Annotated Bibliography Research

Doreen Kaleiwahea                                                                

June 28, 2011

Place-Based Education:   Is Place-Based Writing motivating for students?  

Bishop, S. (2004). The power of place. English Journal

, 93, No. 6 National Council of Teachers of English Retrieved from:  

http://www.ncte.org/library/NCTEFiles/Resources/Journals/EJ/0936-

july04/EJ0936Power

Researcher, Sharon Bishop states that when schools embrace place-based learning, the student learns the “value of community and acquire the skills to live well anywhere.”  Place-based education can shape English language arts curriculum and five   identified thematic patterns in place-based education that can be adapted to specific settings:  Cultural Studies (Social Studies), Nature Studies(Science), Real-World Problem Solving (Math), Internships and Entrepreneurial Opportunities (Literacy),  Induction into Community Processes (Service Learning).  This curriculum combines two of these patterns:  Reading to explore our area through research and Writing with the use of field trips, interviews, and photography.  In Reading stories written by local authors, students come to see the members of their families and community as real people whose lives have made significant contributions to this place.  Writings based on oral heritage interviews connect students to their families and to the elders of the community.  Place-conscious education also allows students to learn to value a small town that may seem boring or offer information the student never acquired.  They are often astounded by the wisdom and experiences of elders in the community.  Perhaps they will participate in solving the problem within the community or offer an aesthetic or connection value for a location.  Students describe these field trips as peaceful, stress-free places. They may become future preservationists of these environments.

Semken, S. ( 2005),  Sense of place and place-based introductory geoscience

teaching for American Indian and Alaska native undergraduates.   Journal

of Geoscience Education, 53, 2, 149-157

                                                  

Retrieved from: http://www.promiseofplace.org/assets/files/research/

SemkenPlacebasedGeoScienceforAmeriIndian.pdf

Place-based geoscience teaching could potentially enhance science literacy among American Indian, Alaska Native, and other underrepresented minority students, and bring more of them into the geoscience profession.  Teaching in Place-based geoscience emphasizes global respect of years of exploration and in-depth understanding of places from the indigenous people to which the environment has prior meaning.  Many teachers and researchers recommend a greater emphasis on the study of local places and making the connection to local cultural knowledge, and community at an early age; preferably elementary age and continuing throughout high school.  Place-based content can be focused explicitly on the natural geological attributes of a place.  Students who learn to interpret Earth systems in the context of their surroundings rather than "covering" a textbook can work in the field and with local geological and paleontological collecting specimens locally. Regional maps, cross-sections, and images have pride of place using ancient names and legends of the language in the land.  Art is familiar to the indigenous student who is influenced by landscape patterns, colors, and Indigenous artistic style.  Such prior experience promotes indigenous students to excel due to their prior knowledge.  

Kinloch, V. (2009). Innovative writing instruction. English Education, 99,1

Retrieved from: http://www.ncte.org/journals/ej/issues/v99-1

Writing within a virtual environment combined with the experience of face-to-face meetings with a mentor writer can bring out innovation or new inventions in writing. The virtual environment can be one created by the writer or the writer chooses to immerse his/her self into.  It can be created by the writer, but often has to be created.  The author must look for avenues of inspiration with others or alone.  The writer and mentor perspectives and writing stories can inform our thinking about writing; the audience we address, the fashion in which we touch the reader, our accountability.  We can be challenged to reconsider writing experiences that we individually create and become authors of.  We make a setting or choose a setting of a writing environment.  This experience invites us to cherish the writing encounters we create.  Individually, these stories can reawaken our desires to be inventive and to stimulate others as they stimulate us.  The author quotes poet, Adrienne Rich, “to write as if your life depended on it”. Tapping into our writing selves and the stories that emerge, however partial, however incomplete and view it as a work-in-progress.   However hesitant we are or eager, we can open up a world of “innovative writing instruction” for our students, our colleagues, ourselves, and others yet known to us.

Emekaua, E. (2004). The case for place based, the star with my name: the.

 Rural Trust White Paper.

