As a result, they bring expectations to the classroom on what technology will be available to use and that indeed, faculty will use this technology to support learning inside and outside of the classroom. Moreover, Sherman, in her book Using Authentic Video in the Language Classroom asserts that video is today’s medium. “Print may still be powerful but many people spend more time with audio-visual media: video techniques, discourses and clichés are more familiar to them than the words of books and papers.” (Sherman, 2003). The voices of these two contemporary educators (and thousand others) exemplify the educational outcry that modern and diverse student populations are demanding in all educational settings. There’s an imminent need for educators to fulfil those technological expectations that students bring to class. However, the academic rigor of teaching essential skills in the ESL cannot be restrained by this technological wave. Instead, both fields (skills and technology) must find common grounds in which both can aid students and faculty with more motivational, satisfying, and educational approaches in the ESL classroom. One good example of these common grounds takes place with two of the most important skills an ESL student must develop: research and oral presentations. It is, precisely, at this juncture where technology must step in and help students work and develop these two skills blissfully and confident. Let’s bring Reality Shows to our English classrooms. Reality Shows (RS), comparable to popular TV shows, which our students are fascinated with, are a non traditional form of conducting/combining a research and an oral presentation of a given topic in a video (WMM) format. This tool allows students to become actively involved with their learning by going beyond the classroom walls and documenting (videotaping + research) a series of activities related to class topics (readings, discussions, etc.). These research activities can be as unlimited as varied. For instance, besides recording themselves while working with traditional research methods in a library or a laboratory, students can document their instances of administering surveys to obtain contextualized statistics on their chosen topic. Similarly, in RS, students are expected to conduct interviews to people with an expertise on the topic, which they can record as well. Other activities that students can document in a video may include: direct observation of events or settings (protests, meetings, sport events, weather events, places, etc.), direct participation in events (community initiatives and involvement), dramatizations of the topic with the help of outside collaborators, technological research (videos, digital pictures, digital audio, etc.), students’ introductions to begin the video ingeniously, and students’ reflections about the process to end the project gracefully. Finally, they can also include a “bloopers” section which will serve as a great piece of evidence that language rehearsal and practice took place. Educators must ensure to teach all of these skills (surveys, interviews, etc.) to students prior assigning them. RS bring a myriad of benefits for both educators and students alike. Some of these benefits are:

1. Constructivist & Active Learning Tool –RS are excellent to provide students with opportunities to construct meaning (Bruner, 1966). The activities included in RS are designed for students to become actively involved in the process of data gathering from different perspectives. Most of the time, information is not found at their fingertips; they have to construct and produce the means to obtain it, interpret it, and analyze it smartly. Thus, the learning process becomes as enriching as the RS lets the students be. Group collaboration is a must since RS bring many different tasks that are suitable for multiple intelligences development. However, the group must maintain a cohesive harmony and willingness to work together in a learning community environment.

2. Theme oriented – Teachers can benefit from RS since they are directly related to classroom readings, topics, and discussions. Most of the time, students are allowed to choose their own topics (from suggested lists approved by the educator) and that provides them a sense of ownership and empowerment which is reflected in their passion to create original activities for their video. RS represent an innovative academic project that would challenge their trivial TV competitors (TV reality shows). Since our students spend considerable time of their lives watching pointless reality shows and musical videos, Why not giving them a chance to make their own related to the academics? 3. Further involvement with themes and reflective practices – RS provide students the opportunity to reflect about their own learning processes. In the video format, students are required to present a reflection at the end in which they have to answer how would they do it differently if they had to do it again. In addition, students are asked to reflect about their topic to state their perspectives on the topic after the research. Have they changed their views about it? Have they reinforced their views about it? All of these instances are excellent to bring the video to a graceful ending. 4. Community initiatives and social interaction – RS are ideal to get students involved in social interaction practices. The requirement of informal surveys, interviews with adults, direct observations and participation in events and community initiatives are unique to send students (and their collaborators) to the field to research a given topic. These activities will change the attitudes of many sectors that claim that our students are self-centred individuals who are only capable of handling video games and electronic devices in the comfort zone of their houses. 5. Research techniques – RS are not opposed to traditional research methods. On the contrary, they complement each other elegantly. However, RS entail many more chances for students to go beyond classroom and library walls to explore their chosen topics. In RS students have to learn how to prepare, administer, and analyze informal surveys, how to conduct proper interviews, how to make annotations when participating directly in social events or issues, how to make direct observations of events, how to dramatize issues, and so forth. Furthermore, students are involved in researching the topic from different perspectives and angles and that allows them to become involved more directly with that topic of discussion. As a result, RS will smooth class participation and interaction. All research conducted must be documented following suggested bibliographical entry formats (APA or MLA). 6. Best tool for language practice and enhancement of listening, speaking, reading, writingediting skills – Different from their counterparts, the traditional researching and presenting methods, RS are way more practical to develop language skills. Since the presentation of a video is a much more formal process than a single oral presentation instance, students develop a greater sense of self-awareness of their mistakes. Therefore, they cut and edit their work as many times as needed in order to present their best product to the audience. This process is self-regulated as students correct and refine their pronunciation and intonation patterns as well as all other grammatical structures that could, otherwise, not be edited in a live oral presentation. 7. Use of technology – The use of technology is deeply embedded in RS! The making of a WMM video is a very encompassing task that requires the rigorous synchronization of digital files (videos of activities) with digital audio and written files (front pages, subtitles, headings, statistics, credits, etc.). Before the construction of the video itself, students have to rely on vital technological resources to gather all the evidence needed to prepare the video. 8. Interdisciplinary teaching – Teachers can benefit greatly from RS since the activities provide for constant interdisciplinary teaching. Students are involved in Mathematics while working with surveys statistics and analysis. Most of the time, they have to use their vernacular (Spanish) to conduct interviews and direct participation activities. Others have to rely on acting for the dramatizations, and all other academic subjects would link to the project depending on the topic chosen by the students. 9. Leadership, diversity, creativity and social transformation skills – RS will bring about complex and meaningful contexts to develop these four dispositions instead of routine complicated contexts. In RS all students can collaborate in the group assuming and performing various leadership roles for the collective goal of presenting the video. For example, some students may take the initiative in the public speaking field; others can be leaders of the statistics department, while others may lead in the technological area of videotaping, and so forth. Leadership roles will emerge naturally as well as creativity and diversity. Social transformation is a natural expected outcome as students begin discovering more about their topics through the social interaction (interviews, surveys, etc.), direct

participation, direct observations, dramatizations and/or other activities that would take them beyond the mere library research. Although RS represent a great academic challenge for students and teachers alike, they do not require a sophisticated process of evaluation. Assessment and evaluation procedures are self-contained within the production stages. The day of the presentation students will show their video to the audience (guests are welcome) and teachers will simply relax and enjoy while using a simple rubric (see sample below) to assess studentsâ&#x20AC;&#x2122; production in general. This rubric will include all aspects covered and required in class. As Eddy pointed out so well in her article â&#x20AC;&#x201C;students bring their technological expectations to class... teachers need to fulfil those expectations with a touch of diversity in their teaching methods...Lights, camera, action! References Bruner, J. (1966). Learning about learning. Washington D.C: U.S. Government Printing Office. Eddy, P., Bracken D. (2008). Lights, camera, action! The role of movies and video in classroom. The Journal of Faculty Development. Stillwater: Vol. 22. (2),125. Frieden, J., Elliot, D.W. (2007). Teach with movies: using the storytelling power o motivate students. Teacher Librarian. Seattle. Vol.34 (3), pp.61. Hickman, L. (2007). Using movies in the classroom. Catechist. Dayton: Vol. 4 (3).pp.2 Sherman, J. (2003). Using authentic video in the language classroom. Cambridge University Press.

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Preparing ESL Teachers to Include Technology and Art into Their Classrooms: A Crucial Adaptation

Elsie Candelaria, Ed.D.

Most people are aware of the impact technology has had upon society and computer mediated communication (CMC), which includes the Internet, e-mail, chat rooms, blogs, personal digital assistants (PDA’s), and cell phones, among others. It has changed the way we do many things. Education and the language classroom are not exempt of this revolution. CMC and virtualreality have allowed for the development of a culture and a community which provides an alternate reality that in many instances appears to be separate and distinct from the one held by the individual “off-line”; this leads to many questions concerning society, education, and the concept of community. The Internet is now made up of “netizens” or “cybernauts” that enjoy within virtual space many of the experiences that are characteristic of community life. Almost all of the social, psychological, and linguistic ramifications that occur within any social context within the realm of direct physical contact can and do occur online; thus, we arrive into the sometimes surreal world of e- learning, e-thinking, and virtual community living. As a cultural phenomenon, we need to understand how “virtual life” functions, particularly since “even with no faceto-face contact, patterned rules for communication have emerged and become codified” (Saville-Troike, 2003, p.17). Thus, we can state that a form of communication, a code, has developed in CMC that is being used outside this virtual community or reality. This virtual code has been branded by Merchant (2001) as leakage and gives rise to many questions concerning the teaching of English on a global basis, as well as the teaching of English as a Second Language (ESL) due to the fact that English is the language of choice within cyberspace. For example, we may find that a teenager in Greece may talk, via a chat room, with a friend in Alaska using English, with some Greek expressions interspersed. This type of situation provides for ubiquitous language contact within a context that is fairly new and recent, since the Internet and most CMC technologies are about 20 years old. Suler (1999) presents an excellent picture of the psychological impact of the Internet on human experience. He states that the fact is that the “experience created by computers and computer networks can in many ways be understood as a psychological ‘space’ ”(p.1). González-Hilario (2001) states that “an image, more so a digital image, should be interpreted not as a natural fact, but as a simulation” (p. 1). Any experienced CMC user can tell you that upon entering what has been called “cyberspace,” whether to browse, surf, chat, blog or send an e-mail or an instant message or any other type of text or video message; the feeling is of entering a special “place” that will provide the user with an assortment of experiences that seem to emulate the physical experience. Thus, the use of terms such as the web, surfing, or chatting take on a whole new meaning because they turn into keys to a world that has grown up to be a special occurrence that includes even its own discourse. Furthermore, Suler (1999) states that: in psychoanalytic terms, computers and cyberspace may become a type of “transitional space” that is an extension of the individual’s intra-psychic world. It may be experienced as an intermediate zone between self and other that is part self and part other (p. 2). Donato (2001), on the other hand, points to the fact that the combination of different media in cyberspace allows for “a confusion of ontological values, and converts these informational appendices into virtual interphases for social interactions… the imitation of the social interaction becomes social interaction” (my translation). The implications of the existence of this type of psycho-social space are mind boggling, especially when you take into consideration the sensorial foundation of the human experience. Yet, there is no doubt that the virtual world is different from the “real world.” The digital or virtual world has profoundly changed the manner in which people interact and has created certain “unique psychological features … that shape how people behave in this new social realm” (Suler, 1999, p. 3). Educators can take advantage of this situation. Our students expect their classrooms to be an extension of their laptops, Blackberries, I-phones, and I-pods. When teachers fail to come up with activities that include the technological tools that are an essential part of their lives, they shut them out. Thus, it is necessary to insure that teachers acquaint themselves and exploit these technical marvels; particularly if we give consideration to the fact that virtual reality can be used to expose our students to experiences that they could not otherwise have. The workshops I offered in the Professional Training for Teachers of Diverse Learners : Strategies for Language Enhancement project merged art (Humanities) and technology. In the workshop Enjoying poetry through figurative language,

