By Cameron Carter

 

As a child, I never considered myself to be creative. I would watch the other children draw magnificent pictures of people, while mine looked like a somewhat glorified stick figure. Others would craft beautiful clay pots, while mine would remain in the kiln because the handle and top fell off. Not only did I see my lack of artistic abilities at school, but in the home as well. My mom always was able to whip up any type of drawing just by quickly looking at a photo. She would paint magnificent landscape portraits on canvases. Growing up, she tried to involve me in classes at the local art museum, but that was very short lived.

 

As one can clearly see, I felt as though I lacked the creative gene. This fixed mindset frame I was in all changed when I attended the Columbus Museum of Art Creativity Institute this past summer. I was proposed with the opening statement, “Creativity does not equal art skill.” At first, I was a bit confused. I never thought of creativity as not being able to draw the perfect landscape scene or cartoon character. The institute taught me that we are all artists in our own unique way. One does not have to possess art skills to be creative. Taking an alternative route home from work is thinking creatively. Taking a photo of your dinner and editing it is being creative. Organizing your freezer like a Tetris game so all your food fits is thinking creatively. My eyes were opened to forming a new definition of creativity.

 

The institute referred to the text, “Making Thinking Visible” by Ron Ritchhart. The book promotes students to notice and wonder about the world around them. Students are encouraged to be curious and use multiple pathways of critical thinking to find many possible solutions. Teachers must engage and provide students with models to promote their thinking. Students must be open to disequilibrium in their thinking in order to achieve the highest level of creativity. It may certainly look messy and unorganized, but it is the thinking process that is most powerful. Educators need to understand it is always about the quality of thinking versus the quantity of the thinking. One must embrace the world of ambiguity in order to help adapt this creative mindset.

 

After this powerful mind shift experience, I wanted to quickly incorporate it in the classroom. I wanted my students, and their parents, to know that creativity is not just being able to draw the perfect image. For our school’s open house, I asked the parents to partake in a creativity challenge where they received a brown lunch bag full of random items. The instructions were simple and concise: collaborate in small groups to create an emotion. The ambiguity of the instructions alarmed some, but they began right away. I walked around and documented the conversations overheard, and at the end of the challenge, we reflected on all the thinking processes observed. The parents were amazed at the higher order thinking skills that were demonstrated with the simple task. Next, it was onto the students.

 

We completed the creativity challenge, and we reflected on our challenges and triumphs. The students shared the collaboration piece was key when they faced a moment of disequilibrium. They saw the value in the questions, “What do you notice?” and “What do you wonder?”

 

In our class, we encourage all to speak our common language to promote creative thinking. I encourage educators to take this leap to bring creativity in the classroom. Always remember, creativity does not equal art skill.

 

Cameron Carter is a first-grade teacher at Evening Street Elementary in Worthington, OH. He is the Elementary Lead Ambassador for the National Council of Teachers of English and the Elementary Liaison for the Ohio Council of Teachers of English Language Arts. To continue learning with Cameron, follow him on Twitter @CRCarter313

 

 

By Larry Ferlazzo

 

I have been a consistent basketball player for over forty-five years – I have played regularly during that period and also remained consistent in the mediocre level of my play.  Nevertheless, any time I moved cities, I was easily able to connect with new-found friends on the court. And, apart from soreness, a few black eyes, and one broken wrist (I did finish the game despite that injury!), I had been able to escape with any serious physical problems.

Until last March, when I suffered a severely herniated disc.

It’s been seven months, and I’ve almost recovered.  In fact, I just played in my first friendly game of basketball since the injury (though I have retired from league play).   During my successful rehabilitation process, I noted a number of similarities between what it takes to be a successful patient and what it takes to be a successful learner and gained increased empathy for my students.

Here are a few things I learned:

 

• It’s easy to give up if not initially successful

 

During the first few weeks of my injury, I spiraled into what my wife called “the abyss” – I was making no progress, saw no future progress on the horizon, and had nightmarish visions of never getting better.

 

If I, a person who has a long list of personal and professional successes behind, can feel this way, how must a student who might have a much less positive track record feel when he or she is just “not getting” some concepts?

 

• A little bit of progress can go a long way

Professor Teresa Amabile is well-known for the research behind The Progress Principle.  She found that the key to motivation was daily progress – no matter how small.