Retrieved from: http://www.ruraledu.org/search.php?kw=emekaua

In Alaska, a curriculum called the Culturally Aligned Curriculum Adaptations was intended to develop, in cooperation with participating school districts, a comprehensive, culturally aligned curriculum framework that balanced and integrated Native and non-Native knowledge and skills. It is a place-based curriculum model.  The structure of the curriculum, the teaching context, and assessment practices gave cultural appropriateness using the same level of attention as content and methods.  Curriculum development involved students, administration and related teacher education effort.  Science, Literature, Writing and Social Studies texts were eliminated as much as possible.  In its place were local stories, legends, science of local geographical interests and natural resources.  The curriculum required local cultural specialist such as Elders, Tribal Leaders and indigenous teachers to ensure local input and shared control over decision making and implementation. Students in this curriculum were required to demonstrate their competence in state and cultural standards through projects, exhibitions and portfolios.  Story-telling, art history, community reports and cultural practices were the many avenues the students used to engage into the curriculum.  In the beginning, their biggest problem was assessments due to the inability to align skills with their state assessments.  The solution was to submit a combination of curriculum grades and project grades which added fullness to the subject itself.

Resor, C.W. (2010). Place-based education: what is its place in the.

ISSN: 0037-7996 print / Taylor & Francis Group.

2152-405X online. DOI: 10.1080/00377990903493853

Place-based education is about local schools actively involved with the local community and environment as a starting point to teach concepts in language arts, mathematics, social studies, science and other subjects across the curriculum.  The emphasis is hands-on, real-world learning experiences, which approaches education and increases academic achievement.  It provides clarity for the student when there is place-based knowledge.  This helps students develop stronger ties to their community, enhancing student’s appreciation for the natural world, and creates a heightened commitment to serve as active, contributing citizens. It’s a win-win situation when community energy and environmental awareness are improved through the active engagement of students, families, local citizens, community organizations, and environmental resources in the life of the school.  Teachers and students changed the climate of the school campus with a more rounded conversation of interest levels.  Song lists, local art, community resources became the communication line between students and teachers; therefore enhancing teacher student relationship.

Sample of Research: Place-Based Education

Place-based education is about local schools actively involved with the local community and environment as a starting point to teach concepts in language arts, mathematics, social studies, science and other subjects across the curriculum.  The emphasis is hands-on, real-world learning experiences, which approaches education and increases academic achievement.  It provides clarity for the student when there is place-based knowledge.  This helps students develop stronger ties to their community, enhancing student’s appreciation for the natural world, and creates a heightened commitment to to serve as active, contributing citizens. It’s a win-win situation when community energy and environmental awareness are improved through the active engagement of students, families, local citizens, community organizations, and environmental resources in the life of the school.  Teachers and students changed the climate of the school campus with a more rounded conversation of interest levels.  Song lists, local art, community resources became the communication line between students and teachers; therefore enhancing teacher student relationship.

Bigelow, Terry Patrick., Vokoun, Michael J., (2006) “Stepping into the Classroom”,

            English Journal Vol. 95, No.4 National Council of Teachers

Lesson Plan--Writing in Place-Based Curriculum

Teaching Demonstrations:  Writing in a Place based Curriculum

Name:  Doreen Kaleiwahea

Length of Time: 90 min

Grade: 4th grade

Common Core Standards:

Writing Grade 4:

W.4.2. Write informative/explanatory texts to examine a topic and convey ideas and information clearly:

·        Introduce a topic clearly and group related information in paragraphs and sections; include formatting (e.g., headings), illustrations, and multimedia when useful to aiding comprehension.

Production and Distribution of Writing in Social Studies Grade 4:

W.4.4. Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

Content  Concepts:  Use Place-Based information to motivate students to

Write, draw, provide clarity of understanding, participate in cultural

experiences.

GLO’S:

·        Self Directed Learner- students can work on their own, managing their time to complete the assignment.

·        Community contributor-students can share in the whole group/small group discussions at the beginning and end of the lessons.

·        Effective Communicator-students can share individually about their

Experience using clarity and sequence

Objectives: Student will provide writing using information, explain with clarity and share feedback.

