Dazjon Ross Portfolio 2013 by Dazjon Ross

Dazjon Ross

Graphic Design / Publications / Branding

Publications

ShelfLife Magazine

Project: To execute a strong concept for a food magazine, based around a celebrity of choice. FocAdobe on the cover, F.O.B, B.O.B, and 2 feature spreads. Adobe: Photoshop Illustrator InDesign

Janelle Monae On music, traveling and her favorite dish

Storage Room Save food,money the environment

303Dishes

that will make any party fabulous!

Finger Clickinâ&#x20AC;&#x2122; Good The Best food you can get from the internet

I love to do what we call

ZIP Great ways to save food and the environment

These creative storage ideas help you organize food in your pantry, kitchen cabinets, and freezer. You’ll know exactly what’s in your kitchen. Make it easier to find what you need in your kitchen. At what point did you realize that you’ve made it? I had different points where I felt like I had made it. But, um, one of those points was when Prince invited me to perform at his birthday event. Have you ever doubted yourself or career decisions? Yes, I’ve doubted myself. There’s times I question myself like ‘Why doesn’t my record get played on the radio?’ What was the hardest story for you tell in the book? I think it was the story of...you know, your dad not being around and...you know, really dealing with that and recognizing that that it’s had an effect on your life. What will we learn about you that we don’t know from your music? I think people will be surprised by some of my background and some of the things that I experienced on the street level. As a veteran on a label with so many young rappers, what’s your relationship with the other guys in the G.O.O.D. Music camp? When I hear the younger guys I get inspired. When I hear Big Sean kicking a verse, I’m like “Yo, that’s ill,”

Dinner is

Served

Ordering out is easy as clicking 1-2-3

Catalogue Project:

To display simplistic, modern publication design of an in- store furniture catalouge

Adobe: Photoshop InDesign

December 2012

chairs

CHAIRS

stick around armchair Dimensions: 23.5’’Wx25.5’’Dx38.75’’H seat: 18.5’’H Frame is solid birch painted white with high-gloss lacquer finish Seat, back and arm rests are faux grey leather Comfortable upholstered seat and back Silver nailhead trimSeat is high-density foam Made in China

chairs We all have a favorite. For lovers of French liv ing room Chairs, it could be our classic Stick Around arm Chair. For devotees of kick-back comfort, it may be the Butterfly leather Chair. No matter what style of Chair you like best, you’ll find it here. So relax. For unique Chairs, you’ve come to the right place. Cover image Vivian Chiu’s “Inception” chair. A series of nested chair-like objects, inspired by the nested realities in the eponymous film. The mechanism works so that the pegs fit into the grooves of the chair one size bigger and slides into place so that the horizontal edge between the chair seat and back line up. The simple mechanism allows the chairs to be taken apart and put together with ease.

Copper

Real good chair

Dimensions: overall: 23.5’’Wx25.5’’Dx38.75’’H seat: 18.5’’H details: Copper plate over steel The Real Good Chair ships flat and folds along laser-cut lines to create a dynamic and comfortable chair. As skinny as a supermodel yet far more sturdy.

club 2-tone

chair

Details:

Linen/rayon chair fabric: natural Velvet seat cushion fabric: mustard Sinuous wire suspension Benchmade Made in USA

1938 leather Butterfly chair

Watts up !

Dimensions: overall: 30”Wx30”Dx34.5”Hdetails: Tubular iron frame with a light antiqued zinc finish; water-based clear matte powdercoat Each leather panel will have natural variations in color and markings; each chair is unique Hand-stitched hides; hand laced leather edging Minimal assembly; no hardware required Made in India

Parlour oatmeal chair Lighting Fixture A overall: 25.75”dia. x12.75”H canopy: 6”dia.x0.75”H cord: 94” Lighting Fixture B overall: 18”dia.x9.5”H cord: 114” canopy: 5” dia. Lighting Fixture C overall: 34.25”dia.x10”H Lighting Fixture D overall: 25.75”dia. x12.75”H canopy: 6”dia.x0.75”H cord: 94” Lighting Fixture E overall: 18”dia.x9.5”H cord: 114” canopy: 5” dia. Lighting Fixture E overall: 34.25”dia.x10”H canopy: 6”dia.x0.75”H cord: 94” Lighting Fixture G overall: 18”dia.x9.5”H cord: 114” canopy: 5” dia. Lighting Fixture H overall: 34.25”dia.x10”H

Details: • Cotton-poly-acrylic fabric: oatmealSinuous wire suspension • Tuxedo stained hardwood legs • Reversible seat cushion • Benchmade • Made in USA

Hypo Mag Project: To design a magazine of choice. I chose to create Hypo magazine to be inspirational and get the motors running of writers block ridden designers.

HYPO Magazine

Up and The Come Opp rs : osit es

Magazine

Adobe: Photoshop InDesign

e ativ cre g n nni Art Stu viant : s ’ De me esu s from R n * @$ desig Bad ume res

Hypo Magazine was created with motivated, eager-to-learn professionals, editors, executives, students and faculty in mind.

es me. . .

spir le: What in

Our goal is to

Peop Voice of the

help artists who have few resources on hand other than their own

Typographic Styl

desire to make a difference and help art and design grow into its new 21st Century role.