Techno logy & Art

MP-3 technology was presented and examples were given on how to create these types of files to reproduce songs and poems that teachers can employ in the development of listening and speaking skills, as well as to enhance reading, writing and the reinforcement of grammar. The participants were also familiarized with what poetry and figurative language consist of. Sample lesson plans, references and articles discussing this topic were also provided. In The museum as a visual cue for speaking and writing production participants were introduced to common basic concepts of artistic creations such as: composition, line, shape and form, space, color, and texture. The integration of artistic creations (such as paintings and sculptures) using technology (museum websites) for teaching and for the lesson planning process were discussed. Sample lesson plans, references, and articles discussing this topic were made available, along with a visit to the UPR Museum. In the workshop Innovative strategies to develop speaking skills: Blogs and chat rooms participants were presented with definitions and examples of e-mails, blogs, chat rooms, and podcasts; explanations were given on how to integrate these technologies to their teaching style. Twitter, Facebook, and MySpace were also presented as teaching tools. All of the participants set up a blog and created e-mail (G-mail) and Facebook accounts. Sample lesson plans, references, and articles discussing these technologies were supplied. The workshop Language teaching through strategic planning: Strategic planning for oral communication defines strategic planning and explains how this concept impacts lesson planning, particularly when developing lessons that are geared toward the development of oral communication skills. Elements of strategic planning that must be included in lesson plans were identified and discussed, as well as relevant Department of Education guidelines. The workshop includes a review of Bloom’s taxonomy. Sample lesson plan formats were distributed and a lesson plan that incorporates the guidelines discussed in the workshop was prepared. References Donato, J. (2001). La mediación iconográfica en la interfase humano-máquina: El caso de la computadora personal. TeknoKultura,1. Retrieved online February 17, 2006 from http://teknokultura. uprrp.edu. Gonzalez-Hilario, B. (2001). Comprender la imagen hoy. TeknoKultura,1. Retrieved online February 17, 2006 from http:// teknokultura.uprrp.edu. Merchant, G. (2001). Teenagers in cyberspace: An investigation of language use and language change in Internet chatrooms. Journal of Research in Reading, 24 (3), pp. 293-306. Retrieved February 9, 2006 from EBSCO Database. Saville-Troike, M. (2003). The ethnography of communication: An introduction (3rd ed.). Malden, MA: Blackwell Publishing. Suler, J. (1999). The psychology of cyberspace. Online book retrieved February 4, 2006 from http://www.rider.edu/~suler/ psycyber/psychspace.html.

Writing through digital narratives:

The application of technology to the production of digital stories Rosemary Morales Urbina, Ed. D. and Juan Vadi Fantauzzi, Ed. D. Introducing a different teaching and learning strategy to help students develop all the English language skills and appreciate another literary genre, such as the art of visual storytelling with a digital video camera is a valid method to pursue. Effective visual storytelling will hold the interest of its audience and cut across age barriers. Storytelling is a task shared both by the storyteller and the audience. It is the interaction of the two that makes storytelling come to life. We do this everyday as we tell our woes and our joyful, funny, and astonishing moments to family members, co-workers, friends, and even strangers. What can hold our interest and enthrall us so much that we can’t tear ourselves away from that story we are listening to, that book we are reading, or that movie we are watching? Applying the elements of literature, considering the storyboard and the production stages, knowing and applying the basic camera shots, and some talent is the answer and gateway to a success digital narrative. If you and your students keep in mind the elements of literature to enhance the visual story, you will be able to write a compelling digital narrative. Asking yourselves these questions will help brainstorm new ideas. Exposition • Setting – Where is this story happening? The setting tells your audience valuable information about the characters and also about what sort of action they might expect to take place. • Conflict – Who is struggling against whom or what? Is it another character, nature, society or him/herself? • Character – Who’s the story about? What’s his or her personality like? How does he or she speak? What does he or she say? Remember that a character in a digital narrative can also be an animal or an object come to life. • Detail – Which specific things should your audience notice? The visual elements of the production of a story include the scenery, costumes or objects, and special effects and the style or the sound, rhythm, and melody of the speeches. Rising Action / Falling Action • Plot – What’s happening in the story? In other words, a well developed plot with rising action should captivate the audience until the very end (falling action). • Climax – What is the highest moment of tension in the story? This element appears after the rising action and before the falling action. Resolution • How was the Conflict resolved? The resolution or denouement is the conclusion, the tying together of all of the threads. Theme • What is theme? The theme is the central idea in a literary work or, in this case, a digital narrative which serves to unify the story. It should be clearly defined. Every element of literature contributes to the theme. Signs of Characterization Characterization needs to be addressed to help develop the main character in a digital narrative. 1. Consider the audience’s foreknowledge of the character and its familiarity with the character or story. Do the students know who the character is or he or she unknown to them? 2. Do you want to portray a stereotyped or static character or a dynamic one? A character

Digital Stories

who changes dramatically by the end of the story is more interesting than one who remains the same. 3. Should one make assumptions about the character before meeting him or her or should one have expectations because of its sex, fame, or notoriety? 4. Does the name of the character suggest personality traits? 5. A character’s appearance can also communicate useful information to the audience. His or her body language discloses a lot about the character also. 6. An objective correlative is a character’s environment. Is there a mutual relationship between the two? 7. The speech of a character refers to what a character says and how they say it. Dialogue communicates character even more effectively to the audience, since it allows the character(s) to speak for themselves, 8. but it is the character’s or characters’ actions that define them most powerfully of all, even if they do not speak a word. Action also helps to further the story. 9. Finally, the speech of others or what others say about the character and how they say it can reveal significant information about the character.

The Main Character Viewers relate to characters for different reasons. The audience enters the story through the character with whom they identify. Very often when a central character is a negative one, the audience’s acceptance of him or her hinges on a tragic flaw in his or her character. One approach to overcoming the negative qualities of a character is to provide him or her with an opportunity to reveal the real self. Tragic flaw ads subtext and is the link between the character and the society that has produced this character. The audience will sympathize with a character who has a negative personality if he or she admits his or her faults or weaknesses. The Storyboard and the Production Stages To make a successful digital narrative it is necessary to know the three stages of production. These stages are preproduction, production, and final or post-production. It is a sequence that cannot be altered. Each stage has a particular function that will help save time and effort. Also, these steps will help organize the groups in the classrooms and with the distribution of tasks. Before starting with the stages, the script should be written and drafted into a workable blueprint. Once a concept or script is written, the first step is to make a storyboard.

The Storyboard The storyboard becomes a valuable tool for everyone involved with the production. When the director, camera operator, actors, and editing team all have the same understanding of the goals of the video, a quality production becomes obtainable. A storyboard visually tells the story of an animation panel by panel, kind of like a comic book. Your storyboard should convey some of the following information: shots, characters, script (text and/or sounds), and time. When sequenced, the storyboard diagrams should act as a guide for all the stages of the production. Without a well defined storyboard the crew job becomes unmanageable. Storyboarding is a concept borrowed from filmmaking, in which each scene and each camera shot is sketched and roughed out in the order in which it occurs in the movie script. During the pre-production stage, adjustments can be made to the projections of the completed video, which will save valuable production and post production time. The production and editing teams do not need to guess as to what type of footage might be needed and how it might all fit together. If the proper segments are recorded, as called for by the storyboard, the editing process should flow smoothly. Appendix A- This example of a storyboard shows the sequence of the scenes. Each panel includes the image with the camera shot, the script (speech- when the actor talks in front of the camera or voice over- when the person that talks does not appear in front of the camera), and the duration time (ss means seconds). The number of panels on the storyboard depends on how long the story is in terms of camera shots and images. Pre-Production Stage In the Pre-Production Stage the following aspects should be considered: crew size, technical skill levels, editorial experience (script), locations/permissions, budget, tools or equipment. The crew size is the amount of people that form the production group. Each member has one or more tasks, for example: directing, filming, editing, and acting. Once the role of each member of the crew has been determined, then executing the tasks follows. For instance, the director and assistant director are in charge of the locations, permissions, and the budget, as well as directing the camera operators and the actors. The place where the story is going to unfold must be considered: if it is inside a house, a classroom or a closed space. Keep in mind the appropriate lighting. In contrast, if the story develops in an open space, be aware of the sunlight. It is highly recommended to film during the morning or in the evening when the sun light is not too strong. It is required to obtain a permit before filming in historical places, like The Morro or The Yunque Rainforest. In addition to the permits to film in such places, it is important to

count with the release of the participating actors. Parents’ authorization is required when working with students. Another important point in the stage of pre-production is to know with how much budget is available to count on. It may be necessary to buy cardboard, fabrics to create costumes, paint to recreate a place, makeup, or another element that will help support the story visually. Remember that the visual elements help to enrich the film. The script must be supported with the images and scenes of the story. In most cases, to create a digital narrative sophisticated equipment is not obligatory. With a simple digital camera, excellent stories can be created. It is always good to count with spare batteries and multiple memory sticks to store the images. Filming the same scene a few times is recommended; therefore, the extra batteries and the memory sticks are very helpful. The camera operator must know how to film the visual language. To tell the story with images, remember the basic film terms (See Basic Film Terms below). Extreme close-up, close up, medium shot, long shot and others are ways to talk with the images. To achieve this, let the storyboard be your guide. Production Stage The Production Stage is the “action” stage, the time to film the story. The director, the camera operators, the actors and the locations should be setting. All members should have a copy of the storyboard ahead of time. Before filming, it is recommended that the actors rehearse to clear the sound and tone of the voices and practice the scenes. Another recommendation is that the camera operators practice some movements with the camera, such as tilt or panning, as well as close ups and medium and long shots. The director and assistant director will shout the order, “action” to start the recording. It is better to film the same scene a few times than to rely on the first and only shot. Be sure that the camera is working, rewind, check, and backup the footage. Once all the scenes have been recorded, it is time for the final stage. Post-production stage The first job of the film editor is to build a rough cut taken from scenes based on the storyboard. The rough cut allows selecting and organizing the best shots to create a fine cut. At this stage the director usually works with the editor trimming the scenes by seconds to shorten the frames. The sound mix combines dialogue, voice over, sound effects, and music. Finally, once the digital narrative is previewed, select a target audience (students, peers, or colleagues) and share the production. The feedback is important to make possible final edits to the story. Basic Film Terms • Script: a copy of a text of a play or movie. Students can also write their own script from a novel or short story or make up their own script by writing a digital narrative as recommended above. • Sequence: Camera shots (See examples below). w Extreme close-up: Examples: lips, eyes, glove w Close-up: face, door knocker, or other object w Medium shot: half of body w Long shot: Full length of body w Tilt shot: Camera moving slowly from north to south or from south to north w Panning shot: Camera moving slowly from east to west or from west to east Movies with Punch Shots The following films referred to below demonstrate how effective camera shots along with the elements of literature help portray an impressive digital narrative. First, Bonnie and Clyde, starring Faye Dunaway and Warren Beatty, begins with an extreme close-up of Bonnie’s lips. It focuses on Character. Watch how the film focuses on other details in the room such as the brass bed and her face behind the metal bars. Can you imagine what feelings the director is trying to portray? Desire? Confinement? Frustration? Second, The Insider, with Al Pacino and Russell Crowe, focuses on Setting. In one scene, the film portrays a sharp contrast between the scenes of the dark room where the blindfolded journalist is being held captive and later as he opens the curtains to reveal the vibrant capital of Iran. Lastly, Atonement, contains all of the camera shots in the opening scene. Can you identify them? • Extreme close-up: eyes • Close-up: face • Medium shot: half of body • Long shot: Full length of body • Tilt shot: north/south-south/north of the mansion • Panning shot: east/west-west/east shot of the upper floor of the house

