The disciplines of science and art are intertwined in more ways than you can imagine. The benefits of using art to communicate science is articulated beautifully in Communicating Science Concepts Through Art: 21st-Century Skills in Practice by Sandy Buczynski, Kathleen Ireland, Sherri Reed, and Evelyn Lacanienta.
In an article published two weeks ago, Buczynski et al. (2012) explain how it is necessary for the next generation of scientists to communicate using more than words. They explain that the scientists of the future will need to use artistic means of communication that include “illustrating, animating, videography, cartooning, and model building” (Buczynski et al., 2012).
To show how art can be used to reinforce learning in science, they cite the results of their work with students at a college prep academy. Students were taught how to use fundamental art techniques as tools to aid their comprehension of science content.
Buczynski et al. (2012) explain how they and the academy’s art teacher put into practice the five conceptual art strategies identified by Julia Marshall (2010). The academy’s art teacher taught students how to draw, how to observe angles, how to observe positive and negative spaces, and how to observe patterns and textures (Buczynski et al., 2012). Students were also taught how to shade, how to create form and how to apply highlights using colored pencils, graphite pencils, charcoal and ink pens (Buczynski et al., 2012).
The authors then incorporated Marshall’s art strategies into lessons about the human body, the scientific process, science communication through popular culture, and botanical exploration.
Briefly, here are the conceptual art strategies Buczynski et al. (2012) used and how they used them:
- Depiction – Seventh-grade students were asked to apply their new knowledge about “scale, shadow and proportion” (Buczynski et al., 2012) to observe and draw the human body. This strategy was employed to move students away from the usual “stick figure”-type of thinking often observed in science lab notebooks.
- Projection – Students were asked to predict the outcome of a scientific event using hand-drawn images instead of words.
- Reformatting – Utilizing art forms from popular culture, students were asked to reformat scientific content into “a comic book, magazine, advertisement or film” (Buczynski et al., 2012).
- Mimicry – Students were assigned the task of becoming botanists by mimicking how botanists collect information in the field.
- Metaphor/Analogy – Students were asked to create a visual metaphor to describe how the digestive system works.
Buczynski et al. (2012) explain how they evaluated student work and what they learned from implementing each of these strategies. To learn more about their study, visit your local college library to get a copy of their new article or buy this article online for 99¢ from the National Science Teachers Association.
Real-life Science Communicators
This week I had the opportunity to attend the annual conference of the Guild of Natural Science Illustrators (GNSI). As expected, my appreciation for what scientific illustrators do has increased yet again. Scientific illustrators are a significant force in the field of science communication and their contribution to this field knows no bounds. From children’s books, to outdoor sculpture, to magazines, to cultural exchange (take the virtual tour), they make science and the natural world easier to understand through everything they do.
This year the conference theme was Scientific Illustration: Frontiers Past and Future. Featured were presentations about explorers and natural history artists from the past and presentations about how scientific illustration is used and created today in the 21st century.
Learn more about the Guild of Natural Science Illustrators at www.gnsi.org.
Looking for a scientific illustrator to work on a project? Visit Science-Art.com, a resource connecting artists and art buyers in the nature, science and medical community.
The host of the GNSI conference this year was the Savannah College of Art & Design (SCAD). The Illustration Department at SCAD offers a minor in scientific illustration and is doing their part to create the next generation of science communicators. Learn more about this wonderful school and their students at www.scad.edu.
Buczynski, Sandy and Kathleen Ireland, Sherri Reed and Evelyn Lacanienta. 2012. Communicating science concepts through art: 21st-century skills in practice. Science Scope. 35(9): 30-35.
Marshall, Julia. 2010. Five ways to integrate: Using strategies from contemporary art. Art Education. 63(3): 13-19.


From The Beacon: Children dive into books this summer
Participation in the annual summer reading program at the Beaufort County Public Library has hit an all-time high. At the close of registration July 11, more than 3,500 children and teens had signed up to read books this summer.