Epic S

e: Picking the rig

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You don’t need the best equipment, the biggest budget or even management support to accomplish worthy goals. The only requirement is a willingness

EXCIT

ht typeface

E you

to learn and a mind open to new ways of thinking about art

r brai

The Opposites flip the page to see the genius!

Tips and Tricks to makE your resume as bad as you Are

The

What inspires you? Stories of inspiration from young people in their craft

PERUSI NG the studen t art on his Web site recent ly, as he does somew hat obsess ively throug hout the day, the British collector Charle s Saatch i happen ed upon an entry from a painter named Liu Yang. This artist had posted images of seven of his works, includi ng a paintin g of a factor y set against a haunting gray backgr ound and a work on paper depicti ng a woman ’s elonga ted torso.

pposites Unlike European, American or Australian users of the site, who use their Web pages there to tell the world everything about themselves — their favorite artists, what movies and books inspired them, their convictions about art or politics — Mr. Liu, a student at the Sichuan Fine Arts Institute, simply wrote: His message trailed off in a few lines of Chinese that read in part: “I admit that my knowledge of art is limited at present. However, I am sure I can learn quite a bit from your Web site.”Soon Mr. Saatchi began to notice that Mr. Liu was not alone. Every day more art students from China were posting their work at Stuart (short for Student Art), a popular nook of Mr. Saatchi’s recently reinvented Web site, saatchi-gallery.co.uk).Known a decade ago for spotting talent and turning his discoveries into superstars, as he did with so-called Young British Artists like Damien Hirst and Rachel Whiteread, Mr. Saatchi is fixated these days on Chinese artists, the hottest sector of the global market. And when he saw these shyly tentative Web postings. “There are so many artists in China who want their work to be seen,” he said in a recent interview at his London home, pausing every now and then to scan the large computer screen on his desk. “These students, like all the

“I can’t speak a lot English. Sorry. But I love art....”

others, want to know what’s going on around the world.”So in January he decided to create a Chinese version of his Web site to cater to that audience. Working in a warren of makeshift offices in the basement of his Eaton Square home, 16 experts now oversee both the popular Saatchi Gallery site, which is getting more than six million hits a day, and a site in Mandarin, accessible from the home page, that went online two weeks ago. continued on page 10

How to stand out

in a good way 3. LEAVE SOME DETAILS OUT Some people include their entire life history and every personal detail on their résumé. Your job as a clerk at the corner store 10 years ago won’t ever get you a job in Web design. Mentioning it only takes focus away from your relevant work experience. Keep your marital status, age and grades off, too. 4. MAKE IT PERFECT You are a professional, so attention to detail is critical. Everything on your CV should line up, every pixel should be absolutely perfect.

MAKE A SUMMARY 7. 1.LINK TO ITYOUR ONLINE PROJECTS Your résumé to tell an employer Displaying URLsneeds for your projects is cru(at Ifa the quick glance) will the be details mostthe cial. employer viewing relevant him or résumé as to a PDF, linkher. theThis URLsmeans back the to whole thing should fit on one page! If your portfolio or the projects themselves. you’re a Web designer, keeping it short punchy even more important. 8.and DON’T USE is A TEMPLATE writing for here Web isand different than A Sure, little inspiration there never writing for print, but by showing your hurt anyone. But imagine you submitted employer thatexact you can a potential résumé and it was the samekeep as things concise, you are actually someone else’s? Gosh, would yourshowcasface anIfimportant Besides, being red. you are aWeb Webskill. designer, you you need to wouldn’t leave something about in probably want to to usetalk a template interview! fortheyour portfolio website either. Take some time and think about the impression you want to make: I bet it isn’t that you can enter data into a template.

a lo ok at so m e Le t’s no w ta ke at d gu id el in es th us ef ul id ea s an lp he ay m op in io n in ou r hu m bl e ct pa m co t, ea gr a yo u to ac hi ev e . an d be au tif ul CV

5. USE A GRID Why is the grid so important for a Web designer’s résumé? . “If you’re not using a grid, you run the risk of giving the impression that you don’t have an understanding of basic design principles,” Olliekav warns us. For those employers with no design background, grids make your résumé look cleaner and more organized. 6. MAKE IT PRINTABLE When working on designs for websites, you are allowed to have dark, moody and texture-heavy backgrounds. They look fantastic on your browser, but they are simply inappropriate for résumés.

9. UPDATE IT OFTEN Make sure you update it every time you update your portfolio and make it accessible from your portfolio. KEEP ITYOUR SIMPLE AND 10.2. SHOW PERSONALITY YouUNDERSTANDABLE are a designer, so I hope you have When a CV,Stevenson, rememberfrom first your owndesigning style. Steve foremost that you designer, hisand interests, sounds likeare an ainteresting but Olliekav don’t goused overboard. people guy. his loveMany of Japanese over-design résumé.a It’s a chronic culture to givetheir his résumé personal problem: they’ll so many fancy touch without goingadd overboard. If the bits the actual content gets lost.a lot Most jobthat you’re applying for requires of design thinking, jobs are all your wants ability to creative theabout employer content, simplify, simplify, toorganize know you’re not asopixel pusher or a simplify!But doesn’t mean boring drone. Bonus: Ifthat You’re Going to Break either. the Rules, Do It Well!

never think about it again? My Catholic school education must

What inspires Me?

have well prepared me for this kind of moral clarity. I accepted it gratefully. Then, after a decade, I left my first job. Suddenly I could use any typeface I wanted, and I went nuts. On one of my first projects, I used 37 different fonts on 16 pages. My wife, who had