Narrative Structure Ask yourself and guide your students to ponder the following questions before writing and producing a digital narrative. Do not forget the Storyboard. ACT 1 (Exposition) How will you describe the Setting? How will you describe the Characters? What is the Premise or Conflict and how will you introduce it? What literary elements will support the Plot and Theme? ACT II (Rising Action) What is the most important story information and what evidence will support the theme? What conflicts prevent the main character from reaching his/her goal and create visual interest? How will you escalate the drama or comedy up to the Climax? What revelation will lead to the Resolution? Why that particular point? What does it say about the Character and how does it connect to the Theme? ACT III (Resolution) How will you present the conclusion? How will you allow the viewers to take in the joy, despair, or comedy? Was the Theme supported with enough convincing evidence? Benefits of Film Making and Producing Writing through digital narratives and applying technology to the production of digital stories shows teachers and students how they can enhance and build an effective visual story. Learning how to look through the lens of a camera and see the world in a different perspective emphasizes among other elements of filmmaking, the importance of movement, the viewer, the passing of time, and constructing character, which is no other than character analysis. Teachers who allow students to conceive, write, shoot, and edit short films using any digital camera under their supervision are also developing their students’ creative thinking skills. The purpose of this teaching and learning strategy is for students to: • develop the awareness of nonverbal communication, correct pronunciation of the English language, and effective speaking and listening skills; • develop reading comprehension and writing skills; • develop research skills, strengthen the cognitive process, and develop emotional intelligence and critical thinking skills; • allay the fear of speaking in public; • offer industry access to creative professionals; and • provide discovery and access to a wide range of acting talent. With an initial emphasis on screenplay development and essentials on visual storytelling, students are encouraged to realize their own personal vision while learning skills vital for successful collaboration with their peers and explore a fascinating future with a myriad of job opportunities. Who knows what this can lead them to? Watch out Steven Spielberg!

References Armstrong, T. (2000). Multiple intelligences in the classroom. Baltimore, MD: ASCD. Beatty, W. and Penn, A. (1967). Bonnie and Clyde. USA: Warner Brothers. Bevan, T. and Fellner, E., and Wright, J. (2007). Atonement. USA: Focus Features. Block, B. (2001). The visual story: Seeing the structure of film, TV and new media. Burlington, MA: Focal Press. Bordwell, D. and Thompson, K. (2009). (9th Ed.). Film art: An introduction. NY: McGraw-Hill Humanities/Social Sciences/Languages. Bradbury, R. (1992). Zen in the art of writing; Releasing the creative genius within you. NY: Bantam. Brooks, M. G and Brooks, J. G. (2001). (2nd Ed.). In search of understanding; The case for constructivist classrooms. NJ: Prentice Hall. Brugge, P. J. and Mann, M.; and Mann, M. (1999). The Insider. USA: Touchstone Pictures. Egri, L. (2007). The art of dramatic writing. Rockville, MD: New Library Press. Elements of Literature. (2007). Austin, TX: Holt, Rinehart, & Winston. Gardner, J. (1991). The art of fiction: Notes on craft for young writers. IL: Vintage. Kemper, D.; Sebranek, P. and Meyer, V. (2005). Write source: A book for writing, thinking, and learning. MA: Great Source Education Group. Koch, S. (2003). The modern library writerâ&#x20AC;&#x2122;s workshop; A guide to the craft of fiction. NY: Modern Library. Mayher, J. S.; Lester, N. and Pradl, G. M. (2005). Learning to write: Writing to learn: Theory and research in practice. Newark, DE: International Reading Association. Rabiger, M. (2005). Developing story ideas. (2nd Ed.). Burlington, MA: Focal Press. Rea, P. W. and Irving, D. K. (2006). (3rd Ed.). Producing and directing the short film and video. Burlington, MA: Focal Press.

EXAMPLE OF A STORYBOARD Title: The seven plas�cs

Opening (Title, name of the school, date and other informa�on like sub�tles, area...) Dura�on: 10ss

page 1 Author(s): Group A

Shot:Medium shot Speech:Just because a product has a recycle symbol on it does not mean that it is recyclable. Dura�on: 10ss

Dura�on �me: 3m

Shot: Long shot Voice over:The following steps will help you determine which of your plas�cs are recyclable Dura�on: 12ss

1 Shot:Long shot Text: Locate the recycle symbol on the bo�le. Usually on the bo�om or side of the container this is a small triangle of arrows. Dura�on: 13ss

Shot:Medium shot Speech: This number indicates the type of plas�c used to make the container. Dura�on: 10ss

Shot: Long shot Voice over: The number from 1 through 7 in a triangle on the bo�om of most plas�c containers tells you what type it is and if it can be recycled. Dura�on: 15ss

Shot:Medium shot Speech: Some plas�cs can be recycled through curbside recycling, grocery store drop bins or drop-o� centers. Dura�on: 15ss

Shot:Long shot Text: Number 1 PET: Polyethylene terephthalate--Fizzy drink bo�les and oven-ready meal trays. Dura�on: 10ss

Shot:Long Shot Text: Number 2 HDPE: High-density polyethylene--Bo�les for milk and washing-up liquids. Dura�on: 10ss

EXAMPLE OF A STORYBOARD Title: The seven plas�cs

Dura�on �me: 3m

Shot:Medium Shot Text: No. 3 PVC: Polyvinyl chloride-Food trays, cling lm, bo�les for squash, mineral water and shampoo. Dura�on: 10ss

Shot:Long Shot Text: Number 4 LDPE: Low density polyethylene--Carrier bags and bin liners. Dura�on: 7ss

Shot:Long Shot Text: Number 5 PP: Polypropylene-Margarine tubs, microwaveable meal trays. Dura�on: 7ss

Shot:Medium Shot Text: Number 6 PS: Polystyrene-Yogurt pots, foam meat or sh trays, hamburger boxes and egg cartons, vending cups, plas�c cutlery, protec�ve packaging for electronic goods and toys. Dura�on: 13ss

Shot:Close up Text: Number 7 Other: Any other plas�cs that do not fall into any of the above categories. An example is melamine, which is o�en used in plas�c plates and cups. Dura�on: 13ss

Shot:Medium Shot Text: Over the recent decades it has become evident that recycling is a key to our planet’s future. Dura�on: 10ss

Closing (actors, diretor, assitant director, editor, camera operator, script, music...) Dura�on: 15ss

page 2 Author(s): Group A

Masks and masquerade in multi-aesthetic and transcultural education Lowell Fiet, Ph.D. Masquerades are performance art, and dialogue with the audience (including future performers) is paramount. A mask must elicit reinvention or it will disappear. The continuing interest and reformulations of future generations distinguish the great masks. Z. S. Strother 1

The “Carnival of Masks” in February 2010 at the Central High School, a public secondary school devoted to the Visual Arts, in San Juan, Puerto Rico, displayed the creation of at least 200 masks by students between the ages of twelve and eighteen. The three teachers who organized the event took mask workshops with me in May 2009 as part of an innovative project in art, education, and the improvement of language skills designed and organized by the College of Education of the University of Puerto Rico in Río Piedras. 2 The workshops offer the teachers hands-on experience cutting, painting, and finally acting and playing mas’ in their masks. The carnival-like process intends to reinforce the need, first, to transform the normative learning environment --its form, structure, and perspective-- to insure that the classroom assumes a new identity and dimension as an open space of creative expression, even if only periodically and for brief periods. Second, the process urges the teachers to take advantage of materials and resources that already form part of the students’ everyday life and the immediate social conditions that surround them. Even at elementary and middle school levels, through research and fieldwork, students, teachers, and key members of the community become living textbooks and actively participate in the writing or re-writing of curricula that evolve by integrating their personal and collective archives of images and experiences. The emphasis falls directly on visual, plastic, sonorous, and corporeal expression as important not only in informing learning processes in art, music, and drama classes --classes that are now being offered with less frequency-- but transversally in languages, math, history, and science. This is captured in the notion that “if creativity and invention emerge as the [author’s emphasis] salient qualities of culture, then it is to these that our focus must now shift.” 3 The “Carnival of Masks” was a resounding success that demonstrated remarkable degrees of participation, enthusiasm, and commitment on the part of teachers and students. Yet I felt an uneasiness as I left the event that went beyond the relative conditions of privilege of this school of the arts and its mainly middle-class student body. These masks were and, at the same time, were not the masks that I proposed to create in the workshops with the teachers (and here I disregard the fact that the students had the freedom to utilize techniques and materials not covered in my workshops ). 4 In fact, the masks at Central High reflected one of the principal and most controversial issues concerning festival and carnival arts in Puerto Rico: the substitution of local cultural specificity --for example, the Euro-African masks of Puerto Rican cultural performance-- for globalized images of

Inventing Masks: Agency and History in the Art of the Central Pende (Chicago: U Chicago P, 1998): xix. Amarilis Rivera, Cynthia Nieves, and Gladys Arguinzony teach at the Central High School, and Drs. Annette López de Méndez (director) and María Antonia Irizarry (co-director) coordinated Professional Training for Teachers of Diverse Learners: Strategies for Language Enhancement, sponsored by the Council of Higher Education of Puerto Rico. 3 Roy Wagner, The Invention of Culture. Ed. rev. y exp. (Chicago: U Chicago P, 1981), 16. 4 The workshop materials are common corrugated cardboard and plastic gallon water jugs. The eco-friendly principle of re-use and recycling unused portions of the cardboard and plastic always plays a significant role in the workshops. 1 2