Why is the program so important? In "The Role of Public Libraries in Children's Literacy Development: An Evaluation Report," researchers Donna Celano and Susan B. Neuman share significant research findings on ways public libraries foster literacy skills through summer reading programs. In the 2001 report funded through the Library Services and Technology Act, Celano and Neuman conclude that libraries continue to play a major role in fostering literacy, especially among those most needing assistance in developing literacy skills such as preschool and elementary school children.
This summer, the Beaufort County library had more than 250 children between 2 and 3 years old participate in our summer reading programs. Children who are exposed to library preschool programs develop an increased number of emergent literacy behaviors and pre-reading skills.
And don't forget, public library reading programs play an important role in the reading achievement of children who lack access to books and other reading materials in their daily lives. The library, for these children, is essential to their future success.
Most of all, summer reading programs make educational reading activities fun and appealing to kids and teens. Wendy Allen, Youth Services coordinator for the Beaufort County Public Library system, is not surprised by the high participant rate this year.
"With the themes of 'Be Creative @ Your Library' for children and 'Express Yourself' for teens, this has been an exciting summer of exploring the creative arts. Children, teens and adults have had fun with art, music, dance and, of course, lots and lots of reading," Allen said. "Systemwide, our BCL Youth Service staff has outdone themselves in providing programs that are entertaining and informative for all ages. In a time when families are struggling to make ends meet, the free services of the Beaufort County Library system help bridge an important gap. This year, more than ever, people have been turning to the library and we are there to answer their need."
The 2001 LSTA report by Celano and Neuman said, "Children who participate in summer reading programs benefit from the many literacy-related activities offered, aiding significantly in literacy development. Public library preschool and summer reading programs encourage children to spend a significant amount of time with books. Literacy-related activities and events enrich reading experiences, encouraging children to read themselves, hear stories read aloud and write about what they'd read." And to reinforce learning, public library programs strongly encourage parents to become involved in their children's reading.
There's still time to enjoy some summer reading fun. Don't miss your chance to catch a special summer reading performance of the Egbe Kilimanjaro African-Caribbean Drumming and Dance program at 10 a.m. July 27 at the St. Helena library; 2 p.m. July 27 at the Lobeco library; 10 a.m. July 28 at the Bluffton library; and 2 p.m. July 28 at the Beaufort library.
For more family fun and summer reading excitement, go to www.beaufortcountylibrary.org and be sure to "Express Yourself."


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Rebirth of the Renaissance
Alan Simcoe is building time-travel machines. The island musician and teacher is crafting a
lute and a viola da gamba in his workshop two Renaissance instruments that, Simcoe says, are guaranteed to transport audiences to the Europe of Michelangelo and the Medicis.
As instruments for producing music, they are different from modern relatives and not merely mechanically primitive precursors, Simcoe said. They are fully functioning time machines...allowing performer and audience to take part in a first-person historic experience.
Simcoe and Nancy Bergman co-founded the islands first early music program two years ago to expose islanders to 15th to 17th century European music. Their efforts are under the umbrella of the Island Music Teachers Guild, the three-year-old non-profit supporting music education on Bainbridge.
Simcoe, one of the performers at Sundays IMTG fund-raiser for early instruments, received a $2,500 grant from the Bainbridge Island Arts and Humanities Council to craft the two Renaissance instruments.
Simcoe has made instruments since the ninth grade. A long-time member of the Guild of American Luthiers, he studied with Jose Romanillos, Jeff Elliot and other experts. He also learned from the late Bob Lundberg of Portland, Ore., a luthier who, Simcoe says, rediscovered processes lost since the 17th century.
They were lost because no ones played these things for a while since about 1750, when Bach died.
Simcoe prepared for his current project by researching related instruments and documents in museum collections in Berlin and Goslar, Germany.
The sound of the instruments is markedly different from their contemporary cousins, Simcoe says, because the Renaissance stringed instruments were constructed to emphasize complexity of sound rather than volume.
A sound thats complex has overtones, Simcoe said, but you trade loud for complex. Any instrument is confronted by the same two parameters complexity vs. volume.
In an era when musicians played in intimate settings for aristocratic audiences, loud was not the favored virtue.
Every step of the construction process of
the instruments is as painstaking today as in 1600.
To bevel the ribs of the lute, Simcoe had to hand-fashion special tools like the rabbit plane, a two-inch long, half-inch wide plane of cherry wood laminated with bone.