Like many before her, Alice Roi’s road to becoming a fashion designer was unconventional: She received her bachelor’s degree in fine arts from New York University and after continuing her studies at Parsons School of Design, she held various posts at Elle and Fashion Group International. But soon it becameapparent that fashion consulting was not satisfying Alice’s creativity. Bravely armed with a strong vision, she decided to take a chance and set up her own design house. The incredible effort paid off. After only three years, the label already represents a new sense of New York style.

attended Catholic school herself, found this all too familiar. She remembered classmates who had switched to public school after eight years under the nuns: freed at last from demure plaid uniforms, they wore the shortest skirts they could find. “Jesus,” she said, looking at one of my multiple font demolition derbies. “You’ve become a real slut, haven’t you?”

My name is Daman Holland and I currently live in Randolph , N.Y. where I own a dance studio Sole’s Expression Dance. I have danced for 20 years, studied with many teachers at various dance schools including Fredonia State University. I am well versed in many styles of dance including Ballet, Jazz, Hip Hop, Tap, Modern, and ballroom. I love to teach young people the art of dance and how to express themselves through dance refining their technique to improve them as a better dancer.

It was true. Liberated from monogamy, I became typographically promiscuous. I have since, I think, learned to modulate my behavior — like any substance abuser, I learned that binges are time-consuming, costly, and ultimately Eight Ways of Looking at a Typeface

counterproductive — but I’ve never gone back to five-typeface

Kellyn Baron is a young artist from Lockport, NY and is new to the Jamestown area. She received a Bachelor of Art with a concentration in painting from the State University of New York College at Brockport in 2009. Kellyn spent the last semester of her college career studying art at the University of Portsmouth in Portsmouth, UK. She has a great passion for artistic expression and continues to explore new creative endeavors.

sobriety. Those thousands of typefaces are still out there, but my

For the first ten years of my career, I worked for Massimo Vignelli,

recovery has required that I become more discriminating and come

a designer who is legendary for using a very limited number of

up with some answers to this seemingly simple question: why choose

typefaces. Between 1980 and 1990, most of my projects were set in

a particular typeface?Check the flip >>>

five fonts: Helvetica (naturally), Futura, Garamond No. 3, Century Expanded, and, of course, Bodoni.

Tiara Canizares originally from Queens, NY began dancing at the age of 6 at the On Stage Contemporary Theatre of Arts and then later with Aspiring Young Artist Inc. With Aspiring Young Artist Inc. Tiara has won the praise dance competition at the McDonalds Gospelfest and has competed in various other competitions such as IDC and NADAA.

For Massimo, this was an ideological choice, an ethical imperative. “In the new computer age,” he once wrote, “the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need

Daisy Joo, a junior at Sharon high school, is a violin student of Jin-Kyung Joen at the New England Conservatory Preparatory Division. Daisy has been the first prize winner of the New England Philharmonic’s Young Artist competition, the Quincy Symphony’s “Young Artists Performs” Concerto Competiton, the Waltham Philharmonic’s Concerto Competition, and the Parkway Concert Orchestra’s Violin Competition.

are a few basic ones, and trash the rest.” For me, it became a timesaving device. Why spend hours choosing between Bembo, Sabon and Garamond No. 3 every time you needed a VVVenetian Roman? For most people — my mom, for instance — these were distinctions without differences. Why not just commit to Garamond No. 3 and

Idiom

Idiom News Letter

Project: To design a newsletter to replace to companies current layout. Adobe: Illustrator (Logo) InDesign

Executive Board 2010-2011 President, Nanette Dougherty NYC Public Schools First Vice President, Rebekah Johnson LAGCC, CUNY Second Vice President, Christy Baralis South Huntington School District Second Vice President Elect, Olivia Limbu Pace University Past President/TESOL Liaison, Constance Dziombak Mount Vernon City Schools SIG Coordinator, Laura Van Tassell South Huntington School District SIG Assistant Coordinator, Jennifer Scully Consultant Regions Coordinator, Tina Villalobos Hicksville Public Schools Assistant

Collaborative Conversations

Regions Coordinator, Lynn Ellingwood Brighton Central School District Membership & Marketing Chair, Patricia Juza Baruch College, CUNY Assistant Membership Chair, Drew Fagan Teachers College, Columbia University Curriculum and Standards Chair, Maria Dove Molloy College

By Andrea Honigsfeld

Assistant Curriculum and Standards Chair Position Open

hat effective collaboration benefi ts students (and teachers alike) is affi rmed by the well-deserved attention it has received most recently in the professional literature (see, for example, DelliCarpini, 2008, 2009; Honigsfeld & Dove, 2010; NACTAF, 2009; NEA, 2009; Pawan & Ortloff,2011) and in the TESOL educational community (e.g., themes of 2011 New York State and Kentucky TESOL conferences). Acknowledging the importance of collaborative exchanges among teachers is not a completely novel idea, though. Close to three decades ago, Judith Warren Little (1982) examined the differences between more and less effective schools and found that the more effective ones had a greater degree of collegiality. She noted four unique characteristics of collegiality (or collaboration) in successful schools, where teachers participate in the following activities: • Teachers engage in frequent, continuous, and increasingly concrete and precise talk about teaching practice. •Teachers are frequently observed and provided with useful critiques of their teaching. • Teachers plan, design, evaluate, and prepare teaching materials together. • Teachers teach each other the practice of teaching (pp. 331– 332).