Mascarades

mass-media culture reflected in the commercially manufactured, rubberized masks of Halloween, cable and satellite television, Hollywood films, and cybernetic games. Similarly, in spite of their astounding plastic-visual-aesthetic qualities, the horned and menacing Vejigante (diablo-trickster) and other Puerto Rican carnival and festival masks served as visual referents in only a few of the student masks. The sources for images recorded in the masks were films such as Avatar and not the Fiestas de Santiago Apóstol in the town of Loíza, the pre-Lenten Carnival of Ponce, or other forms of cultural performance that do not reach them through a digital filter. Their masks demonstrated, almost without mediations, the characteristics of what Guy Debord described more than 40 years ago as “the society of spectacle,” a society self-absorbed in media images that its members have no active role in creating, or precisely what the workshops attempt to interrogate and contest. They also demonstrated that my workshops for the teachers, although far from being Luddite in design or intention, had not sufficiently considered the over-valorized social and academic position of electronic knowledge and, especially, the impact of global mass-media as the nearly exclusive anchor of contemporary culture and expression for many of these students. If, as anthropologist Claude Lévi-Strauss claims, a “transformation set” reveals itself in the analysis of each mask, these student masks suggest a reassessment of my practice as a student of Caribbean performance and as a mask-maker. Puerto Rico, much like the rest of Caribbean and Central and South American Caribbean-rim societies, displays a brilliant tradition of masks and masquerade. A fuller version of this study explores the aesthetic and social functions of those masks within the transcultural practices of Caribbean performance and responds to a number of pertinent questions: what or who do the masked performers represent, both in their physical-corporeal and metaphorical-discursive characteristics?, who makes masks and how are they made --their materials, mass, form, colors, and construction techniques?, what is the mask’s relation to costume, music, movement, and the social conditions of the location or setting in which it appears?, does it represent a specific trope, type, symbol, or character, whether human, animal, or mythical?, and what can masks tell us about cultural and aesthetic rhizomes that seem to undergird the diversity of Caribbean societies? At the risk of over-simplifying complex processes, the dramatic, musical, corporeal, and ritual expressions throughout the Americas, both aboriginal and immigrant, especially African, whether celebratory or of mourning, religious or secular, have incorporated masked characters of two or more identities that conceal as well as reveal codes and meanings that change and contrast in relation to the identities and understandings of the spectators who attend, experience, and/or participate in them. Whereas the “outsider,” master, or oppressor receives one message, the “native,” slave, or oppressed understands something different. Recent work in cognitive theory locates this kind of layering, complicity, and double (or triple) consciousness as the basis of human creativity, not only as useful political strategy, but also as the basis for the pleasures of “orature,” including performance and its reception. If these theories of the relation of cognition and creativity, the arts, languages, reading, and literature --using the “hard science” of brain data obtained via MRI-- are correct, then fundamental notions of complexity, representation, metaphor, analogy, and symbolic and analytical thought inform all human intelligence, all forms of knowledge whether investigative or creative, and stimulating one apparently reciprocates in the stimulation of others. 5 These mainly aesthetic issues suggest others of an educational nature that focus on how instrumental pro-active involvement in the arts can be in tracing the relationship between human creativity and knowledge. They include (A) the promotion of activity-based --student, teacher, and community-- innovation, creativity, and expression through popular arts, such as mask-making, as a means of enhancing current methods for teaching language skills, especially reading and writing, but also in other subjects such as history, social and physical sciences, and math in elementary and secondary schools; (B) the reinsertion of the local historical and cultural specificity associated with masks, masquerade, carnival, and festival arts traditions in teaching methodologies; and (C) the justification in terms of academic advancement for introducing or increasing the use of such methods for Puerto Rican students. Where do masks fit in this dynamic of creativity? The first functional characteristic of every mask is to protect the mask wearer, at times, in real ways, at times, in metaphorical ways, and at times, in both. That also means that something -identity, codes, meaning-- remains concealed or only partially revealed. For example, the medical or public health mask worn by hospital personnel but also popularized socially in the recent swine flu epidemic and in combating asthma and other respiratory contaminations can assume aesthetic and textual elements –a kind of “transformation set.” When a solitary passenger wearing a medical mask passes through an airport, as observers we begin to create a narrative and imaginary context in which to place her. Gas masks, goalie masks, catchers’ masks, ski masks, etc., all protect the wearer, but they also assume other functions –goalie masks in horror films and as Halloween costumes and ski masks for political protesters in repressive society serve as clear examples. The one-layered function of covering the face to hide an identity is also an act of self-preservation –the Lone Ranger, Zorro, the bank robber, the street activist, the Carnival, Halloween, or social trickster, and Romeo crashing the Capulet family

See Patricia Cohen, “Next Big Thing in English: Knowing They Know That You Know,” NY ed., New York Times (31 March 2010): C1 or http://www.nytimes.com/2010/04/01/books/01lit.html?pagewanted=1&ref=general&src=me.

party where he meets and dances with Juliet are examples of hiding behind a mask for protection. Although they also reflect multiple other meanings and responses --surprise and fear might be the two most common of these-- this function of hiding or concealment, with all of its characteristics of efficacy and aesthetic values does not fully explain why we “invent” masks and continue creating, innovating, and renovating masks and acts of masquerade. A second function of the mask is the replication or imitation of the features and traits of a character, symbol, or identity. In some cases, the exactitude and multiplication of the imitation --the popular Guy Fawkes Gunpowder Plot mask, for example, replicated in the film V for Vendetta-- accounts for much of the pleasure of identification, belonging, democratization, and equality. The mask permits uniformity and the repetition of stereotypes but also invites variations. In the case of the Commedia dell’Arte, the stereotyped masked characters display such variation in their representations of the same or similar themes and characters to the comic delight of their audiences. In Loíza, the Afro-Puerto Rican characters of the Vejigante (diablo-trickster), Caballero (knight or gentleman), Loca (male cross-dressed as a mad woman), 6 and Viejo (old man or mad man) are reproduced annually by craftsmen and mas’ players as part of a popular tradition that partially conceals but also re-creates a memory of resistance and survival of the community as the seat of Afro-creole culture. Fortunately, the Vejigantes reformulate and reinvent themselves without losing their specific local and historical references. Along with protection and replication, the act of creating and using masks provides the opportunity to live “otherness” through the appropriation and projection of different identities. This constitutes the mask’s principal function in plastic and thematic terms. Making and using masks permits the exteriorization of hidden others and even offers the opportunity to transform the internal and external environments that we inhabit. For example, one Northwestern Haida “transformation” mask studied by Lévi-Strauss represents an exterior male only to divide and reveal an inner female mask. Similar changes take place in other masks not with gender but with symbolic animal figures. At times, miniature masks surround the central mask. This multiplicity combines with the Janus quality of many masks, which indicates that the eye of the beholder determines the variation or constancy of meaning. Although not part of all masking practice, this sense of meta-representation marks “aesthetic” masks, sacred and secular, even when they don’t open to reveal an inner face or symbol. The internal-external dimension reveals the hidden “other” through the visible external expression that the mask captures. Wearing a mask also means asking, what do I look like? A specific creature or character --a deer, an antelope, a bear, a raven, a wolf, a god, a hero, demon, an elephant, a monster, a wild woman, a foolish doctor, an arrogant politician, a maniacal street sweeper, a dragon?-- or do I look like the imagination itself --forms, colors, features, perhaps mythical, but not necessarily a result of the imitation or literal representation of external perception? Of course, the deer is never just a deer: these animals are parts of myths, ideas, stories, and “transformation sets.” This representation is not imitation, is not only pretending to be the “prey” pursued by the tribal hunters, just as the hunters become more than simply “men of the tribe.” A rite of survival is portrayed but it also represents a myth of sacrifice and heroism. Masks honor and ennoble the prey, just as they celebrate fertility and their cyclical rebirth. Similarly, they celebrate (or castigate) the hunter who replenishes human life and guarantees its regeneration. To “dance” with masks, as Barbara Ehrenreich eloquently comments, constitutes a fundamental act of joy that confirms our humanity: . . . banded together and enlarged through the artifice of masks and sticks, the group can feel --perhaps appear-- to be as formidable as any nonhuman beast. When we speak of transcendent experience in terms of “feeling part of something larger than ourselves,” it may be this ancient many-headed pseudocreature that we unconsciously evoke. 7 Historically, the mask remains tied to the evolutionary moment of original artistic representation. Mask-making as symbolic and metaphorical expression is among the oldest forms of human “creativity” at the very basis of notions of the pleasure and necessity of memory, history, and story-making by representing the other --animal and human-- and experiencing those representations. As such, the mask also serves as the basis for one of the earliest documented models of education. Whether ancient humans first re-enacted the memories of their hunts, representing the hunter as well as the hunted, or first painted those images on the walls of caves (and other less permanent surfaces) may be debatable. They did both, and perhaps simultaneously, creating memory, history, fantasy, and fiction. Masks function as living storyboards. Along with storytelling, cave paintings, carved statues, totem poles, medicine belts, necklaces, hieroglyphics, and a myriad of similar oral, visual, and tactile records, they constitute one of the alternative or non-alphabetic languages of human history, even when we can no longer read or visualize all their precise meanings. The Vejigante mask of Puerto Rico and the rest of the Hispanic Caribbean, as well as similar variations such as the Cowhead and Horsehead masks of Jonkonnu in Jamaica and other Anglophone Caribbean islands, projects such a mythical origin. Stimulating

The Loca wears no mask, although shoe polish or other blackening is employed to darken facial features. The costume also exaggerates the bust and buttocks. 7 Dancing in the Streets: A History of Collective Joy (New York: Metropolitan Books, 2006): 30. 6

the imagination to create the kind of mask that reflects metaphorical characters also engages symbolic intelligence that relates perhaps most immediately to language --reading and writing-- learning activity but also to learning in social and physical sciences as well as in math and the arts. 8 Even though the workshops with teachers and students utilize the Vejigante as one of the principal patterns, at no time are students encouraged to imitate or replicate another mask. Caribbean, African, Latin American, Asian, and aboriginal North American masks are introduced to suggest or provoke new versions and interpretations. This usually results in a relatively abstract original creation that makes no attempt to represent in specific form a realistic or exact human or animal face or a particular character, image, or icon. Students frequently want to create media characters: the example of Spiderman -perhaps Avatar will soon replace it—comes up frequently. The recommendation is to paint the spider-man or man-spider of their imaginations rather than the mask of the film, television, or commercial reproduction. Every mask begins by replicating something, general or specific, and my uneasiness about the masks of the Central High students seemed to respond to the absence of transformation or reinvention in that act of replication. If, as argued here, mask-making taps impulses for creativity, growth, learning, and memory as old as the human race, it also seems capable of stimulating the imagination in ways that can impact positively on learning performance in all academic fields. The study, construction, and use of masks, along with other popular and formal arts, provides the structure of an “educational anthropology” 9 that shares basic pedagogical elements with Paolo Freire’s “Pedagogy of the Oppressed” and Augusto Boal’s “Theater of the Oppressed.” 10 That structure facilitates the connection of cognition, universal human history, the specificity of local social and cultural conditions, and the participatory skills of citizenry as part of the curriculum of the elementary, middle, and high school classroom. Unlike other societies such as Trinidad or Brazil (although they cannot be excluded from this consideration), in Puerto Rico “folklore” and popular traditions, including carnival and festival arts and cultural performance, in general, tend to be trivialized and treated as static, one-dimensional commercial events without any fundamental relation to “real life” situations or to the historical conditions that have shaped contemporary society. They are marketed to attract tourists with colorful and exotic customs, costumes, music, and dance and as mindless excuses to party with excess drink, food, and sexual energy. Faced by the intimidating imaginary of modernity, with all its political and economic implications, popular traditions that through decades represented survival strategies now suffer systematic degradation and commercialization. Can popular arts such as maskmasking and traditions such as the Vejigante be reinvented and reformulated in ways that inform creativity and cognition? I use mask-making as an example of one of many creative and participatory arts that can stimulate learning because I am a mask-maker who studies masks and masquerade and also makes masks in workshops with children, young people, and adults. This activity combines with creative writing exercises, poster painting, costuming, creative drama, movement, music, festival and protest processions, digital photography and video, and computerized slideshows. At the end of the completed process, students are masked, costumed, speaking lines they have written, photographing themselves in the creative and performance process, and reflecting critically via computerized imaging on their process and participation. Commercial digital applications such as Photo Shop, Movie Maker, Power Point, Garage Band, etc. and the near universality of digital cameras and cellular phones with still and video camera functions further contribute to the process. However, that is the “frosting on the cake,” the way of, mixing metaphors, “breaking the ice” with students already hardened by media and peer pressure against manual creativity and in favor of prefabricated commercial culture and representation. The “cake” is the creative act itself --mask-making or painting or creating drama or writing poems or telling stories or all of these in the same process and experience-- that taps the pleasure of multiplicity and complexity, of metaphor, of creative intelligence.