Assessment(s) and or Evaluation:

Students writing piece will contain information, clarity and appreciation for

Culture and place-based information.

Student Rubric:

3-students are able to write 2 to 3 paragraphs on one subject

Name on your paper, date and Assignment name

2-students are able to write more than one paragraph using picture details and writing with clarity.

1-students are able to write one paragraph on one topic

0-students are not able to put anything on the paper.

Resources:

Vocabulary list

Visual Chart

Place-based craft, “ Ohe Kapala”, story stamp writing

Stamping paper

Writing paper

Procedures:

(Lesson Introduction/Anticipatory Set/Connection to Prior Knowledge)

1)    Prior knowledge:  identify Cultural elements, Vocabulary list

2)    Read Story about area of Kona, “Ohe Kapala”

3)    Introduce cultural elements for making “Ohe Kapala”

4)    Students will produce their interpretation of “Ohe Kapala”

5)    Students will write about their place based experience

6)    Students will share with elbow group

Closing Procedures

·        Discuss other cultures and elements from the culture that can motivate

Students to write

·        Students may give suggestions for teacher to plan future presentations.

·        Modifications for Diverse Learners:

Expose students to a video story about culture appreciation.  Modify lesson for all student participation; i.e. larger print, handles, peer and adult assistance, chunk work, simplified language.

Teacher’s Reflection on Lesson:  (will enter after lesson presentation)

Writer's Workshop--Chapter 7--Literature in the Workshop

Doreen Kaleiwahea  6/21/2011

Writer’s Workshop:  Chapter 7   Literature in the Writing Workshop

          Chapter 7 contains a line I would like to quote and even add to my quote book, “We write with our minds, our hearts, and our ears (pg. 74).” 

Empowering these senses will assist your student into the better writer/thinker.  Usually, the author retorts, when your students does write like this, they are students who are avid readers.  The challenge is becoming

a lover of reading.  If a child does not already have a love for reading, instill a love for listening.  The teacher’s important role is to connect the student to the craft of writing through the love of reading, listening, talking about and sharing the love of stories.  Literature can be part of that love when the teacher skillfully exposes the child to good writing, different kinds of writing and being lead into the deeper quality of stories. 

          This chapter confirms that reading aloud builds community in classrooms.  Reading together paired with sharing the confusing points of the story help with clarity, understanding and inferencing.  The suggested craft to be practiced is time and occurance, read superior books (a list is provided), using writer’s craft to assist in all writing areas of curriculum content; literature, math, science, social studies, etc.  Suggestions for the classroom—Stock your library with quality books, use picture books that spark interest, find out what you do not know about your students’ writing; ask in many ways what they like and don’t like about writing, design an easy system for writing and keeping track of writing.  These are elements of this chapter that I will implement in my upcoming year.

Writer's Workshop Chapter 5--Student Conferencing

Doreen Kaleiwahea 6/20/2011

Writing Workshop:  Chapter  5 Conferring with Writers

          Conferencing is a component of my writing block within my classroom for the past year.  The many great suggestions listed in this chapter give to improving something that I believe in.  I like the suggestions for “talking with the student, affirming the child and being present to the reader.”  I like the suggestions for listening effectively to the child and making deep listening as part of a teacher’s best practices.  These deep listening practices consist of a teacher’s true interest in the writing piece,

laughing and enjoying the writing piece with the student, ultimately demonstrating  that the writing has affected the reader; the teacher.

          This chapter challenges the reader/teacher to convey clearly to the student that their writing is important.  The body language, level of listening engagement, exchanging energy, and knowing the student’s progress are key to the student noticing the teacher’s interest.  Hopefully, this kind of engagement will demonstrate support and the student will respond positively to new genre, exercising new skills and taking new chances.  This chapter encourages me to see the student writer with new eyes.  Building on strengths is key to solidify skills that work; it’s the new habits that will take student initiative to implement.  The new habits are hopefully new interest, self-assessments, and taking new chances in writing. 