Through physical therapy, I was able to begin escaping my “abyss” by noting even the tiniest amount of progress – I was able to walk one additional step without experiencing excruciating pain, I was able to do one additional set of an exercise.  And both the physical therapist and my wife (who is a nurse practitioner) helped create situations where that progress happened and pointed it out even when I didn’t notice.

For struggling students, how easy is it for us to miss very small, yet positive, steps they might be taking?   And how many of us take the time to help deliberately create situations to increase the odds of those small positive steps happening?

 

• Words can make a difference

 

When my regular physician referred me to a sports doctor, the specialist nonchalantly dismissed the idea that I would ever play basketball again – within the first five minutes of my appointment.   I was devastated, and shaken, and began to fall into the “abyss” again.

 

How often do teachers make a comment about a student’s goals – to be a professional athlete, or performer – that can appear to them as dismissive?  What kind of impact can those words have on them, even if they are successful in hiding those emotions? How much motivation can be quashed by a few misplaced words?

 

• You often can’t get very far without deliberate practice

The concept of deliberate practice, a strategic and focused practicing of a skill, is often discussed in education and athletic circles.  One element of deliberate practice which is sometimes missed, however, is the role of coaching – the need for someone to observe and give you detailed feedback.

In my physical therapy, and in my regular TRX exercise sessions, it became very clear that regular feedback on my techniques were and continue to be crucial to my recovery.  It’s easy for a novice to make numerous mistakes – both big and small – that can hamper success and even cause harm.

It’s difficult for a teacher with thirty-five students in his/her classroom to provide regular and consistent individualized coaching.  But if research shows that it’s critical to success, should we place a higher priority on exploring ways to generate more of it – for example, through top-notch peer editing and other specific ways that students can provide quality feedback?

 

I’m not pretending that any of these meanderings are lightbulb-worthy insights.  Nevertheless, I figure my teaching practice will never be hurt by gaining a little more empathy for students….

 

Larry Ferlazzo is a long-time teacher at Luther Burbank High School in Sacramento, California.   He has authored nine books on education, writes a weekly advice column for Education Week Teacher, and hosts his own popular resource-sharing blog for educators.

By: Lester Laminack

 

Mr. Rogers understood and demonstrated the elegance and power in simple and consistent structures and routines.  His framework was predictable and visible, even to his young viewers. Think about the opening scene for any episode.  He enters and speaks to you, directly to you, in the singular. He sings and moves toward the closet where he unbuttons his jacket, removes it, and hangs it in the closet.  He takes his sweater from a hanger, puts it on and buttons or zips. Then he steps down to a bench where he removes his loafers, neatly tucks them away before slipping his foot into one sneaker and tying it, and then the other.  In that simple routine, he greets you, speaks directly to you and engages you in the familiar song that is your welcome each time you visit. During the time it takes to sing that simple song he demonstrates buttoning/unbuttoning, zipping/unzipping, tying/untying, and putting things where they belong so you can locate them the next time.  And, then, at the end of each episode, he does it all again as he makes his way to the door signaling the closure of our time together.

 

Each of the daily routines is paired with a song or his gentle, focused voice giving you an overview of what he has planned.  He tells you what to expect as he begins to unfold the episode and you move forward with a story, a visit to picture-picture for a virtual field trip or a deeper look into a topic, or he phones a neighbor to request permission to bring you along for visit, or on occasion someone drops in to visit with you.  In all this, he models civility and the importance of planning and preparation, the efficiency of reflection and thought before action.

 

These simple routines remind us of the impact a consistent practice can have. They provide a structure that enables our students to anticipate what is coming next. It sets them up to prepare their materials and their mindset.