In the workshops, five specific cultural masks serve as points of reference: the Vejigante de Loíza, the Wooden Man of the Mapuche people of Chile, a carved wooden mask from Nigeria, a carved wooden theater Clown mask from China, and a Wolf mask from British Columbia. 9 Here I adapt Eugenio Barba’s term “theater anthropology”: Beyond the Floating Islands, trans. Judy Barba, et al (New York: PAJ, 1986): 114-156. 10 See The Pedagogy of the Oppressed [1968] (New York: Continuum, 2007) and Theatre of the Oppressed [1974] (New York: Theatre Communication Group, 1985). 8

L ESSON

esson Plan for a Listening Activity

Amarilis González Domínguez - Escuela Especializada Central de Artes Visuales

Grade: 8th Time Frame: 1 week Unit: Oral communication Theme: Podcast recording and publishing Standard: Listening/ Speaking

L/S.8.2 Listens, responds to, analyzes, gives, and discusses complex instructions, statements, and directions; answers and formulates closed and open-ended questions.

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L/S.8.3 Uses appropriate language structure to interact in discussions and presentations, to problem solve, explain a process, and express opinions integrating comparison and contrast statements to interact in discussions and presentations. L/S.8.4 Applies a variety of language patterns and structures to explain texts, discuss topics and themes, express thought on plot development, identify problem and solution, as well as make predictions, inferences, and draw conclusions from listening to a variety of texts and multimedia sources.

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Objectives: Students will: • • • • • •

identify an extraordinary Puerto Rican citizen. recognize the characteristics of an extraordinary individual. design their plan to become extraordinary. conclude they are capable of performing extraordinary actions. compose a script based on the information found and his/her conclusions. develop the recording of his/her script using podcasting technology.

Procedure Warm-up Activities:

•

The Teacher will welcome students and introduces the topic for the next weeks: Extraordinary people. The teacher will write the word extraordinary on the board in order to begin an Immediate Written Reaction (IWR). Students will be invited to write on the board any word, phrase or name that comes to their mind when they think of the word extraordinary.

•

A Brief discussion will take place regarding this topic.

• • •

Students will read the biography of Roberto Clemente Walker as an example of an extraordinary Puerto Rican. Students will write on their notebooks a list of at least 10 Puerto Ricans they consider extraordinary. (These could be famous or not, alive or not, adults or minors, etc.) Students will be given instructions to select the one they understand is the most extraordinary in order to do some research on his/her achievements.

Application/Evaluation: • •

Students will be given instructions to prepare a script based on the information found. Students will be given instructions to record a podcast of their script in order to share it with their classmates for them to listen. Note: On the previous week students participated of a podcasting workshop.

Assessment: • • •

Podcast Development Rubric Speaking Rubric Listening Comprehension Rubric

Homework: Do a brief research of your extraordinary person: • • • •

Listening

Developmental Activities:

Who is/was this person? What was his/her extraordinary action? What does an individual need in order to accomplish a positive feat? How do I plan to become an extraordinary person?

Materials: • • • • • • •

Notebook Copies of Roberto Clemente Walker’s Biography Computer with “Garageband” or “Audacity” application Headphones Microphone TV iPods or any other MP3 or MP4 player

Special Education Arrangement: • • •

Extra Time An Mp3 player to play back as many times he/she needs any of the podcasts presented. Upload podcasts to class webpage for any time availability.

References Ausubel, D., Novak, J., Hanesian, H. (1978). Educational psychology: a cognitive view. New York, USA: Holt, Rinehart and Winston. Dagys, A., Hedtke, J. (2006). Podcasting Now! Boston, MA: Thomson Course Technology Dewey, J. (1916). Democracy and education: an introduction to the philosophy of education. New York: Free Press. Gardner, H. (2004). Frames of mind : the theory of multiple intelligences. New York, NY: Basic Books. Piaget, J. (1950). The psychology of intelligence. New York: Routledge. Strauss, W. Howe, N. (2007). Generation Y. Retreived September 7, 2007, from: http://en.wikipedia.org/wikiGeneration_Y Williams, B. (2007). Educator’s Podcast. Eugene, Oregon: International Society for Technology in Education

L ESSON

nimals and Describing words

Enid Díaz - Colegio Santa Gema Maybel Rivera - Escuela Carlos Conde Marín Ruth Canales - Escuela Juana Rodríguez Mundo Sonia González - Escuela Juana Rodríguez Mundo Grade: 2nd Theme: Animals and words that describe Standard: Listening/Speaking

Grade Level Expectations: • 2.3 Uses appropriate vocabulary and language patterns to identify, describe, and classify familiar concepts related to self, family, and environment, and to interact with peers. • 2.5 Expresses feelings, needs, ideas, and experiences; discusses learned concepts from content area or class readings using acquired language.

Words

Objectives: • Make a work of art (painting) that includes an animal • Describe their work orally in front of the class Materials: • • • •

Computer Art Materials CD Player and CD Animal stories Procedure

Initial Activities: • • •

Animal stories Old Mc Donald, In the Jungle, To the Zoo, In the Ocean, and Favorite Pet songs Virtual visit to a museum of animals through a teacher prepared slide show to introduce the vocabulary.

Developmental Activities: • •

Students create their own work of art of an animal Following guided questions, students will make an oral presentation describing color, size, shape, form, etc. of their created animal.

Closing Activities: • Oral Presentation of the work of art (painting of animal) and Rubric Homework: • Create a mask of your favorite animal and share it with family, teacher and students.

L ESSON

L esson Plan for Verbs Aplication Enid Díaz O’Neill - Colegio Santa Gema

Level: 3rd grade Unit: Pastimes Theme: Verbs Standard: Writing Grade Level Expectations: •

W.3.3 Applies basic grammar and mechanics to write complete declarative and interrogative sentences of three to five words in length; identifies declarative, interrogative, exclamatory, and imperative types of sentences; identifies the parts of speech.

Objectives: •

•

Cognitive: – The student will identify action words as verbs. – Psychomotor: – The student will move his or her body to imitate an action. – The student will draw his or her favorite pastime. Affective: – Through the presentation and the sharing of classmates’ experiences the students discover new options to manage their free time in a positive way.

Materials: • • • • • • • • • •

Story “A Day with My Cousin” Computer and projector Digital camera Scanner PPT with illustrations of verbs Verb concept cards Worksheet “Outdoor Fun” Paper Pencil Crayons

Initial Activities: • •

Procedure

Play “Simon Says...” The class discusses the concept “pastime” and gives examples of the things people do as pastime.

Developmental Activities: • • •

Children listen and watch the story “A Day with My Cousin” Children perform the actions shown on concept cards. The teacher will photograph the children’s actions to incorporate in a presentation to review the vocabulary in other classes. Children complete the worksheet “Outdoor Fun”

Closing Activities: Children discuss other things they would like to do as a pastime. Children draw themselves doing something they would like to do as a pastime. Teacher will scan drawings to publish in the class blog.

Verbs

• •

L ESSON

esson Plan for a Writing Activity

Enid Díaz - Colegio Santa Gema Maybel Rivera - Escuela Carlos Conde Marín Ruth Canales - Escuela Juana Rodríguez Mundo Sonia González - Escuela Juana Rodríguez Mundo Theme: Animals Standard: Writing Grade Level Expectations: W.3.1 Arranges words in alphabetical order using first and second letter criteria.

W.3.4 Recognizes descriptive and narrative writing forms; writes words, phrases, and simple sentences to develop descriptive and narrative three sentence paragraphs. Materials: • • • • • • •

Power Point Presentation of Alphabet Story “Jungle Parade” Cut and paste worksheet of story characters Green colored paper to reproduce the story’s setting Glue Scissors Crayons

Objectives: Cognitive: • • •

Students review the alphabet. Students organize words in alphabetical order. Students identify and discuss story elements.

Psychomotor: •

Students color, cut, and paste characters in alphabetical order to illustrate the story.

Affective: • Students recognize the importance of organization to achieve peaceful living in a community. Procedure Initial Activities: Students review the alphabet through singing “The Alphabet” song and Power Point presentation “Alphabet Quest”. The Alphabet Quest.ppt

Writing

• •

Developmental Activities: • • •

Students listen to and discuss the “Jungle Parade” story Jungle Parade.ppt Students color, cut, and paste the characters of the story in the order they will march in the parade, illustrating the end of the story. Students circle the adjectives that describe the animals in the story.

Closing Activities: • •

Students add characters of their choice to the story placing them in the correct alphabetical order. Students write a sentence to describe each new character.

Assessment: • •

Rubric to evaluate the setting created by the student. Rubric to evaluate descriptive sentences of additional characters.

Homework: •

Students solve crossword puzzle which matches animals and their descriptions.

L ESSON

eaching ESL: Complying with Content Standards and Grade LeveExpectations Glenda J. Hurtado - Colegio Angeles Custodios Ivis M. Moyeno - Escuela Francisco Callejo Mary L. Rivera - Escuela Francisco Callejo Héctor Sánchez - Colegio Adianez Sample Lesson Plan Grade 11th Theme: Using Modern Song Lyrics to Teach Poetry Analysis and Figures of Speech Standard: Listening/ Speaking •

The student uses the English language to interpret oral input, construct meaning, interact with confidence both verbally and nonverbally, and to express ideas effectively in a variety of personal, social, and academic contexts.

Grade Level Expectations: •

L/S 11.4 Expresses thoughts and opinions to discuss current events, concepts, themes, characters, plot, and conflict resolution; makes predictions and inferences as well as draws conclusions from listening to a variety of texts, performances, and multimedia resources; listen to and sort information.