          The intimate on- to-one “encounters” can make all the difference for the new writer.  “Teach the Writer” not the writing.  The ultimate desire is to focus on one skill at a time, suggestions are; adding to the drawing, sounding out words, spacing words and improving the presentation, adding details, increasing length of writing piece, and sequencing beginning, middle and end.  I personally have use several common strategies; chunking, most important part, adding, anticipating and sharpening a lead.  I will use shortening my conferences, talking through and beyond the story, empowering the student to be a problem finder.  The “Making it Work” page in the classroom is a poster that I will hang in my classroom to remind ME to improve on writing.  I think it would look like this:

·        Check the Writer’s Conference Schedule

·        Listen with your heart

·        Always give Praise liberally

·        Short conferences, long patient environment

This chapter is the beginning of a new kind of Writing block for me. 

Writer's Workshop Chapter 3

Writer’s Workshop

Chapter 3: Short Term Goals

When designing the Writer’s Workshop it’s important to not get overwhelmed with the long term requirements that are listed in the state standards. (If you do this you risk sinking the workshop and creating chaos within your classroom.) To begin, you must keep in mind the short term goals, which is the heart of the Writer’s Workshop:

Getting students to love writing

Establishing a safe environment

Creating a workable classroom management system

Here are some suggestions on how to best achieve these three short terms goals:

Getting students to love writing; self-satisfaction and high interest,

Give them regular writing time; give them consistency and expected performance

Give them real choices (which will give them a sense of ownership)

Show a genuine interest in their work

Establishing a safe environment

Give students choices in what they write (again!)

Give specific praise

Let primary students draw

Read aloud texts that model different types of writing

Use a writer’s notebook (in upper grades)

Write with your students (so you model for them)

Creating a workable classroom management system

Dedicate several mini lessons at the beginning of the year that focus on management (and not standards).

You want your students to work independently

Have a “finished tray” where finished pieces of writing go so not to interrupt the teacher when conferencing

Keep an unfinished writing folder that houses topics to write about and unfinished pieces.

Provide an accessible place for the finished writing folder (all finished pieces with rubrics)

This chapter had a lot of good information. It made you think of the goals and reasons for a Writer’s Workshop. The biggest AHA was taking a step back from the expectations of the standards and focusing on the short term goals of creating a harmonious and safe classroom environment for your students. Realizing that you need to focus on the overarching goals rather than the specific standards will truly aid in effective implementation of the Writer’s Workshop.

As a special needs teacher in grades 2,3,4, and 5,  I will take this information back to my classroom at the beginning of the new school year. I feel that I can focus on the short term goals in a more paced schedule. There seems to never be time to adjust and I realize that a slower more focused plan will

fit my differentiated curriculum.

Waiakea Elementary E-101

Waiakea Elementary E-101

Wahi Pana--"O Kaloko"

(Wahi Pana)  

“O Kaloko”   

by Doreen Kaleiwahea 6/20/11

The walled heiau witnessed the people of

Hawaii diminish to almost extinction.

An ‘ahu kai (altar) overlooks the calm fishpond,

the evidence of the past within the present.

The wind voices the oli of my ancestors,

surrounded by need to secure the future

Pehea kou make make (where are the things I want?) (*expand) 4 more

Black ‘Iwa bird greets the day with the ominous warning

Keep away destruction,

the nalu malie (gentle waves) lick the sand longingly

the ashes of the many souls wash into her bosom,

Time is pau, us no live here anymore

Inquiry Chapter 5

Doreen Kaleiwahea 6/15/11  The Art of Classroom Inquiry

In Chapter 5, The Legacy of the Distant Teacher

This chapter opened my eyes to exploring a new area that I have to teach from.  I have determined that in my classroom, my students need special