The cherry ribs, each two-and-a-half millimeters thick, are bent over pipe, using dry heat.
Simcoe knows from long experience making Torres/Hauser-style classical guitars when the feel of the wood indicates that it is heated enough to bend rather than splinter.
Once bent, the ribs for the lute are held in place over the form with large rubber bands until they set.
The lute and viola da gamba are the foundation for what Simcoe plans to develop into an extensive collection of period instruments available for use by the public through the Guilds early music program.
The Guild, which comprises 18 island music teachers, will store and care for the instruments, Simcoe says, but the public can rent them for a modest fee that will help pay for sheet music and instructional materials.
Simcoe says that periods polyphonic music, written to be played in small groups, works well for music instruction, because each student must be able to sustain an independent line.
Simcoe notes that his move to start a collection of Renaissance instruments is part of the recent revival of early music.
I sometimes wonder what would have been if I had begun to make period instruments when I was younger, Simcoe said. But 25 years ago, the Guild of American Luthiers didnt even exist.
* * * * *
Experience the Renaissance as local musicians play on period instruments 3 p.m. May 19 at Bainbridge Commons. This fund-raising event for the Island Music Teachers Guild early music collection features performances by Alan Simcoe and Nancy Bergman, with community musicians Susan Bray, Barbara Saur, Liam Graham, David Denz and IMTG students. Suggested donations are $15/adults, $5/seniors and students. Information: 842-4120 for more information.


Mission Statement for the General Education Curriculum
at the University of South Alabama
The General Education Curriculum at USA helps students succeed intellectually in college, be prepared for their professional careers, be equipped for life-long learning, and become responsible citizens and leaders. To meet these goals in a dynamic world, General Education provides shared experiences for students to acquire foundational skills and knowledge, along with an appreciation of diverse perspectives and a broad intellectual context in which students can situate their specialized fields of study.
Competencies for General Education at the University of South AlabamaCommunication Skills
USA Gen Ed Competency
Student Learning Outcome
1. Communication Skills
Humanities and Fine Arts
2. Aesthetic and Critical Interpretations
Natural Sciences and Mathematics
3. Scientific Reasoning
4. Quantitative Reasoning
Behaviorial and Social Sciences
5. Social Scientific Literacy
6. Historical Perspectives
Open the original version of this page.


helpful Links for Piano Students
- History of the Piano
Learn about the past 300 years of the piano!
- Music Theory
Lessons and Exercises to help with your theory homework
- Music History
Musical Eras and Composers
- From the Top
These kids are some of the brightest rising stars in classical music!
- Classics for Kids
Excellent podcasts and worksheets about composers and music history
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal. Although not portable, the piano's versatility and ubiquity have made it one of the world's most familiar musical instruments and most popular for music lessons. more from Wikipedia >
At Charlotte Academy of Music, 5 years old (with occasional exceptions) is the youngest age that we start children in private piano lessons. At this age, children have begun to develop a longer attention span and can retain material with ease. Students 5 and older also possess the hand size and strength required for proper hand shape and use of the piano.
We also offer Beginning Piano Classes (limited to 6 children) for students ages 5-10.
For children ages 3-5, we suggest our music readiness program, Preludes, which correlates with the National Standards of Music Education. In each Preludes class, children learn about rhythmic notation, the piano keyboard, pitch and participate in various rhythmic and movement activities. Preludes provides a wonderful foundation for future instrument study!
Charlotte Academy of Music encourages families to arrange appointments to meet with the Director to identity a teacher. Parents and students find it very helpful to speak with the Director about the student’s learning style, the expectations of the teacher and more. In this regard, a music school is a far superior choice as there is more than one instructor to choose from. We strongly believe that finding the right teacher is the key to a successful music lesson experience. A teacher’s credentials are important, but personality is the greatest factor when choosing an instructor.
Students can register for a Trial Lesson with an instructor before formally enrolling.