Consider what Warren Little’s (1982) frequently quoted four key ideas could mean for ELLs in today’s schools. What if we translated her seminal fi ndings into a contemporary framework of four Cs, in which “collaborative” serves as a defi ning adjective, followed by a key activity or desired teacher behavior necessary for improved student learning? • Collaborative Conversations: Through enhanced communication, all teachers have the opportunity to develop ownership and shared responsibility for ELLs’ learning. • Collaborative Coaching: Through an encouraging school climate and supportive framework, teachers offer and receive feedback on their teaching practices. • Collaborative Curriculum Development: Through curriculum mapping and alignment and collaborative materials development, teachers match both their longterm and day-to-day instructional goals and activities. Continued on page 12 NYS TESOL Idiom Volume 41 Winter 2011/12

NYS TESOL Idiom Volume 41 Winter 2011/12

From the President’s Desk

New York State Teachers of English to Speakers of Other Languages

Professional Concerns Chair Porfirio Rodriguez, East Ramapo CSD Professional Concerns Assistant Chair Position Open Publications/ Technology Chair, Fran Olmos Yonkers Public Schools Idiom Editor, Cara Tuzzolino Werben Nassau Community College Dialogue Editor, Sue Peterson St. John’s University Webmaster, David Hirsch New York City Business Manager/Treasurer L. Jeanie Faulkner, Cornell University Certified Public Accountant Jim Stotz

This issue’s theme:

Conversations

By Nanette Dougherty, NYS TESOL President Dear Colleagues, I hope you have been enjoying a happy, healthy and restorative summer. I would like to update you on some changes and challenges facing educators. On July 13, I attended the Bilingual/ESL COP (Committee of Practitioners) meeting at Teachers College, Columbia University. The most major changes include the New Evaluation Law for K-12 teachers and principals: 1. Annual evaluations for all teachers and principals 2. Clear, rigorous expectations for instructional excellence, prioritizing student learning 3. Multiple measures of performance 4. Multiple ratings: Four performance levels to describe differences in teacher effectiveness 5. The new system should encourage regular, constructive feedback and ongoing development 6. Significance: results are a major factor in employment decisions. You can view all documents discussed at the COP Meeting at the following link: http://www.p12.nysed.gov/biling/bilinged/BilingualESLCOP.html. For more information about the Common Core Standards, please consult the website at: http://www.corestandards.org/ and see the article in this issue. Though it was not considered at this meeting, the 14 Bilingual/ESL Technical Assistance Centers (BETACs) across New York State closed permanently on June 30, 2011. This puts both our schools and our LEP/ELL populations at risk of not having the appropriate resources to meet their educational and programmatic needs over the next fi ve years. Our new Commissioner of Education, Dr. John B. King, Jr., may not be familiar with the importance of the resources offered by the BETACs. You may e-mail him directly at: jking@mail.nysed.gov. In addition, you may email the NYS Board of Regents on this issue at: RegentsOffi ce@mail.nysed.gov. At the Melville Marriott October 28-29th, I will be passing the gavel to our incoming President, Rebekah Johnson. I would like to thank the many wonderful members of my Executive Board and the many SIG and Region Leaders fortheir service to the organization. Special thanks to Cornelia Randolph, a constant support and inspiration, and Fran Olmos, for her guidance.You will be receiving ballots for the Executive Board slate in the mail shortly. Thanks to our Nominating Committee, led by Cornelia Randolph and Terri Brady-Mendez, for their time and efforts. Members, please do not forget to vote for your new leadership in our organization by returning your ballots. As always, please continue to keep in touch with issues, concerns, and ideas on how our organization can best serve you. Best wishes for a great school year to all. Peace and blessings to you, Nanette Dougherty, President, NYS TESOL P.S. We’re so very excited to be launching our new Members Only website - please read more about it in this issue and log in soon to check it out. Please contact us with ideas!

NYS TESOL Idiom Volume 41 Winter 2011/12

Contents 1 3 4 6 10 14 24

Collaborative Conversations Conversations in Support Acting Resources for the Common Core Talking is learning Small Talk Conversation Table

Regular Features/ Special Announcements 8 12 17 18 22 22 22

Small Talk:

Promising Practices Book Review SIGs and Regions Members Only Website Editorial Notes Upcoming Idiom Themes Calendar and

Announcements 23 NEW Membership Form

NYS TESOL Annual Conference Oct. 28-29 Melville Marriott Hotel

www.nystesol.org/annualconf/ 1

ngaging English Language Learners (ELLs) in a few minutes of small talk prior to the start of ESL class can be a very useful strategy. The purpose of small talk is not about gauging how grammatically correct my students can speak in English -although I do make mental notes of students’ grammatical diffi culties for subsequent lessons. It provides the opportunity for my students to be heard in a very relaxed setting, while allowing their English to emerge. It certainly can be a challenge to insert those few minutes during the fast-paced schedule of a typical school day, but I have found it to be a source of valuable information. I often begin the small talk session with an informational “wh” question such as “How was your appointment at the dentist?” or “What did you do after school yesterday?” The responses are quite revealing. Some students, especially those in middle school, are initially guarded, while others seem surprised that I want to know more about them. Gradually as they learn to trust me as well as their classmates, the students slowly open up. It is gratifying to see a once painfully shy kindergarten student now coming to class with daily announcements such as, “You