 

What You Can Learn From Mr. Rogers

 

Each episode includes time for nurturing the imagination. You know Mr. Rogers will lead you there when he takes a seat on the bench next to Trolley.  Almost always the plan for “make-believe” will extend the theme of the day (e.g. worry, feelings, competition, mistakes). As you move through the tunnel and come out on the other side in “The Land of Make Believe” you have trusted friends there as well, ( e.g. X the Owl, Henrietta Pussycat, Lady Aberlin, Mr. McFeely, Daniel Striped Tiger, and others). You know that in each visit several of these trusted friends will be involved in some drama of their own. The storyline is typically simple and relatable, the variety of characters lets you see that it is possible for the same events to be perceived differently by a group of individuals.  Feelings get hurt, friends realize their comments and or actions can inadvertently cause another to feel bad. You see the powerful positive impact of heartfelt apologies and the opportunity to change thinking and behavior. Perhaps the beauty of those simple puppets is that they can say things you feel; things you may not have the words to say or that you may not be sure it is ok to say.  Mr. Rogers and your friends in “The Land of Make Believe” allow you to acknowledge feelings even before you can name them, to see the impact of words and actions and to understand that you have control of your own.

 

The entire episode moves through a series of events or scenes hinged one to another with a simple routine (e.g. an action, a movement, a song). The predictability of his routine does not result in boredom; rather it brings a sense of stability in a world of the fast-paced, ever-changing schedules and routines in the lives of children. There is never a wasted moment, yet there is never a moment when you feel rushed.  There is no pressure to do it right or do it better. There is no suggestion that your value as a person hinges on your success with any activity. Instead, Mr. Rogers assures you over and over again that you are enough just the way you are. He assures you that he is proud to be your neighbor and that you are the only you in this great wide world.

 

Important lessons for Teachers

 

Mr. Rogers is still teaching us.  His show spanned over 30 years and in that time his structures and routines remained consistent.  Let’s pause here to consider what this can mean for us today.

• Each of us desires to be acknowledged, to have our humanity recognized and confirmed.  Mr. Rogers greets you and makes you feel welcome. We owe that to our students, each of them deserves to be acknowledged and welcomed each day.
• Simple structures, rituals, and routines help us focus and move into the frame of mind needed to engage. Mr. Rogers had songs that marked various transitions in the visit.  We can easily adapt that to sharing a poem, a song, or a rhyme that is age appropriate to mark the opening and closing of a class meeting.
• Unspoken visible rituals can be effective as transition markers. Mr. Rogers had several of these including his jacket, sweater, loafers, sneakers, feeding the fish, and more. We can adapt these easily.  Designate a stool for read-aloud and sit on it only when sharing a text. Or set aside a cap or hat that you wear only when reading aloud. You may keep a pair of reading glasses on a shelf next to the basket of read-aloud texts for the week. Wear those particular glasses only when you share a text.  Simple routines send clear messages that soon become a part of the classroom culture.
• Civility is learned.  Mr. Rogers was a living model of civility.  He was always kind. He never had an unkind word for or about anyone.  He greeted visitors warmly and genuinely. He always phoned ahead to request permission to visit and to bring you along with him.  He was conscious of the feelings of others. Today we often hear adults lament the loss of civility. Well, my friends, it is we adults who must be the models of what it looks like and why it is needed. This one is easy, but essential.
• Planning and advanced preparation reduces anxiety and increases efficiency. In each episode, Mr. Rogers talks through his plans for our visit.  He poses questions, offers ideas, reflects, and then takes action. He invites us to think. Consider the importance of sharing aloud your plan for the day. When students know how the class will unfold and how each piece fits into the whole we reduce the potential for misunderstanding, misconnections, and misbehavior.  
• Imagination is a powerful tool. Mr. Rogers folded imagination/pretend into each episode.  It was in our visits to “The Land of Make Believe” that we had an opportunity to see the “theme” of the episode play out inside the stories of a familiar cast of characters.  As teachers, we recognize the importance of giving our students multiple access points to the lesson. Follow Mr. Rogers’ lead and offer students the opportunity to imagine and to consider the lesson through a different lens.

Keep in mind that children thrive on routines, kindness, and recognition of what they do well.  Reach and develop the imagination of every child you teach, for heightened imagination is a path to creative thinking.

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Ruth Culham 

Truth. We live in an educational world of high standards and pathetically few resources.  Every year teachers and schools are asked to do more with less. And, short of opening up the state and national checkbooks and finally funding schools the way they deserve, it’s going to stay that way.   I can’t help but wonder if other essential professions have to operate like this. Likely not. School funding should be like my parents taught me about saving:  Pay yourself first. Put money aside for the future and then deal with rent, groceries, car payment, and living expenses.  Americans should pay schools first, plain and simple. But, until that day, there are things we can do with the resources we have to accomplish more.