Resources: Song Lyrics: “Welcome to the Black Parade” by My Chemical Romance (modern rock/ alternative band) CD player or Computer Guided questions Hand Out Figures of Speech Procedure Initial Activity: • •

Listen to the Song Present students with lyrics (Lyrics: “Welcome to the Black Parade” My Chemical Romance)

Developmental Activity: • • •

Tap into students “Prior Knowledge” Analyze and Discuss with Group (Modeling) Focus on: Speaker/ Voice, Characters, Setting, Conflict, Theme(s), Symbolism, Title, Rhyme, Vocabulary, Imagery, and Alliteration

Closing Activity: •

Have students separate into groups (number may vary depending on class size and teacher’s observation) and decide on a song they want to work with to develop an oral presentation similar to the one given by the teacher.

Lyrics.com could be a source.

Assessment: • • •

Students will be reviewing the material while working on their Oral Presentations. They will be given a list on the most commonly found Figures of Speech so that identifying them will be easier. Students will acquire the skills that comply with the standards but using material that they choose. (Teacher must approve song!)

Homework: • • • • •

Complete oral presentation Should be in PowerPoint Visual aids Bring Song Give students rubric ahead of time.

Oral Presentation: • • • • •

Teaching

•

Rubric Sample Gives opportunity for evaluation of collaborative work. Practice English language Integrates technology Allows teacher/student to do something that doesn’t require traditional setting

L ESSON

oing Beyond

Manuel Echevarría - Escuela Intermedia Berwind

Theme: Going Beyond Standards: Listening/Speaking Grade Level Expectations:

L/S.7.2 Listens, responds to, and analyzes complex instructions and statements; applies and clarifies instructions and directions; answers and formulates closed and open-ended questions. L/S.7.3 Uses appropriate language structure to problem solve and to explain a process; interacts in discussions and presentations. L/S.7.5 Explains the main idea or topic; identifies important details from learned concepts or read aloud in a variety of expository texts; applies sequence of events to summarize.

� �

� Frederic Lord Leighton Flaming June

Edward Munch: The Scream

Ann Clautice No title

Objective: •

After the teacher has presented Famous and non - famous paintings the student observes, describes, interprets, and compares them.

Materials: • • • • • •

Computer Digital Projector Screen Power Point Presentation Paper Coloring Pencils or Crayons

Speaking Procedure Activities: •

Discussion using questions - Have you ever been to a museum? - What can you find in a museum? - Would you like to go to a museum? - Have you seen famous or non – famous paintings? - Can you describe the painting?

Developmental Activities: • Have a slide show presentation of famous and non - famous paintings. • After each painting ask: • What did you see? Do you know what they are? • Which are the differences between these paintings? How does it make you feel? • Each time a student answers a sticker will be given. Each sticker counts as one point. Closing Activities:

•

Discussion - Which paintings do you consider famous, and which are not? - Which one is the best for you? - Given the ability to paint what would you change about a painting? - Each time a student answers a sticker will be given. Each sticker counts as one point.

Assessment: • •

After the class discussion of the paintings, the student creates an original drawing in which he/she presents feelings, ideas, or thoughts. Those who agree to present their creation will get extra points and a candy bar!

Homework: •

Ask your parents: Which is their favorite painting?

L ESSON

he Night that George Came

Minell Peña - Escuela Dr. Gilberto Concepción de Gracia Amarilis González, Gladys Arguinzoni, Linnette Arroyo, Hilda García, Mildred Rodríguez - Escuela Central de Artes Visuales Laura R.Calderín - Escuela Dr. Juan J. Maunez Betzaida Figueroa, Lillian del Rio, Marisol de León, Anabel Torregrosa, Katharine Rivera, María Rosa, Teresa Rodríguez - Colegio San Antonio Czarina Rodríguez - Colegio Sagrado Corazón de Jesús Grade: 11 Theme: The Night that George Came by Aníbal Muñoz Standard: Reading

The student uses reading strategies, literary analysis, and critical thinking skills to construct meaning and develop an understanding as well as an appreciation of a variety of genres of both fiction and nonfiction. Bloom’s cognitive domain -comprehension and evaluation Affective Domain: Receiving Phase I: Exploration Objectives: Through the study of The Night that George Came the students will; • • • •

Activate prior knowledge Interpret information in varied media Summarize information Paraphrase information from a given text

Materials: • • •

News articles Video clips and other graphics (maps, photos, illustrations) Computer, television, or projector type video equipment

Initial Activities: • •

Procedure

Teacher gives handouts on hurricane Georges. These may include news articles and graphics. Students watch video clips and graphics.

Developmental Activities: • Students are divided into small groups and they read the selected text. They will then discuss the information with the other members of the group, making observations of what they remember when the hurricane hit. • Students share this information with the rest of the class. Closing Activities: • •

Students respond to the question, “How does your family prepare for an event like this?” Students read the author’s biography.

Biography of Anibal Muñoz Claudio Aníbal Muñoz Claudio was born in 1965, in the eastern town of Yabucoa, Puerto Rico. As an English professor, he has taught in various schools and universities in Puerto Rico, both public and private, since 1990. Throughout the years, he has received several prestigious awards and recognitions for his dutiful commitment to the teaching of English in Puerto Rico. He has written more than twenty-five short stories for the Puerto Rican junior and high school students, in which he depicts common struggles of adolescents against laws and norms established by society. His works provide valuable thoughts and guidelines for students to learn more about themselves and about the system of moral values and principles, which define the modern Puerto Rican culture and society. Moreover, his works denote typical problems of school communities, and how can the students contribute to solve them by improving the quality of life at their school environments, and thus, the quality of life of the society in general. Books are available at the following book stores: •

Borders, Paseo del Libro, Book Shop, Libro Arte, Castle Books, and Norberto González in Río Piedras

Phase II: Conceptualization Standard: Reading Grade Level Expectation: • •

R.11.1 The student examines context clues, uses reference sources and vocabulary expansion strategies to asses word meaning R.11.2 The student analyzes character development, infers the setting in fiction and nonfiction Procedure

Initial Activities: • • •

Students construct their own flashcards with selected vocabulary words Students copy the given meaning of the words Students will have a drill on the spelling and meaning of the words

Key Vocabulary words: 1. 2. 3. 4. 5.

dreadful (horrible) extremely bad or unpleasant uneasiness (ansiedad) not allowing somebody to rest properly menacing (amenazante) possible source of danger havoc (destrozos) devastation, widespread damage or destruction adrenaline (adrenalina) a human hormone that raises blood pressure a rapid heartbeat when the body faces danger, fear, or stress. 6. stumbling (tropezando) to trip over, to walk unsteadily, as if intoxicated 7. flooded (inundado) under water, covered with water as a result of a river overflowing

8. puffing (exhalando) a short blowing out of breath, short exhalation 9. somber (sombrío) dark and gloomy, melancholy atmosphere 10. disbelief (incrédulo) feeling of not believing Developmental Activities: • • •

Guided reading stopping at intervals in order to elicit comprehension Oral discussion of vocabulary for meaning in context Study the elements of the story focusing on setting 1. Students will draw a picture of the following settings: -Family home -El Colmado -Paseo De Diego -Car 2. Students write a caption for each drawing. This may be adapted for different levels of proficiency.

Closing Activities: •

Students organize a visual sequence of events using the drawings by placing them in order as a gallery exhibition.

PHASE III: Application Standard: Reading Grade Level Expectations: •

R.11.2 The student analyzes character development, infers the setting in fiction and nonfiction

Affective domain - organization Procedure Initial Activities: •

Students answer questions on the content of the text: 1. Why wasn’t Chino worried about the news of the upcoming hurricane? 2. What was the greatest concern for Chino’s mother about the hurricane? 3. Why did Chino’s friends think it was the perfect night to do the robbery?

Reading

4. When did you notice that Chino was concerned about his family during the robbery?

5. What was the damage caused by the hurricane? Mention all the details provided in the story. 6. What happened to the protagonist’s family at the end of the story? 7. What were the police officers looking at? Developmental Activities: • •

Students determine the moral of the story. Students discuss the value of the story and the author’s purpose taking into consideration the concept of loyalty.

Closing Activity: •

Students answer the question and its follow ups, “Who comes first, your family or your friends? Why? Under what circumstances?”

Assessment: Rubrics Paragraph Oral presentation Peer assessment Evaluation: •

Vocabulary Quiz

References 1. Here you find a report from the National Hurricane Center with all the statistics related to the hurricane in PR. http://www. nhc.noaa.gov/1998georges.html 2. This is from endi.com (el nuevo dia). It’s in Spanish but it has a map with the path of Georges. http://www.beto.net/georges 3. Here’s the link to a lesson plan about Hurricane Georges. It is called Hurricane Georges: An Interdisciplinary Lesson. Check it out, it could give us more ideas. http://www.wtvi.com/teks/98_99_articles/georges.html 4. Here’s a good one. It’s an index of sites related to the hurricane. Basically through here you can find everything we need. http://www.usatoday.com/weather/huricane/1998/wgeorges.htm

Videos 1. Weather Channel video with the path of the hurricane and info. (weather channel report with Dr. Steve Lyons) http://www. youtube.com/watch?v=RYm4D9aqzNQ 2. In this video thereâ&#x20AC;&#x2122;s some footage of the hurricane in Luquillo. (This is the attack of the storm in Luquillo taken from the inside of a car.) http://www.youtube.com/watch?v=HyTLvHvdiG4 3. Summary of the events with different videos in Spanish. (Wonderful short documentary useful for viewing and writing reflective papers and applying it to the story) http://www.youtube.com/watch?v=Xa2RVKF8ZdA

ďż˝

L ESSON

esson Plan for a Listening Activity

Katherine M. López Más - Colegio Santa Gema

Grade: 10th Lesson time frame: 4-6 weeks Unit: Integrating Arts to Language Theme: Music and me Project Standards: Listening/Speaking and Reading LISTENING / SPEAKING

L/S.10.1 Listens and responds during a read aloud, presentation, or performance from a variety of literature, periods, genres, and styles to analyze character development, setting, tone, voice, and mood; makes connections to the text.

•

L/S.10.2 Listens and responds to analyzes, organizes, explains, describes, supports, and discusses information; answers and formulates closed and open ended questions.

•

L/S.10.3 Uses appropriate language structures to state opinions in discussions and presentations, to problem solve, and to explain a process integrating comparison and contrast statements.

•

L/S.10.4 Expresses thoughts and opinions to discuss current events, concepts, themes, characters, plot, and conflict and resolution; makes predictions and inferences, as well as draws conclusions from listening to a variety of texts, performances, and multimedia sources.

•

L/S.10.5 Explains the main idea or topic and important details from learned concepts or readings, and summarizes, analyzes, and compares and contrasts a topic from a variety of text using appropriate language structure.

READING The student uses reading strategies, literary analysis, and critical thinking skills to construct meaning and develop an understanding as well as an appreciation of a variety of genres of both fiction and nonfiction. Grade Level Expectation: • R.10.1 Analyzes context clues, uses reference sources and other vocabulary expansion strategies to assess word meaning and to determine the meaning of unfamiliar words using prior knowledge to relate to new meaning.