Research shows that piano students are better equipped to comprehend mathematical and scientific concepts. A group of preschoolers received private piano keyboard lessons and singing lessons. A second group received private computer lessons. Those children who received piano/keyboard training performed 34% higher on tests measuring spatial-temporal ability than the others — even those who received computer training. “Spatial-temporal” is basically proportional reasoning — ratios, fractions, proportions and thinking in space and time. This concept has long been considered a major obstacle in the teaching of elementary math and science.
Source: Neurological Research, February 28, 1997
Music majors are the most likely group of college grads to be admitted to medical school. Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66% of music majors who applied to med school were admitted, the highest percentage of any group. For comparison, (44%) of biochemistry majors were admitted. Also, a study of 7,500 university students revealed that music majors scored the highest reading scores among all majors including English, biology, chemistry and math.
Sources: “The Comparative Academic Abilities of Students in Education and in Other Areas of a Multi-focus University”, Peter H. Wood, ERIC Document No. ED327480
High school music students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on the math portion than students with no coursework/experience in the arts.
Source: Profile of SAT and Achievement Test Takers, The College Board, compiled by Music Educators National Conference, 2001


A Challenge for Art Education: Including Lesbians and Gays.Lampela, Laurel
Abstract: Maintains that teachers should acknowledge sexual orientation as an individual difference and address it in the classroom and the curriculum. Includes several examples of artists' sexuality being expressed through their work. Details four basic concepts important to this effort and includes several reference works on gay artists. (MJP)
Title: A Challenge for Art Education: Including Lesbians and Gays.
Author: Lampela, Laurel
Journal Citation: Studies in Art Education, v36 n4 p242-48 Sum 1995
Publication Year: 1995
Document Type: Position Paper (120); Journal Article (080)
Target Audience: Teachers and Practitioners
ERIC Identifier: EJ520817
Clearinghouse Identifier: SO527303
Available from: UMI
This document is NOT available from the ERIC Document Reproduction Service (EDRS).
Descriptors: * Art Education; Artists; Classroom Environment; Classroom Techniques; Curriculum; * High Risk Students; * Homosexuality; * Humanistic Education; Role Models; Secondary Education; Sex Discrimination; * Sexual Identity; Social Change; * Student Needs; Student Subcultures
Identifiers: Gays and Lesbians Alliance Against Defamation; Parents and Friends of Lesbians and Gays


Emergent Computer Literacy
A Developmental Perspective
Routledge – 2009 – 198 pages
Series: Routledge Research in Education
The United States is currently grappling with how to prepare our students to be computer literate citizens in the competitive technological world we live in. Understanding how children develop computer knowledge, and the ways that adults are able to guide their computer learning experiences, is a vital task facing parents and educators. This groundbreaking book is an attempt to fill a gap in current understanding of how we become computer literate and proposes a theory of how computer literacy skills emerge in computer users.
A Choice Outstanding Book of 2009
"The book is essential for anyone studying literacy or looking for suggestions on curricular inclusion of computer literacy. Quantitative and qualitative researchers will find this book valuable for the design and execution of the study. Robinson’s text is incisive and most immediately complementary to scholarship in education, English, psychology, sociology and information science… Highly recommended."—L.H. Taylor Jr., Choice (2009), Vol. 46, No. 11
"Emergent Computer Literacy is an admirably concise study with a number of important implications for future research on children and computer literacy in the "information age". The book will enlighten both researchers and parents alike and ask them to reconsider the development of their children and their assimilation into a technologically driven society. I recommend this book to researchers and also parents as an important starting point to consider the role of the new digital literacies affecting children’s education around the world."--Jeremy White, International Journal of Emerging Technologies and Society ( 2009), Vol. 7, No. 2
1. Introduction 2. Review of Related Research and Literature 3. Research Study 4. Research Findings 5. Research Implications 6. Supporting Early Computer Literacy Development 7. Summary, Issues, And Future Research. Epilogue
Helen Mele Robinson is Assistant Professor in the Education Department at CUNY, The College of Staten Island. She has published journal articles in Perspective: The New York Journal of Adult Learning.