remember when I told you the story about how I accidentally spilled water on the kitchen fl oor?” He proudly continued, “That was an example of cause and effect. The cause was when I spilled water on the fl oor. The effect was when my mom became angry.” His classmates nodded their heads in agreement. It was as if a light bulb had been turned on! I could not have provided a better example of cause and effect! As ELLs become more confi dent in speaking English, more of their personalities emerge. During one of our small talk sessions, I asked a beginning ELL in the fi rst grade, “Where does your brother go to school?” Without hesitation, she stated, “My brother go (sic) to Sleepy Hollow School. Zzzzzzzz. Sleepy School. I am soooo sleepy!” as she put her head on the desk and pretended to sleep. Prior to that comment, I had not seen that humorous side of her. I noticed how thrilled she was that she had made me laugh. I then decided to follow her quip with another “wh” question. I tapped her on the shoulder as her eyes snapped open and her head bobbed up from the table. “What does your brother like to do at school?” I asked. She smiled and impishly

Come to the 41st Annual Conference

Explicit Communication

October 28-29, 2011 New York State Teachers of English to Speakers of Other Languages “Enhancing English Learning: Connecting Communities Through Collaboration”

by Ellen Terry Vandrew-Wald

he manner in which language and writing are understood and misunderstood promotes success or failure. Understanding what is said is the key to communicative competence. Explicit communication is dialogue that is clear, sure, and restated when necessary. Crawford (1993) states that the processes of literacy and language learning require learners to be immersed in meaningful, relevant, and functional situations. In this way, students can learn to handle themselves in various situations. Let’s begin with a kindergartener meeting an instructor for the fi rst time. If the child is asked to describe something, perhaps drawing it is a much better way of communicating what happened. Description may not simply be done by talking. The explicit communication would require that the teacher talk and demonstrate so that this student knows what to do. Middle school students who do not speak English can benefi t from explicit communication as well. Classmates might offer to translate for this student, but that means that every utterance requires assistance. When I write the aim and other particulars on the board (I verbally explain to the rest of the class), I open a newcomer’s notebook and write a few of the words from the board in his or her notebook, giving the student explicit communication for instruction by demonstration. The student copies what is on the board. Then I say “Copy.” From that time on, this student knows what the word “copy” means and can copy. Explicit communication with parents is one of the most important types of communication. After all, the parent(s) or caretaker is

the fi rst teacher and the one who can do the most to facilitate a student’s academic success. In parent meetings, I combine simple words with academic language and have the requisite bilingual dictionaries. By explaining and demonstrating slowly and carefully, explicit communication and a good dialogue can be created. When one speaks with humility and caring, the communication is explicit. Explicit communication is the key to all forms of dialogue; if one does’t work, just keep on trying.

Marriott Hotel Melville, NY For further information, go to

www.nystesol.org If you are interested in volunteering or have questions, contact Conference Chair Christy Baralis at vp2@nystesol.org

References Crawford, L. W. (1993). Language and literacy learning in multicultural classrooms. Needham Heights, MA: Allyn and Bacon. Ellen Terry Vandrew-Wald was born in the Bronx into a multicultural, religious background. Barry Wald, her husband, encouraged her to become a teacher. She got her B.A. from Marymount Manhattan College in 1999 and M.A. in TESOL from Hunter College in 2004. She is a NYC public school K-12 teacher, and also an adjunct. <ilanawald@yahoo.com>

Ahmed El-Habashi, Egypt; Tomoko Kihira, Japan; Ufualè Afola Amey, Togo; Osiris Romero, Dominican Republic and Elena Lyumanova, Russia, come together in anticipation of their panel presentation.

Everyone listens as Ufualè Afola Amey talks about learning English from her teacher Dave, a Peace Corps volunteer.

NYS TESOL Idiom Volume 41 Winter 2011/12

A Meaningful Conversation Tool

know what? Yesterday, I lose (sic) a tooth.” There are other times when students express more sensitive issues, which we discuss further in private. One example of this occurred when an ELL in third grade told me during our small talk session that one of the other students in the mainstream class made fun of his speech and called him “stupid.” Neither his classroom teacher nor I had noticed any tension between these two students. The fact that the ELL who mentioned this incident had always felt self-conscious about his ability to speak English prompted my immediate arrangement of a meeting with his teacher and the other student. Fortunately, we were able to resolve the situation, but it taught me to become more vigilant when working with ELLs in the mainstream classroom. It is impressive to listen to a student retell a story or incident, but the most gratifying part is when he or she is able to connect it to a new concept. When studying the concept of cause and effect during a reading lesson, I sensed that only a few students understood this concept, while many did not. Suddenly, one student announced, “Do you

replied, “He like (sic) to sleep.” How clever this little girl was! I realized several things during our small talk exchange. This student demonstrated that she understood the word “sleepy”, she connected that understanding to a different context, and she found a way to make it humorous. None of these is easy to do, especially at the beginning of the language acquisition process. Later in the day, I had this student retell the joke to her teacher and some of her classmates. This small talk session was a pivotal moment for this student because she was clearly pleased to see that she could be funny in English. I have noticed that ELLs have the capacity to dissect words in interesting ways, especially when these words are spoken. When native English speakers think about words, we tend to focus on the sum and not the parts. When a student was beginning ELL in second grade, I recall his reading a passage out loud. After encountering the two-syllable word, “awesome”, he pronounced it as if were a threesyllable words, “a – we—some”. Prior to that day, I had never realized that the word “awesome” is comprised of three smaller words: “a”, “we”