•

R.10.4 Distinguishes between fact and opinion, infers the main idea, and distinguishes between relevant and insignificant details in a variety of texts; identifies theme. R.10.5 Uses elements of poetry and plays to analyze, interpret, and classify genre, imagery, figurative language, and symbolism.

Objectives: Students will: • • • • •

Activity

•

read and understand the meaning of songs (lyrics). analyze themselves through music. represent their emotions or feelings through the use of pictures or videos. practice listening skills, interpretation, analysis and finding meaning, making connections and the use technology (computer photomontage) to represent emotions. answer questions (orally and written) using critical thinking and the correct use of grammatical skills. Procedure

Initial Activities:

The students will brainstorm using the word “music”. They will write down what comes to their mind when they hear someone say “MUSIC” (assign homework #1). Developmental Activities: •

• • • •

After Homework #1, having their MP3 players in the classroom, students will be asked to turn on the player in a song that they don’t know the lyrics of and focus on the music and NOT THE LYRICS to answer a given questionnaire (assign Homework #2). Using the printed lyrics, students will answer the same questionnaire given before but about the LYRICS of the song. The teacher will evaluate the songs for content and vocabulary (assign Homework #3). Using the laptops, the teacher will show them step by step how to use the “Windows Movie Maker” program. If a student doesn’t have a lap-top, he or she will find someone to share a computer with. During the next classes students will work in the classroom using their laptops to create their Movie Maker. Students will be given a reasonable due date for the project. They will have to hand it in a CD. The CD must have: THREE files: file #1 the brainstorm activity and the two questionnaires given in class, file #2 the pictures, file #3 the song, the lyrics and the final project.

Materials given by the teacher: • • • •

Brainstorming handout Questionnaire #1 Questionnaire #2 Movie Maker instructions

Other materials: • •

Laptops (students bring their own) Computer projector (provided by school)

Closing Activity: As a closing activity the students will include a short reflection on the last “slide” of their photomontage (could be a part of the credits) and they will get to thank a person or people who were an essential part of their project (either by allowing them to publish their pictures or helping them understand the use of the program or any other help gotten from an outside person). They will also write a short reflection about the project (overall), changes they would make to it (or not), things to improve or any other comment regarding to the process. Application / Evaluation: • •

Once everyone has handed the CDs, we will watch each video to be evaluated by both the teacher and the group. Each student will have a rubric (given by the teacher) to evaluate their classmates and themselves (in the last number of the list).

Homeworks: 1. 2. 3.

Bring their mp3 (or any other) player to class. Choose two of their favorite songs (in English) and bring printed out lyrics. Make a picture search on the Internet or their personal files and bring a pen drive with at least 75 pictures (related to the song). The idea was to show me what the song was saying (or meant to them) using pictures (I told them to imagine I was deaf, so they would need to be specific with their pictures).

Assessment: • •

Peer evaluation rubric (students will evaluate their classmates’ work) “Movie Maker” rubric (teacher will evaluate the content on the CD and the Movie Maker content).

References Kozdras, D. (n.d) Music and Me: Visual Representations of Lyrics to Popular Music. Retrieved from: http://www. readwritethink.org/classroom-resources/lesson-plans/music-visual-representations-lyrics-964.html#resources Appendixes Questionnaires #1 and #2 downloaded from: http://www.readwritethink.org/files/resources/lesson_images/lesson964/instructions.pdf

Appendix 1: Questionnaire #1 Listen carefully to the song of your choice and answer the following questions: 1. 2. 3. 4. 5.

Why did you choose this song? How does the music make you feel? When you listen to the words, what does this song make you think about? How do you relate to this song? List any other songs this song reminds you of.

Appendix 2: Questionnaire #2: Read the lyrics of the song carefully and answer the questions below. 1. 2. 3. 4. 5.

How do the lyrics make you feel? What do the lyrics make you think about? How do you relate to the words? Do the words remind you of another song, movie, or book? When you read the words, do they make you think about any world issues, such as poverty, the environment, world peace, crime, or justice?

Appendix 3: Movie Maker Rubric (created by Katherine L贸pez) Peer evaluation Rubric (created by Katherine L贸pez)

�� **This is an example of the peer evaluation rubric you can ask for students to evaluate following your own criteria *

L ESSON

ne world: Our world

Luzie Rivera - Escuela Lcdo. Guillermo Atiles Moreu (SER de Puerto Rico)

Grade: 5th Time frame: Every Friday (From September to December) Theme: One world: Our world Transverse Themes: Social Skills, Education for Peace

This unit plan was designed as a special Christmas project for the elementary level (Kindergarten to Sixth grade). The activities were adapted according to each grade. The following is the plan designed for fifth grade. Standard: Listening/Speaking

The student uses the English language to interpret oral input, construct meaning, interact with confidence both verbally and nonverbally, and express ideas effectively in a variety of personal social, and academic contexts. Grade Level Expectation: • L/S 5.3-Listens, responds to, and analyzes complex instructions; expresses self using complete sentences; answers and formulates both closed and open-ended questions in both formal and informal scenarios. Standard: Reading The student uses reading strategies, literary analysis, and critical thinking skills to construct meaning and develop an understanding as well as an appreciation of a variety of genres of both fiction and nonfiction. Grade Level Expectation: •

R.5.1-Analyzes the text and uses text features to enhance comprehension.

Standard: Writing The student effectively communicates to a variety of audiences in all forms of writing through the use of the writing process, proper grammar, and age-appropriate expressive vocabulary. General Objectives: • •

Offer students English language experiences that are based on challenging, meaningful, and pertinent content. Empower students to become competent, knowledgeable, independent, reflective, and self-confident English language learners.

Terminal objectives: Students • • •

will: Produce messages orally to communicate ideas. Speak formally in front of a group. Use reading as a process to obtain information.

• •

Transmit messages through writing. Plan, write, revise, and publish a piece or writing Procedure

Developmental Activities:

•

• •

• • •

Little papers with the name of different countries will be placed on a basket. Each student has to choose randomly one country. The student will look for information about the country chosen, organize it according to the instructions given by the teacher (e.g. official name, population, language, and others) and also will elaborate its flag. All this will be done in the classroom. The student will make an oral presentation: giving the facts assigned about the country, locating it on a world map and showing its flag. The student will listen to the songs Heal the World, Joy to the World, and It’s a Small World; the lyrics of the songs as well as videos were they have been sung will be presented to the student. The teacher will formulate open-ended questions, guiding the students during a healthy discussion which will help to identify the messages of the songs. The teacher will ask the student to write a list or a paragraph which shows how she/he can heal the world. The student will present to the group her/his way of healing the world. The teacher will bring an example of a rebus exercise and will ask the student to do the same with one stanza of the song Heal the World. The group will be divided in small groups; each one has to create a poster or logo combining the title of the three songs or its messages.

Notes:

Peace

•

The songs were practiced several times until the students learned them. The Christmas presentation started with the parade of the nations: each student (from Kindergarten to sixth grade) walked around the basketball court with the flag of the country chosen and wearing the T-shirt with the logo chosen. They sang beautifully! The order of the activities can be altered, for example: the unit can begin with the songs instead of the research of the country and while preparing this presentation, they can listen to the songs played in the background (incidental learning) Assessment: • • • • • •

Research of the country chosen and elaboration of its flag Oral presentation Rebus exercise Writing of a list/paragraph Group work (Elaboration of a poster/logo) Artistic presentation

Guideline to rate student performance: Rubrics Additional technique: checklists (self-evaluation and teacher’s evaluation)

L ESSON

ppointment with Love

Amarilis González, Cynthia Nieves, Delializ Nevarez - Escuela Central de Artes Visuales Lilian Del Río - Colegio San Antonio Linnette Arroyo Ortiz - Escuela Central de Artes Visuales

Grade: 8th Unit: Writing Theme: Short Story: Appointment with Love

Standard(s): Listening/Speaking, Reading and Writing Grade Level Expectations: •

W.8.4 Uses poetry elements and imagery to develop and write different styles of poems.

•

W.8.2 Classifies and applies the parts of speech; uses vocabulary, accurate spelling, appropriate grammar and syntax in writing

•

R.8.1 Analyzes the text, establishes purpose, identifies author’s purpose, and distinguishes text features to enhance comprehension.

•

R.8.2 Applies context clues, reference sources, and other vocabulary expansion strategies to assess word meaning using prior knowledge to relate to new meaning; uses prefixes, suffixes, and root words to determine the meaning of unfamiliar, multiple-meaning, and compound words.

•

R.8.3 Distinguishes main from supporting characters, compares and contrasts characters traits, and explains setting in fiction and nonfiction; distinguishes between first and second person point of view.

•

R.8.4 Sorts and organizes relevant events, states cause and effect, makes connections, predictions, and inferences, determines problem and solution, and draws conclusions in narrative, expository, and persuasive texts.

•

L/S.8.2 Listens, responds to, analyzes, gives, and discusses complex instructions, statements, and directions; answers and formulates closedand open-ended questions.

•

L/S.8.4 Applies a variety of language patterns and structures to explain texts, discuss topics and themes, express thought on plot development, identify problem and solution, as well as make predictions, inferences, and draw conclusions from listening to a variety of texts and multimedia sources.

Objectives: Students will: • • • • •

Answer discussion questions based on the reading emphasizing the skills: supporting details, inference, cause-effect, and drawing conclusions. Divide words into their syllables. Decode words for meanings using given prefixes and suffixes. Combine simple sentences into compound sentences by applying the correct use of the conjunction and the comma. Write a Tanka poem. Procedure

Activities: Warm-up Activities: • Do you chat with people that you don’t know? Have you ever made an appointment to meet? Did he or she fill your expectations? Why or Why not? Pre reading activity: • Discussion of time period (World War II). Do you have any family member that is a soldier? Development: • Students will read and listen to the recording of the story previously downloaded to their MP3 players (or group listening to audio story). Discussion: • • • •

How did Lieutenant Blandford become acquainted with Hollis Meynell? How were they going to recognize one another in the station? Name some of the things Hollis has done that makes Blandford feel he is in love with her. Why do you think it seems rather bad to Blandford that Hollis refuses to send him her photograph? How does Hollis explain her refusal?

• • •

Why does Hollis give her rose to the older woman? What can you infer about Blandford’s character when he offers to take this woman to dinner? Is Hollis’s testing of Blandford fair? Why or why not?

Review: Students will break vocabulary words into syllables.

Grammar Skills: Students will be introduced to the correct use of commas and the conjunctions: and, but, for or, so, yet in combining two simple sentences to form a compound sentence. Vocabulary words: Students will identify the prefixes: un- re- and suffixes: -ly -ful -er -ment -ness -ity in words taken from the story and decipher their meanings. 1. 2. 3. 4. 5.

renew reality frankly bitterness uncontrollably

Application/Evaluation: The students will write a Tanka poem using a strong emotion portrayed in the story. The student will use one compound sentence and two words with the prefixes or suffixes discussed in class. Materials:

Example of Tanka Poem A pearl of rain trembles at the tip of a holly leaf. She passes by, and my heart falls.