Elementary School Music Teacher: Job Duties and Requirements
Learn about the education and preparation needed to become an elementary school teacher. Get a quick view of the requirements as well as details about schooling, job duties and licensure requirements to find out if this is the career for you
Elementary school music teachers typically work with children in kindergarten through fifth grade, helping them to discover their creativity and build their vocal and instrumental skills. This position usually requires a minimum of a bachelor's degree, as well as specific teacher training and a state license.
|Required Education||Bachelor's degree in education|
|Other Requirements||License and teacher training typically required|
|Projected Job Growth (2012-2022)*||12% for elementary school teachers, except special education|
|Median Salary (2013)*||$53,590 annually for elementary school teachers, except special education|
Source: *U.S. Bureau of Labor Statistics.
Elementary School Music Teacher Job Duties
Elementary school music teachers must devise unique curricula for each grade level that they teach. Some days, classes might focus on the history of music, while other days are devoted to vocal or instrumental performance. Elementary school music teachers also must fulfill many of the same duties as regular classroom teachers, such as administering tests and assignments, grading students on what they've learned and meeting with parents and other faculty members.
In addition to their teaching duties, elementary school music teachers often oversee band or choir practices. They choose music for their students to perform and oversee rehearsals, offering instruction and advice on ways students can improve. Elementary school music teachers also might arrange concerts for students to display their musical talents to family, other students and faculty members.
Aspiring elementary school music teachers should pursue an undergraduate music education program that's accredited by the Teacher Education Accreditation Council, the National Council for Accreditation of Teacher Education or a similar organization. Music education programs generally include a mix of teaching courses, such as education law and ethics, educational psychology and multicultural education, and music classes, like piano competency, vocal pedagogy, music theory and ear training. Most programs also include a teaching practicum.
Music education programs typically last four years, culminating in a bachelor's degree. Alternatively, prospective elementary school music teachers might seek a bachelor's degree in education with a concentration in music or a bachelor's degree in music with a minor in education. Music education students also might choose to continue their education in a master's or doctoral program in the field.
Prior to being employed at a public school, an elementary school music teacher needs to be licensed. In most states, an aspiring elementary school music teacher must hold a bachelor's degree, in addition to completing an approved teacher training program and a student teaching experience, to qualify for licensure. He or she also must pass both general knowledge and music-specific exams. Some private schools do not require teachers to earn licensure.
Career Outlook and Salary Information
The U.S. Bureau of Labor Statistics, BLS, (www.bls.gov), predicts that job growth for elementary school teachers, excluding special education teachers, will increase 12% between 2012-2022. Additionally, the BLS reported that the median annual salary for these teachers was $53,590 as of May 2013.
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(PRWEB) October 19, 2010
Vatican City and the city of Rome are preparing for what could be the greatest event in modern history - the 500th Anniversary of the Sistine Chapel. Restorations of Michelangelo's architectural projects are underway, and new sign-boards in Italian and English are being placed all over Rome where Michelangelo was involved in the art or architecture of a building or church.
Best Tours of Rome, a cooperative group of American, Canadian and English secular and art historians, also recognize the importance of this historical event, and are preparing a special series of tours to help travelers to Rome. There was already a huge emphasis on Michelangelo's Sistine Chapel before, and now, with the 500th anniversary approaching, these historians see an ever more pressing need to teach and direct tourists.
"I received all of my formal education here", one American guide stated. "I know that 95% of us are not given a decent art education in the States, and it's important to have that - just like parks are essential for the well-being of those living in a city, so also good art is necessary for our growth and development."
Michelangelo Buonarroti was born outside of Florence in the year 1475. His mother died when he was still young, and his father was not initially enthusiastic about his career choice.
"What we try to do also is explain to students - it's not about justifying disobedience - it's about doing hard work, giving 150% to a difficult project and completing it."
Michelangelo was a tremendously important artist in four different art styles - Early and Late Renaissance, Mannerist and Baroque. He actually started the Baroque style of architecture, but Gian Lorenzo Bernini will get most of the credit, about 50 years after Michelangelo.
As another historian explains, "Raphael did in fact sneak into the Sistine Chapel before the ceiling was completed, and copied what he saw. He recognized the importance of Michelangelo's work before it was even completed. It's a competitive world, but then, Raphael painted Michelangelo's image in one of his own paintings."
Who are the "Best Tours of Rome" group?