motivation to write.   The element of music has always been there, and I have seen some results.  I used it to set an atmosphere of peace and tranquility.  I’ve used it as an auditory cue for a specific time to correlate to writing.  I have not received notable responses. I have also used it to make my students happy, the latter is my basis to present this problem solving suggestion.  Could motivation be linked to music, and if so, how, what, when, where and why.  Chapter 5 focuses in on familiarity to the new teaching area.  I have no background in using music very effectively. I need to learn how by first using research.  I like the points of “Extensions” that I’d  like to paraphrase for my own use:  1) create an inventory of articles from reputable sources.  Use articles that have been reviewed by peers in the field. 2)  Let my group or partner know that I see a pattern emerging.  My previous experience has had me seeking the articles bibliography to see the sources that the author themselves were studying; reoccurring names may be consistent.  3) Question the validity of the information—who are the surrounding scholars, what are the common areas of concern…Using designated time wisely to search information and “sift through information”,

determine reputable and non-reputable.  I'd like to Make a Master list reference articles to save time and keep an inventory of the information and critics and how usable the information is. In a nutshell, good research is time well spent, rewarding efforts with answers to questions that help validate my theory. 

Research Question 6/15/2011

Is Place-Based Writing motivating for students?

Critical Teaching Incident 6/14/11

6/14/11      Critical Teaching     “Mr. Oguro”

He seemed rather out of place in a school where children were running amuck with runny noses.  Often the mountain weather in Kalihi Valley wreaked havoc on the children of this area.  It rained so often and we neither had the ability to play in a covered area or had supervision to understand that playing in the rain was not the best for a young child’s health.  Yet, in his finely pressed linen slacks, crisp white shirt and maroon striped tie, he sat perfectly in his teachers’ chair as the bell rang every day at Kaewai Elementary School.  He spoke in a low tone, with a slow and purposeful rhythm that seemed to hypnotize me.  He walked around the room and read from books that never displayed pictures instead they contained words that rolled off his tongue like bait on my grandpa’s fishing pole.   As he read eloquently, he swept me away from my daily anguish of seeing my mother as the “The Living Dead.”  Hurriedly, I would file through the kitchen for something to eat for myself and my little brothers and sisters, run as fast as I could through the raindrops with children flailing like wind socks, just to see that man again and again.  After months of being swept into the Islands of Crete, I began to walk into uncharted waters.  I dared to walk into the library. 

I never walked into the school's library before, a place I only heard about while eaves-dropping on teachers. The lady there took a look at me and immediately shooed me away like a stray dog.  I ran out as fast as I could.  Confused and bewildered, I imagined myself standing at a pier as the ship I just missed went voyaging into a new land; it knocked the wind right out of me.  I could not believe that reading a book alone was something I could do.  You see in those days, the library was a voluntary service.  The teacher was not obligated to go there with his/her class.  The students went on their own in special circumstances, but it was mostly reserved for the teachers. I was convinced that it would cost more than I could pay.  So I opted to listen and dream, Mr. Oguro was my only chance, how prophetic was that thought. 

With book in one hand and orchestrating with the other, he left me spellbound. The hem of his slacks landed evenly upon the heel of his shoe as he strutted slowly with an intentional rhythmic tone.  Looming vocals of loud to soft, Greek names rolled off his tongue, “Antioch”, “Poseidon”, “Andromedes”.  His pursed lips bearly moved with each pronunciation.  It was obvious that he belonged anywhere else except this classroom.  Slowly and mechanically, he completely erased the profile of his face as he turned his head without the evidence of a neck.  His hefty build commanded attention in the room as his slanted eyes darted though out the room and into each students’ soul.  With the silouette of Alfred Hitchcock, he mysteriously weaved through out the desks revealing the secrets of a far off land.  His shirt pocket protector held three colors of pens; red, blue and black which influenced his students’ rituals for their lifetime.  Though capable of terror, his judgement was withheld.  Each color represented his authority within the classroom; red for errors committed, blue for encouragement and black for the darkness of hell unleashed.  Mr. Oguro was neither frightening nor scary; he was inspiring.