Writing in Today’s Classrooms

Writing is a big deal in today’s classrooms for all the right reasons. Writing is thinking and clear thinking is required for everything a student does and will want to do throughout his or her life.  And yet, it’s not an instructional area of strength and confidence for most teachers. Almost every educator I know, at every level and across the country⎯North, South, East, and West⎯asks the same question:  How do I improve student writing?  The truth is, most teachers are not adequately prepared to teach writing and a great many do not feel they received any help in college to teach this critical subject.  In my work with assessing and teaching writing for the past 30 years, I have often found that teachers are not aware of the most dynamic and proven writing practices, defaulting to the same ones they were subjected to during their own formative years–practices that created generations of adults who have no confidence in the quality of their writing and therefore avoid it like the plague.  

Given that writing is a collective goal and that resources to teach writing well are not likely to come flooding in any time soon, it behooves us to look for help at what is already present in every classroom:  print and nonprint materials. For a highly successful and extremely motivating way to engage students in reading AND writing, one of the best teaching strategies I know is to share high-quality books and resources for more than their original reading purpose⎯to see them as sources of writing models, too.  Reading like a writer. Here’s what I mean.

Reading Like a Writer

Regardless of how you organize your reading instruction, a stunning novel such as Wonder by R. J. Palacio is likely in the reading lives of one or more students in your classroom.  You hear students talking about it, you see how they eagerly pass the book around, you feel the palpable energy of this text. Terrific.  This is exactly the buzz we’d hope a fine book would create. But don’t let it stop there. Aside from what students can learn about reading from Wonder, ask yourself what can be mined from the book about writing, too.  The book is already in the classroom, accessible to students, so why not use it to teach reading’s fraternal twin:  writing.

A quick browse through Wonder and I found passages on almost every page that illustrate different traits of writing.  (see culhamwriting.com for the scoring guides and additional print resources that define the traits and their key qualities:  ideas, organization, voice, word choice, sentence fluency, and conventions.)

One quick example:

Pg. 156:  I shrugged but I didn’t say anything.  I just couldn’t. If I told him that Julian had called August a freak, then he’d go talk to Julian about it, then Julian would tell him how I had bad-mouthed August, too, and everybody would find out about it.  (Sentence Fluency: Varying Sentence Patterns)

Once you find a passage that is a model of good writing for a particular reason, share it with students.  With their student-friendly versions of the traits of writing scoring guides in hand (www.culhamwriting.com) they can pinpoint what the author has done well and discuss it using the shared vocabulary so essential to understanding how writing works and being able to talk about it. For instance, in this passage, the author has created rhythm and a smooth sound to the reader’s ear by using a variety of sentence lengths.  Challenge students to find passages from other favorite texts that vary sentence patterns and share them. Then ask them to find a place in their own writing and revise several sentences so they vary in length similar to Palacio’s.

The print and nonprint materials you have in your classroom and school library are a rich resource for teaching writing.  And the beauty of using them is two-fold: 1) you already have access to them and 2) modeling from mentor texts is a powerful instructional technique for teaching writing.  For more detail and examples, my book, The Writing Thief, (Stenhouse, 2014) might be helpful.

Closing Thoughts

Bottom line:  We must learn how to do more with less in this age of school funding woes. But good news!  If you have a classroom library, you already have what you need to move writing instruction forward with energy and success.  How to plan a year, week, and day of writing instruction with resources already on hand are found in Teach Writing Well, by Ruth Culham, Stenhouse 2018.  With access to proven strategies, regardless of your preparation in college or your experience as a teacher, you can turn teaching writing from cringe-worthy to credible to completely phenomenal.  

 

Palacio, R.J. (2012).  Wonder.  New York: Knopf Books for Young Readers.

 

Ruth Culham lives in Beaverton, Oregon with her two cats and her always-ready-to-write computer.  She creates professional books and materials for teaching writing based on the traits of writing and conducts professional development workshops for teachers and administrators across the country and world.   Her most recent book, Teach Writing Well, is based on 30+ years of teaching, researching, and learning about what works and what doesn’t work for classroom teachers.