"Some of us came to Rome to study sciences like philosophy or theology and, being surrounded by such an intense and varied collection of art, realized there was more to life than we had imagined."
Others arrived here already with their degree in hand, and recognized Rome as the best place to practice what they had learned.
What they all realize is a tremendous need to properly educate the masses. "We have to educate, and we also have to entertain. There is a fine balance between the two. A lot of people don't realize that, and a lot of guides, unfortunately, don't have the full picture, either. There is a tremendously beautiful culture here waiting to be discovered. We shouldn't allow anyone to distract us with 'Dan Brown' style stories - half truth and half lies - at the expense of truth."
Any tips on preparing for a trip to Rome?
"What I'm suggesting is that people should get to Rome now, if they plan on coming, before the big splash - 2013. The cost of travel and hotels are better during the off season, and I expect prices to rise for the 2013 celebrations."
"Also, come during the off-season (November - skip Christmas - then, from January 8th until a week before Easter). Think about when Americans would never travel - Thanksgiving, for example."
"Michelangelo painted a ceiling in a private chapel five-hundred years ago, and people are still talking about it today. It's important to know why, and we are one of the few native English speaking groups that can answer those questions."


National moment of remembrance
The National Moment of Remembrance, established by Congress, asks Americans, wherever they are at 3 p.m., local time, on Memorial Day, to pause in an act of national unity for a duration of one minute. The time 3 p.m. was chosen because it is the time when most Americans are enjoying their freedoms on the national holiday. The Moment does not replace traditional Memorial Day events; rather, it is an act of national unity in which all Americans, alone or with family and friends, honor those who died in service to the United States.
The idea for the Moment was born when children touring the Nation’s Capital were asked by the Commission’s Director what Memorial Day means. They responded, “That’s the day the pool opens.” A Gallup Poll revealed that only 28% of Americans knew the true meaning of Memorial Day. The White House Commission on Remembrance was established by Congress (PL 106-579) to promote the values of Memorial Day by acts of remembrance throughout the year.
As laid out in Public Law 106-579, the National Moment of Remembrance is to be practiced by all Americans throughout the nation at 3pm local time. At the same time, a number of organizations throughout the country also observe the Moment: all Major League Baseball games halt, Amtrak train whistles sound across the country, and hundreds of other nationwide participants remind Americans to pause for the Memorial Day National Moment of Remembrance.
Other participants include:
- Empire State Building
- National Grocers Association
- Statue of Liberty
- Port Authority of New York and New Jersey
- National Constitution Center
- United Spinal Association
- Delaware Park
- Liberty Bell
- National Association for Music Education
- Bugles Across America
- Getzen Instrument Company
Each year at 3:00 p.m. on Memorial Day, Americans unite in a National Moment of Remembrance which honors America’s fallen and their families. During this Moment, 200 Amtrak trains blast their whistles, approximately 500,000 Major League Baseball fans are joined in silence, and countless other participants make a vow to remember.


Principles to practice approach for EL success
Spanish Literacy: Fostering Spanish Language and Literacy Development
Taller de lectura y escritura en español -- Cómo fomentar el desarrollo de la lectoescritura en español
Learn research-based strategies to provide effective academic literacy instruction in Spanish in developmental and transitional bilingual, dual language and immersion education programs.
Aprenda estrategias efectivas basadas en investigaciones científicas para la enseñanza de la lectoescritura académica en programas de español bilingües (de desarrollo y transición), duales y de inmersión.
This workshop is designed to provide participants with an awareness of Spanish linguistic features to effectively teach academic language and literacy in Spanish to students at all levels of proficiency, framed by an understanding of Spanish language arts standards.
The Spanish Literacy workshop is designed for teachers, specialists, and coordinators who provide support or instruction in the Spanish language in developmental and transitional bilingual, heritage language, language immersion, or dual language settings.
These workshops can be tailored to meet the needs of your grade level, school, and program type and may take place in Spanish or English.
The following provides an overview of the topics covered each day. Practical classroom-based instructional strategies are embedded throughout the presentation.