NYS TESOL Idiom Volume 41 Winter 2011/12

by Joy Scantlebury

and “some”. That was a revelation for me. How awesome! I am sure that many ESL teachers utilize small talk or some variant of it in their classrooms. It is not a novel concept, but I fi nd that it is valuable during a limited amount of time. Conversations, which on the surface may appear superfl uous, are in actuality a gold mine of enriching and relevant information. Joy

“

returning your ballots. As always, please continue to keep in touch with issues, concerns, and ideas on how our organization can best serve you. Best wishes for a great school year to all. Peace and blessings to you, Nanette Dougherty, President, NYS TESOL P.S. We’re so very excited to be launching our new Members Only

How clever this little girl was! I realized several things during our small talk exchange.

Scantlebury is a graduate of Smith College. She received her M.A. in TESOL from Teachers College, Columbia University. Joy currently teaches ESL at Pocantico Hills Central School in Sleepy Hollow, NY. <conset@aol.com> You will be receiving ballots for the Executive Board slate in the mail shortly. Thanks to our Nominating Committee, led by Terri Brady-Mendez, for their time and efforts. Members, please do not forget to vote for your new leadership in our organization by

”

website - please read more about it in this issue and log in soon to check it out. Please contact us with ideas!

Let’s

About It

by Yanick Chery-Frederic

LLs respond well to lessons in the form of conversations as another way to incorporate some of the same strategies and scaffolds used for writing. As an example, I often give students a prompt of 5-10 words. For all grades I have used “My greatest surprise.” Fourth graders write about justice. The students use the prompt as a starter and begin writing, eventually producing a well-developed paragraph. These same prompts can be used to maintain intelligent discourse among students. The difference with making conversations the major goal in a lesson is that the discussion will not be based on previous reading and/or writing, but strictly on the present conversation. Self-expression, thoughts, ideas, and opinions will begin and end with clarifi cation through conversation only. Making this an integral part of lessons will address the challenges faced by our ELL

NYS TESOL Idiom Volume 41 Winter 2011/12

population in verbal communication, and can enhance the student’s listening and speaking skills.

Another value with conversations as a major focus is that the vocabulary challenges faced by many of our ELLs will be considered. Our students may have divided language skills. They are comfortable with a specifi c lexicon from the home language, but use a different second language lexicon. A stronger emphasis on classroom conversations will allow for a balance and exchange of word comprehension of similar vocabulary in both languages. Conversations will be a major theme in my ESL classrooms this school year in support of enhancing my students’ oral language skills.

Further Reading Beck, I., McKeown, M., & Kucan, L. (2002). Bringing words to life: Robust vocabulary instruction. New York: Guilford. Gordon, T. (2007). Teaching young children a second language. Westport, CT: Praeger. Yanick Chery-Frederic is an elementary school ESL teacher for grades 2-4 in Central Islip, as well as an adjunct professor of ESL at Suffolk County Community College. She has also taught a Methods undergraduate course in TESOL at St. Joseph’s College in Patchogue. <yanick1530@yahoo.com>

NYS TESOL Idiom Volume 41 Winter 2011/12

Check out the new Members Only website! We’re very excited to announce the launch of the new Members Only website for NYS TESOL. We are just gearing up, but hope this will become a major resource and networking site for our members.

Current members were sent an email alert in early September containing their username and password. Of course, your email system may have fi ltered our message into a spam folder — if you are a current member and did not receive a notice with your login information, please contact us at businessmanager@nystesol.org. With annual conference registration already under way, please act quickly to login and verify your profi le data and networking preferences. What’s There • Your profi le page • Membership renewal • Discounted event registration • Members Only online publication, Dialogue • Discussion boards

Coming Soon • Networking options • SIG/Region E-lists • Job Coach/Career Mentoring • Service opportunities and awards

Your PRIVACY This site is viewable only by active members. And, because this is new, we have also blocked your contact information from members. So, unlike Facebook, where you decide what to set as ‘private,’ we’ve already done this. The only information visible to other members is: your Name, Member Type, Region and SIG preferences. You can privatize these, too, if you wish, by updating your profi le. However, for those of you who want to network with other members, there are 2 optional fi elds – an “email to share” and a “website/blog address” both set up as viewable by all members. And you can upload a photo. You control the privacy settings for these fi elds and can edit them at any time. What’s Next? We’d like you to tell us! Please look around the site, update your profi le, join a discussion board, and send us ideas for additions and improvements.

New York State Teachers of English to Speakers of Other Languages Membership Form (effective 9/1/2011) Renewal:____ New Member:____ First Name: ___________________Last Name: ________________________ Street Address: ________________________________ Apt No.: __________ City/State: _______________________ Zip Code: ________________ _____ Email: _______________________________________ (required to receive online newsletter)

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$20/year ___ Documentation: Proof of full-time status in a degree-granting program (transcript w/ min. 12 credits per semester or letter of confirmation from Registrar). Please submit your documentation within 30 days. Access Eligibility Webform at: http://www.nystesol.org/membership/ applicationform.html If you are unable to provide the required documents, you have the option to pay the balance to subscribe as an Individual Member.