The teacher that changed my life now read from the Book of Prometheus and dared to explain to 5^th graders how vanity is the downfall of every talented and gifted son.  After reading yet another story of bravery and self-sacrifices, Mr. Oguro asked us to write a story to show what we had learned from our own literature.  I began to write about a young brave who cared for his sisters and brothers in their tribe, whose mother had been shunned by their village for choosing to marry a white man.  Mr. Oguro taught me how to use my own life stories as I wrote.  During this time my mother was marrying a man who didn’t seem to mind having another man’s child in his house.  When Mr. Oguro read the story, he wept and put his hand on my head.  He looked at me with his piercing eyes and immediately slouched over to tell me he found someone to represent our school in the annual Hawaii State Writing competition.  I had no clue what he said but indeed went through an experience that I would never forget.  It forever changed my life.  I remember in one of our writing sessions to revise and edit, Mr. Oguro said to me, “Someday you will become everything you want to be.”  I was never able to show him my First Place award medal since he died before the school year was over. I carried his encouragement with me all my life.

Critical Teaching Incident 6/14/2011

6/14/11      Critical Teaching Incident:     “Mr. Oguro”

He seemed rather out of place in a school where children were running amuck with runny noses.  Often the mountain weather in Kalihi Valley wreaked havoc on the children of this area.  It rained so often and we neither had the ability to play in a covered area nor had supervision to understand that playing in the rain was not the best for a young child’s health.  Yet, in his finely pressed linen slacks, crisp white shirt and maroon striped tie, he sat perfectly in his teachers’ chair as the bell rang every day at Kaewai Elementary School.  He spoke in a low tone, with a slow and purposeful rhythm that seemed to hypnotize me.  He walked around the room and read from books that never displayed pictures instead they contained words that rolled off his tongue like bait on my grandpa’s fishing pole.   He would read eloquently and take me away from my daily anguish of seeing my mother as the “The Living Dead.”  I would file through the kitchen for something to eat for myself and my little brothers and sisters, run as fast as I could through the raindrops with children flailing like wind socks in the wind just to see that man again and again.  After months of being swept into the Islands of Crete, I began to walk into uncharted waters.  I dared to walk into the library. 

I never walked into the library before, a place I only heard about while eaves-dropping as teachers talked secretly.  The lady there took a look at me and immediately shooed me away like a stray dog.  I ran out as fast as I could.  Confused and bewildered, I imagined myself standing at a pier as the ship I just missed went voyaging into a new land; I was hopeless.  I could not believe that reading a book alone was something I could do.  You see in those days, the library was a voluntary service.  The teacher was not obligated to go there with his/her class.  The students went on their own in special circumstances, but it was mostly reserved for the teachers. I was convinced that it would cost more than I could pay.  So I opted to listen and dream, Mr. Oguro was my only hope. 

He spoke eloquently, book in one hand and orchestrating with the other. The hem of his slacks landed evenly upon the heel of his shoe as he strutted slowly with an intentional rhythmic tone.  Looming vocals of loud to soft pronunciations, Greek names rolled off his tongue, “Antioch”, “Poseidon”, “Andromedes”.  His pursed lips bearly moved with each pronunciation.  It was obvious that he belonged anywhere else except this classroom.  Slowly and mechanically, he completely erased the profile of his face as he turned his head without the evidence of a neck.  His hefty build commanded attention in the room as his slanted eyes darted though out the room and into each students’ soul.  With the silouette of Alfred Hitchcock, he mysteriously weaved through out the desks revealing the secrets of a far off land.  His shirt pocket protector held three colors of pens; red, blue and black which influenced his students’ rituals for their lifetime.  Though capable of terror, his judgement was withheld, unabated.  Each color represented his authority within the classroom; red for errors committed, blue for encouragement and black for the darkness of hell unleashed.  Mr. Oguro was neither frightening nor scary; he was inspiring.

The teacher that changed my life now read from the Book of Prometheus and dared to explain to 5^th graders how vanity is the downfall of every talented and gifted son. 

After reading yet another story of bravery and self-sacrifices, Mr. Oguro asked us to write a story to show what we had learned from our own literature book featuring the Plains Indians.  I began to write about a young brave who cared for his sisters and brothers in their tribe, whose mother had been shunned by their village for choosing to marry a white man.  Mr. Oguro taught me how to use my own life stories as I wrote.  During this time my mother was marrying a man who didn’t seem to mind having another man’s child in his house.  When Mr. Oguro read the story, he wept and put his hand on my head.  He looked at me with his piercing eyes and immediately slouched over to tell me he found someone to represent our school in the annual Hawaii State Writing competition.  I had no clue what he said but indeed went through an experience that I would never forget.  It forever changed my life.  I remember in one of our writing sessions to revise and edit, Mr. Oguro said to me, “Someday you will become everything you want to be.”  I was never able to show him my First Place award medal since he died before the school year was over. I carried his encouragement all my life.