The Context for Spanish Language and Literacy Instruction
Introducción a la enseñanza de la lectoescritura en español
- Participant introductions, backgrounds, and instructional models
- Demographic information about Spanish learners and their diverse educational settings
- Principles of effective instruction for language learners
- Teaching Spanish Language Arts with today’s standards
Developing Awareness of Similarities and Differences between Spanish and English
Cómo desarrollar conciencia de las similitudes y las diferencias entre el inglés y el español
- Fostering the development of academic language
- Building metalinguistic awareness to promote
- Examining similarities and differences between the languages as it relates to:
- Phonology (sound-letter correspondences)
- Morphology (word formation)
- Lexicon (cognates and false cognates)
- Grammar (sentence structure)
- Pragmatics (language use)
Developing Literacy in Spanish
Desarrollo de la lectoescritura en español
- Applying the principles of effective instruction for language learners to develop vocabulary, grammar, and comprehension in Spanish
- Targeting vocabulary instruction and oral language development using interactive teacher
read-alouds, songs, and poems
- Promoting Spanish language and literacy development in the content areas
- Providing opportunities for meaningful language use through student interaction
- Identifying strategies to promote students’ use of Spanish
- Using guided reading lessons to teach students strategies for using meaning, structure and visual information when they read
- Instructing writing and reading comprehension strategies in Spanish
CAL can work with you to tailor this professional development workshop to meet your needs and budget.


Right to Education Act 2010
From April 1, 2010 a historic Right to Education (RTE) act will be enforced in India. Prime Minister Manmohan Singh
promised that financial constrained will not hamper its implementation. The law envisions to provide free and compulsory education for all
children between 6 and 14 years of age. In his address to the nation Prime Minister Manmohan Singh announced the Right to Education
becoming a fundamental right. He said that the Government of India pledges to provide education to every child in India. The PM said,
"Right to Education Act will realize the dreams of many children across the nation." .
Highlights of RTE Act
Sixty-three years after independence, India Thursday, the 1st April 2010
enforced a historic Right to Education (RTE) act that promises freedom from
illiteracy for this vast and diverse country. Following are the key points of
the legislation that expects to empower the nation through education:
1. Free and compulsory education to all children of India in the six to 14 age
2. No child shall be held back, expelled, or required to pass a board examination
until completion of elementary education (up to class eight);
3. A child who completes elementary education (upto Class 8) shall be awarded a certificate
4. Calls for a fixed student-teacher ratio;
5. Will apply to all of India except Jammu and Kashmir;
6. Provides for 25 percent reservation for economically disadvantaged communities
in all private and minority schools. The reservation to start with Class One beginning 2011
7. Mandates improvement in quality of education;
8. School teachers will need adequate professional degree within five years or else will lose job;
9. School infrastructure (where there is problem) to be improved in three years, else recognition cancelled;
10 Financial burden will be shared between state and central government on the basis of Sarva Shiksha Abhiyan (Education for All)
11. Private schools to face penalty for violating RTE. .
* The funds reqired to implement the RTE act of Rs.171,000 crors..
* 5 lakhs more trained teachers required.
* Playgrounds for every school are the basic needs.
UNESCO, ILO, UNICEF welcome Right To Education Act
UNESCO, ILO and UNICEF applauding the ground-breaking Right to Education Act, legalising the right to
free and compulsory education for all children between the ages of 6 and 14 in
India. "Tens of millions of children will benefit from this initiative ensuring quality
education with equity," said Karin Hulshof, UNICEF Representative in India. "RTE
will propel India to even greater heights of prosperity and productivity for all
guaranteeing children their right to a quality education and a brighter future."
There are an estimated eight million Indian children and young people between
the ages of six to 14 out-of-school, the majority of whom are girls. Without
India, the world cannot reach the Millennium Development Goal (MDG) of having
every child complete primary school by 2015.
"This act is an essential step towards improving each child's accessibility to
secondary and higher education, bringing India closer to achieving national
educational development goals, as well as the MDGs and Education for All
(EFA)," said UNESCO New Delhi Director Armoogum Parsuramen, commending in particular the
Ministry's commitment to implementing the act in collaboration with the state
governments. "UNESCO places the right to education at the heart of its mission, and stands
ready to accompany all partners in their efforts to ensure its successful implementation."