Send to: NYS TESOL Teacher’s College, Box 185 525 W. 120th Street, Z-316 New York, NY 10027

Please select your top 2 priorities from the interest groups listed below by marking a “1” and a “2” next to your top choices. _____ A ESL in Adult Education _____ B ESL in Bilingual Education _____ E ESL in Elementary Education _____ S ESL in Secondary Education _____ H ESL in Higher Education _____ SE ESL in Special Education _____ TE ESL Teacher Education _____ L Applied Linguistics _____ T Teaching English Internationally 1st SIG. This is your primary interest group with NYS TESOL. You may hold office and vote in this SIG. 2nd SIG. You may receive information from this SIG. Region (check one) ____Buffalo ____Capital District ____Hudson Valley ____Long Island ____New York City ____Rochester/ Syracuse ____Please omit my name from mailing lists provided to other organizations.

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NYS TESOL is committed to providing members with the most up-to-date resources, news and educational tools. To enable access by all members of our fi eld, NYS TESOL offers discounted memberships. Recently, we revised the documentation policy for discounts to align with other non-profi t organizations as well as to create greater consistency and transparency. Please check the new requirements when you prepare to renew. For questions regarding membership status and discounts, please contact us at membership@nystesol.org.

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All the World’s A Stage ways in which teaching is like acting by Elizabeth Fonseca

cting is a sport. On stage you must be ready to move like a tennis player on his toes. Your concentration must be keen, your reflexes sharp; your body and mind are in top gear; the chase is on. Acting is energy. In the theatre people pay to see energy. —Clive Swift Good teaching is one-fourth preparation and three-fourths theater. —Gail Godwin If “acting is energy,” teaching is many things: a combination of knowledge, experience, awareness, expertise, and care. It is also the energy we, as language instructors, bring into the classroom that absolutely affects the order of the day. As a theater lover and past occasional performer, I have often thought about the parallels between teaching and acting. Here are a few that come to mind. You’re on stage. All eyes are on you. You’re the initial focal point of attention. Your presence shifts the energy in the room. Sometimes, you literally have a podium, with desks arrayed in rows before you like patrons at a theater. There is noise, chatter, laughter, shuffling in the room until the lights dim. Curtain up! Enter stage left, the professor. Cell phones get

put away, or at least discreetly placed to the side. Chitchat dies down. The room is hushed a moment, the pause of anticipation before the first words of dialogue are spoken. All eyes are on you. An actor uses her body to convey information about her character before she even speaks. So do you. How are you dressed? Does what you wear convey some message about your position in this play, your role, your persona as teacher, leader, or facilitator of the energy in the room? How do you walk in? Are your eyes downcast, reflecting your students’ spent energy at the end of a long week, or do they sparkle? Do you walk in the room with pizzazz, transmitting vital energy to them, to create the cycle of give-and-take necessary for effective language learning? Do you use gestures, winks, and nods to convey information, emotion, even comedy? These are things worth thinking about, because one of the most important ways you are like an actor is in this all-important function. Your energy and presence set the tone. Just as audiences must have faith in actors and suspend their disbelief to fully enter into the world the actors are creating, your students must agree to the unspoken contract

of trust that bonds them to you in a vulnerable learning situation. Your ability to create that atmosphere of trust is important; your dynamism helps your class generate energy that in turn feeds you and helps the learning environment be dynamic. This is important for learning as well as for the teacher’s ability to sustain energy and passion both within a class and over her entire run. Actors use their voices as tools, relying on not just word choice but inflection, intonation, varying volume, and the judicious use of pauses to capture the audience’s attention, rivet them, spellbind them, draw them forward in their seats wondering “What’s next?” You too can use your voice itself as a tool that weaves the bewitching spell of energy, dynamism, and trust that makes for a lively and effective learning environment. The show must go on. There are days when you can’t imagine generating that energy at all. On those days, you have to “act as if”: put on your teaching persona as an actor dons a mask or stage makeup, preparing herself to go before the lights. If you don’t show up, or show up without energy, you might flop. This leads us to the allNYS TESOL Idiom Volume 41 Winter 2011/12

important teaching persona. As an actor slips into a role through preparation, curiosity, and the desire to share emotion and information with an audience, you can slip into your teaching persona, comprised of your sincere and genuine self with a soupçon of public-role poise, strategic sass, and teacher’s tools you’ve learned throughout your teaching days that help you on the way. Is your persona the classic scholar? Do you have a little playful clown thrown in? Are you the compassionate guide, leading students to the knowledge they already possess? Can you switch hats to that of the taskmaster, pushing for and demanding the very best? It can be useful to think of the teacher role as composed of these different personae that serve useful functions in the various processes of learning, including enabling you to reach students of different backgrounds, needs, and learning styles. Even if you are not like that, your alter ego, “Professor Picky”, can be. Although you are more lenient, “Scholar Strict” can be called upon as necessary to whip an underachieving class into shape. Being a teacher is a public role that requires daily public speaking; why not train for it and NYS TESOL Idiom Volume 41 Winter 2011/12

find useful tools and approaches that may aid in maintaining your interest, creating a positive learning environment, and aiding in efficient classroom management?