Love

Reading MP3 Players

L ESSON

ingerbread Baby

Janice Busigó - Escuela Ernestina Bracero Pérez

Grade: Second Time Frame: 1 to 2 weeks Theme: Short story: Gingerbread Baby Standard: Writing Grade Level Expectations:

• 2.4 Writes to express feelings, familiar topics, experiences, and describe a picture; uses high frequency words to write simple sentences of three to four words in length; applies correct word spacing. Objectives: •

Students will write short sentences describing people, places, or things.

• • •

Gingerbread Baby by Jan Brett Gingerbread Man Other books Procedure

Initial Activity: •

Game: Can you guess? Each table will receive a brown bag with a piece of cookie, mints, gum drops, candy canes, and a picture of a character from the story.

Developmental Activity: •

The teacher will read aloud the story for the students to listen to the pronunciation. Then, the students will re-read the story in groups. The students will proceed to discuss their points of view concerning the story. In addition, they will describe the characters, plot, setting, and the outcome.

Closing Activity: •

Stor y

Materials:

The students will draw a picture of their favorite part and write three sentences about it. A scavenger hunt may be included as well.

Assessment: • Sequence of events with a mobile, dramatize the story, and creation of a life size gingerbread baby where in the inside each student will write their favorite word from the story. Homework: • Students will write their recipes of their favorite cookie and/or invent a rap song about the story.

L ESSON

12 11

esson Plan for Diversity Mask Carnival

Amarilys González Cynthia Nieves, Gladys Arguinzoni Escuela Especializada Central de Artes Visuales

Standard: Listening/ Speaking

express

Grades: 7th-12th Time Frame: October 2009-February 2010 Unit: Oral Communication Topic: School Diversity Mask Carnival

The student expresses thoughts and opinions to discuss current events, concepts, themes, characters, plot and conflict resolution; makes predictions and inferences, as well as draws conclusions from listening to a variety of texts, performances, and multimedia sources; listens to sort and prioritizes information. Standard: Writing

The student effectively communicates to a variety of audiences in all forms of writing through the use of the writing process, proper grammar, and age-appropriate expressive vocabulary. Grade Level Expectations: •

Listens, responds to, analyzes, gives, and discusses complex instructions, statements, and directions; answers and formulates closed and open-ended questions.

•

Uses appropriate language structure to interact in discussions and presentations, to problem solve, explain a process, and express opinions integrating comparison and contrast statements to interact in discussions and presentations.

•

Applies a variety of language patterns and structures to explain texts, discuss topics and themes, express thought on plot development, identify problem and solution, as well as to make predictions, inferences, and draw conclusions from listening to a variety of texts and multimedia sources.

Objectives: Students will: • • • • • •

Identify an idea for their mask. Research information and materials for their individual mask. Design a plan to complete their mask. Produce their final work. Write complete paragraphs about his/her mask selection. Present their masks to the class and at the carnival for exhibition.

Assessment: • • •

Paragraph writing Rubric Speaking Rubric Creativity of mask design Procedure

Warm-up: •

The teachers will welcome students and introduce the concept for a school wide project for the next five months: School Diversity Mask Carnival articulated with art grades 7th to 12th. The teachers will write the topics selected for the grade. Students will be given time to select their individual contribution to the activity within the topic for their grade. Students will provide ideas and suggestions for their participation.

•

A brief discussion will take place regarding their topic.

Development: • •

•

• • • • • •

Teachers will coordinate articulation/integration with art teachers through a letter approved by the school principal and according to time table prepared for the project. Teachers will introduce and clarify the themes for each grade: fairy tales, 7th grade; endangered species in Puerto Rico, 8th grade; mythology, 9th grade; music, 10th grade; movies 11th grade, and current issues-teen perspectives, 12th grade. Students will start working on their masks articulating/integrating skills from the different art classes in the school: architecture design, photography, sculpture ceramics, sculpture, drawing and painting, multimedia, illustration and animation, graphic arts and publicity design. Teachers will provide information about the history of masks in the world coordinating resources and movies from the library, books, and models of masks, internet, and personal experiences of the students. Students will write the oral presentation through in class writing activities and workshops. Students will organize in groups to design and prepare a huge banner based on their grade’s topic for the mask carnival (only drawing and painting) to be used at the school’s theater. Students will organize and select the artistic presentation for their grade during the carnival and organize practice activities during lunch time or after school. Selected students will participate in the general organization of details for the celebrations through different committees in the school: programs, decoration, organization, refreshments, and cleaning. Teachers will organize a final rehearsal activity during the week of the carnival.

Application/Evaluation: • •

Individual student oral presentation wearing the masks. Rubrics for oral presentation and mask’s originality, procedure, material used, and aspects represented on the masks.

Note: Oral presentations start in November and December and end in January depending on the grade. On-going Homework: Analyze your mask topic • • • •

What What What What

aspect of my topic is the most relevant from my perspective? material should I use? is the most fascinating part of my mask design? would I like to share with my classmates about my mask?

Materials: • • • • • • •

Notebook Art materials Computers movies TV Books Dictionary/thesaurus

Special Education Arrangement: • • • •

Extra Time Individual attention through the writing process Practice of oral presentation with the teacher Flexibility for oral presentation date

Note: Collaborators for the carnival celebration: Ms. Ilda García, 7th grade English Teacher Mrs. Mildred Rodriguez, 10th grade English Teacher Mrs. Sonia Nuñez, 12th grade English Teacher School Art Teachers

Resources

Dr. Annette López de Méndez Dr. López de Méndez holds a doctoral degree in Curriculum and Educational Research from Harvard University. She is the director of the Center for Educational Research of the College of Education of the University of Puerto Rico in Río Piedras. She has delivered courses at the graduate and undergraduate levels of UPR-Río Piedras in areas, such as investigation, curriculum and preschool education, among others. She has also taught at the preschool and elementary levels and is a Consultant for the Museo de Arte de Puerto Rico in different projects such as the design of activARTE (2000), an interactive gallery for children and families. She also has collaborated with the Museo de Arte de Ponce in the programming of the Museum Education Symposium, and the Contribution of Museums to Society and Education (2008-09). She has been a consultant for Caguas’ Municipality Criollo Learning of the Arts for Children (2007-09). She has been a Member of the Advisory Board for Preschool of Fundación Angel Ramos and is President of Asociación Puertorriqueña para la Educación de la Niñez en Edad Temprana (APENET) an affiliate chapter of the National Association for the Education of Young Children (NAEYC).

Dr. María Antonia Irizarry Dr. Irizarry holds a BA degree in the Teaching of English as a Second Language from the University of Puerto Rico, an MA degree in Arts in English Teaching, an MA in the Teaching of Spanish as a Foreign Language, and an EdD in Languages and Literature from Columbia University in New York. Her professional career includes teaching in the public systems of Puerto Rico and the United States. She was a professor at the Essex County College of the New Jersey State University, Associate Superintendent of Schools of the Newark Board of Education in New Jersey, professor and director of the Education Department at Sagrado Corazón University in Puerto Rico, and the Dean of the College of Education of UPR- Río Piedras. She has represented the University of Puerto Rico internationally in different organizations and ministries of education of countries, such as Chile, República Dominicana, Panamá, and the United States. She is a professor and the Coordinator of the Graduate TESL Program at UPR-Río Piedras.

Prof. Aníbal Muñoz Claudio Prof. Muñoz Claudio holds a BA and an MA in English Teaching and Curriculum (TESS, TESL) from the University of Puerto Rico. He also possesses a second MA in Translation, also from UPRRP. He is currently finishing his Ed. D. in Curriculum and Instruction in English (TESL) at the University of Puerto Rico in Rio Piedras, PR. As a writer, he has published three novels (two in English/one in Spanish) and an Anthology titled: Boricuan Times which includes 25 short stories and a play. His literary works mainly focus on adolescents’ lives and conflicts at school and in society. Prof. Muñoz has participated as a key note speaker in several PR TESOL conferences and other forums through his 19 years of experience as an ESL professor in Puerto Rico. He currently works as an assistant professor at the University of Puerto Rico in Humacao. Dr. Elsie Candelaria–Sosa Dr. Candelaria-Sosa holds a doctoral degree in Education with a concentration in Curriculum and Instruction from the University of Puerto Rico at Río Piedras. She has 25 years of teaching experience and holds the rank of Associate Professor at Colegio Universitario Tecnológico of San Juan. Dr. Candelaria is familiar with current trends in education and has effectively integrated technology into the teaching of English as a Second Language. Her research interests include technology, the impact of the World Wide Web on language teaching and learning, and other areas of linguistics such as language change and gender-based differences in language use. Dr. Lowell Fiet Dr. Fiet holds MA and PhD degrees and has over thirty years of experience as a professor of theater history and performance in the United States and especially in Puerto Rico. His numerous articles and books focus on Caribbean and Puerto Rican dramatic expression. He directed the Taller de Imágenes theater collective (1988-1995). His work frequently focuses on masked rituals, celebrations, and cultural performances. He is also active as a critic; he has written theater reviews for the weekly Puerto Rican newspaper Claridad since 1992. He teaches at the University of Puerto Rico in Río Piedras and currently directs the Interdisciplinary Studies Program of the College of Humanities.

Dr. Rosemary Morales Urbina Dr. Morales Urbina holds a doctoral degree in Curriculum and Teaching in TESL from the University of Puerto Rico and a Master’s degree in Bilingual Education from the City University of New York. She is a professor of English at the Secondary School of the University of Puerto Rico, College of Education, Río Piedras Campus. She has been a curriculum consultant in various institutions in Puerto Rico and abroad. At the moment, she is interested in educational technology and public speaking and has designed two courses to help develop students’ public speaking skills. Dr. Juan C. Vadi-Fantauzzi Dr. Vadi-Fantauzzi holds a BA and an MA in Arts with a concentration in Social Communication and a doctoral degree in Education with a concentration in Spanish. He is a professor in the School of Communication of the University of Puerto Rico, Río Piedras Campus. He also works in the Graphics Arts Unit at the School of Education at UPR-Río Piedras. He has been Acting Associate Director of the Department of Curriculum and Teaching of the School of Education at UPR-Río Piedras. He has worked in different teacher training projects demonstrating how to integrate technology, specially the digital storytelling technique, to the school curriculum. Lourdes M. Torres Báez Ms. Torres holds a BA degree in Psychology and Mental Health from the University of Puerto Rico in Ponce. She is currently finishing graduate studies in Industrial Organizational Psychology and serves as Research Assistant at the Center for Educational Research of the College of Education of the University of Puerto Rico in Río Piedras. She has also served as coordinator of diverse training projects such as ALCANZA Project (2007-2009), Arts, Technology and Integrated Curriculum to Enhance Learning of Special Children and Arts, Science and Technology Project of Museo de Arte de Puerto Rico. Her research interests include training, transfer interventions and areas related to personnel development and organizational culture.

Professional Training for Teachers of

Strategies for Language Enhancement Universidad de Puerto Rico Recinto de Río Piedras Facultad de Educación Centro de Investigaciones Educativas