Poem-Metaphor Lesson

6/14/11  Poem …….“Mr. Oguro”

He seemed rather out of place in a school

where children were running amuck.

His finely pressed linen slacks, crisp white shirt

sat perfectly in his teachers’ chair. 

His eloquent speech, slow and purposeful.

Its rhythm hypnotized me,  like the beckoning beat of a pahu drum.

Eloquently words rolled off  his tongue,

like bait on my grandpa’s fishing pole.

Read and take me away from my daily anguish.

Sister and brother flailing like wind socks,

sweep me into the Islands of Crete.

Walk into uncharted waters,  my window into a new land, never  going.

With a book in one hand and orchestrating with the other,  looming vocals go loud to soft,

his hefty build commanding attention.

His pursed lips bearly moved as he influenced his students’ rituals for their lifetime.

Obvious that he belonged anywhere else, he mysteriously weaved an intentional rhythmic tone,  

revealing the secrets.

Color represented his authority, 

darkness of hell unleashed

vanity is the downfall of every talented and gifted son

another man’s child in his house,  he forever changed my life.

Chapter 1 and 2 6/14/11

6/14 Chapter 1 and 2   Writing Workshop/Time and Space

Doreen Kaleiwahea

Writing Workshop, The Essential Guide, Chapter 1, Writing Workshop, describes writing as one of the most “powerful tools imaginable”.  It requires a “bundle of skills”, skills that can become rituals within the classroom so each student has access to be supported to develop these skills.  Along the way, improvement of fluency, vocabulary and comprehension are by-products, as well as building confidence and higher thinking skills (my interpretation). Required is a rigorous learning environment that supports the “flow” of writing.  Having tools in place, environment and time set, the optimal learning condition will assist your students into the “flow zone”.  Much like the zones we have been sucked into during our own “sacred writing time.” The tools may vary from class to class and may include; notebooks, laptops, writers word choice lists and/or idea lists, in the effort to create a “hothouse condition” for your new writer.  These metaphors help the teacher to look at the student writer as a new plant having optimal growing conditions.  With the temperature right, supports in place and realistic expectations, the experience of writing can fruit into the ability for a child to express his and herself; to be heard.  Isn’t that what children want?  Listen to ME!!

In Chapter 2, Essential Time and Place, the focus is magnified onto the optimal growing environment for the young writer.  Time can truly influence your young writers.  Choosing a time after lunch or before lunch may or may not be the best time to write.  Crucially, all things must be considered.  The rhythm of writing should be the new experience when regular and predictable time setting promotes growth.  The ever-revealing mini-lesson should pin-point a new skill. Give time to practice and positive feedback should be served often to encourages the “flow” (my interpretation).  A consistent meeting place makes a difference. The time and place with carefully arranged desks provide the optimal setting for the writer to exercise their new-found craft.  One-to-one conferences with personal and specialized comments encourage your student to see that errors are accepted and creatively solved.  Often, we can jump start ideas by recommending that they re-read their notebooks, browse through literature, talk with a friend (about literature), and/or revisit old drafts (pg. 18).  Don't forget to value and show-off their writing, surround yourselves (in your classroom) with a representation of each students' creation.

Doreen June 13, 2011 Lehua Writing

Aloha Friends---Today was remarkable, I learned that I can remember details about someone retrieved from when I was in the 5th grade.  Yikes!!  I learned that I have adopted some of my teacher's rituals
as a teacher today.  In revisiting this important time of my life, I realized, through these specific strategies
practiced, "snap shots" and magnifying a detail, I was able to truly analyze my own teaching habits and belief system that probably has changed several times.  I am so grateful.