If you think some training might help you focus your body as instrument and help you channel energy more efficiently and effectively in the classroom, here are some suggestions to get you started: • Take an acting class. Learn how to use body language, breath, and voice to create energy and atmosphere. • Take a public speaking class. Learn relaxation techniques, visualization techniques, and tips for effectively conveying a message. • Join a group such as Toastmasters International, where you’ll learn tips for public speaking. • Listen to and read poetry aloud. Learn about cadence, rhythm, and volume to use your voice more effectively—and to save it from too many of those hoarse, raggedy, “I’ve-spoken-toomuch” days! • Similarly, take a vocal or voice training class. Learn specific breathing exercises to strengthen your voice and to become expert in effectively and efficiently using and saving your voice.

References Godwin, G. (1974). The Odd Woman. New York: Ballantine Books. http:// www/jbactors.com/actingphilosophy/actingquotations.html Elizabeth Fonseca is an avid traveler who has taught ESL/ EFL in such coun- tries as Italy, Turkey, and the United Arab Emirates. Her work has been published in the Arabia Review and the Traveler’s Tales series, among others. Her interest in acting stems from high school and community theater days, as well as more recent poetry readings. She currently teaches at Nassau Community College in New York. <Elizabeth. fonseca@ncc.edu>

Here is a website to get you thinking about your own parallels between acting and teaching:

http://www/ jbactors.com/ actingphilosophy/ actingquotations.html.

Campaign Development

Tru Tv

Get in the way

Guerilla Ad Campaign Project: To create a Guerilla Ad Campaign to increase awareness of the tv channel. Also developed new tagline (2 person team collaborative effort in brainstorming ideas and dividing design work as well as presentations)

MEET THE CAST

Adobe: Illustrator Photoshop InDesign

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to see clips of upcoming series and

Also they’ll receive notifications of Tru Tv’s new channel content and the winners video will be posted each month

Home

About

Videos

Contests

Episode Clips

Get in the way SUBMIT YOUR MOST OUTRAGEOUS CANDID VIDEOS (THROUGH YOUTUBE)!! THE CONTESTANT WITH THE HIGHEST VIEWERS WILL WIN A 15 MINUTE SPOT ON TRU TV!

A True Tv You Tube page is for viewers to see clips of upcoming series and behind the scenes footage. Also they’ll receive notifications of Tru Tv’s new channel content and the winners video will be posted each month

A True Tv Tumblr page is for viewers to post their own videos to enter the Tru Tv Video Contest. Also they can see clips of upcoming series and behind the scenes footage.

The Tru Tv Mug shot booth is a vital part of the geurilla campaign. An element of the Tru Tv street fair, fans can create their own mugshots. Also THey can upload the photos to their twitter, facebook or tumblr accounts.

Get in the way

Now thatâ&#x20AC;&#x2122;s some shh!

Tru Tv Go Kart racing is the corner store of the Tru Tv Street Fair. This attraction put viewers in the drivers seat giving them a first hand experience of being in a high speed chase!

These stunts are being executed to bring attention and call to action people in recording the stunts, then posting them to the You Tube or Tumblr pages.

NEW YORK CITY STUNTS

Graphic Artists Guild Book Promotion

Project: To redesign the GAG book covers and mailer materials Adobe: Illustrator Photoshop InDesign

The purpose of the Graphic Artists Guild is to promote and protect the social, economic and professional interests of its members. The Guild is committed to improving conditions for all graphic artists (including, but not limited to: animators, cartoonists, designers, illustrators, and digital artists) and raising standards for the entire industry. The Guild embraces graphic artists at all skill levels. he Guild exists to support your interests and foster a productive, profitable and pleasant work life.

“5 out of 5 stars. Thorough resource for a New Designer” - New York Times

“A MUST for students, recent grads, and freelance designers” - Library Journal

“Essential to your business!!! Don't even think twice. Buy this book.” - Stephen Spender

www.GraphicArtistsGuild.org Graphic Artists Guild 32 Broadway, Suite 1114 New York, NY 10004 Tel: 212-791-3400 Fax: 212-791-0333

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The very popular Graphic Artists Guild Handbook: Pricing & Ethical Guidelines, for example, reflects current pricing trends and trade customs for national markets, relied upon by artists who sell services, and the clients who buy them.The Guild equips artists with the skills they need to compete more effectively, with a range of

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programs and services to meet specific needs, both locally and nationally.

Branding

College Success Office Non Profit Logo & Stationary (1st place Contest winner)

Project: To create a logo and company stationery for the College Success Office

Jeffery Canada President 1916 Park Avenue Ste. 503 New York, NY 10037 T: (646)-539-5949 F: (212)-234-1712 E: CSO@hcz.org

Adobe: Illustrator Photoshop InDesign

Doing whatever it takes to educate children and strengthen the community.

AutumnDawn CD Promotion

Project: To create a brand identity for a musician, and promotional tools for the cd. Adobe: Illustrator Photoshop InDesign

Top Floor Cleaning Service Brand Identity Project:

to create a graphic standards manual for the Top Floor Cleaning Service Included developing logo, stationery, and all aspects included in the manual.

Adobe: Illustrator InDesign

Right in the Kisser Salon & Beauty Parlour Brand Identity Project: To create a a concept and fully execute the vehicles of promotion, budget and branding of said concept. Adobe: Illustrator Photoshop InDesign

This downloadable mobile app allows the user to upload a photo and give themselves a hair and makeup make over. This permits the viewer with a first hand view of the look they can receive by coming to the salon.