India joins list of 135 countries in making RTE
With the Right to Education Act coming into force, India has joined the league
of over 130 countries which have legal guarantees to provide free and compulsory
education to children. According to the UNESCO’s ‘Education for All Global Monitoring Report 2010’,
about 135 countries have constitutional provisions for free and non-discriminatory education for all.
However, the report says that despite the legal guarantee of free education,
primary school fees continue to be charged in some countries.


Lesson Plan: Collaborative Murals
Grade Level: 3-5 Art Education Lesson Plan
Art Elements: Space, Color
Art Skills: Ideation, Collaboration, Drawing, Painting
Making Connections: Art History, Cross-Curricular
* Get more free lessons like this, on our Lessons Page
I keep coming back to this project year after year. I love that students have to work together toward a common, artistic goal. It really pushes some students to let go of their perfectionism, as we talk a lot about how all students’ art styles will be included on the murals. In addition, the results become beautiful additions to the school hallways! You can even try this lesson with younger students. My first graders had a great time with it this year.


Learning Koori language
Historically, when it comes to the naming of Australian towns, there have largely been three options; towns named after white male explorers, governors and statesmen, towns or suburbs named after English towns, and towns name after Aboriginal nouns which depict geographical features, flora and fauna.
In Gippsland, despite a treacherous past between European settlers and the Gunai Kurnai people, nearly half of Gippsland towns have aboriginal place names.
Before European settlement derivations of approximately 250 Indigenous languages were spoken across Australia, with 40 languages spoken in Victoria alone.
The nomadic nature of these indigenous tribes resulted in many words and phrases being swapped across the regions and neighbouring territories such as Indonesia.
Since colonisation, many of these languages have been lost.
However in recent years, the infiltration of aboriginal language programs into the local primary school curriculum is helping to preserve localised indigenous language and culture.
ABORIGINAL PLACE NAMES IN GIPPSLAND
Wonthaggi - borne, drag, to pull along
Morwell- woolly possum
Yarram - Horse, hair on the head
Korumburra - maggot, fly
Toongabbie - a place near water
Mirboo - kidney fat
Leongatha - teeth
Koonwarra - Swan
Moondarra - thunder
Koo-Wee-Rup - blackfish
Lang Lang - Stones, Stoney
Meeniyan - Moon
Yanakie - small
Jumbuk - sheep
Buchan - bag there, place of the bag
Cowwarr - Mountains, hills
Traralgon - place of fishes
Tambo - perch
Warragul - Dingo
Marlo - white clay
Goongerah - possum
Wuk Wuk - dirt
Gunai- Kurnai - man of
- Rains hit Gippsland dairy pastures
- Farmer Wayne Cunningham from Gippsland has stopped selling raw milk.
- Gippsland farmers Lionel Rose and Bill Bullmer question co-existence between mining and agriculture. Mine proponent Rob Bishop says it's possible.
- Wayne Bridges conducts heritage tours from the Port of Sale on The Rubeena, a Sydney style ferry
- Cattle grazing trial in Alpine National Park scrapped by new Labor Government


Chapter 3 Reflection
I think it's interesting how our voices reflect us...who we are and where we come from. It's also very interesting how you can listen to people around you, family members and friends and you all have some kind of vocal connection. The section on personal voice perceptions reminded me of reading something similar to the personal perception when you play an instrument. The sound I hear coming out of my horn from up close is much different that what it sounds like out in the hall or farther away. I'm beginning to realize more connections that I thought with singing and playing an instrument.
I'm excited to be in voice class. I'm not really sure what to expect but I'm trying to go into it with an open mind. It's a required component to the instrumental music education degree. That is the main reason I'm in the class. I think it will be a good opportunity to learn some new things relating to music that will make me a better teacher someday, and probably even a better horn player. I know one of my issues with horn playing is phrasing, and I've been told that I should listen to some opera singers because they are the best at phrasing and using air to create it. I don't exactly expect to go that deep into singing during my first semester of voice class though, but I'm sure it won't hurt!
Singing better myself will help me immediately in teaching private horn lessons. I always sing parts and have the kids sing their music and I'm sure that having a better sound coming out of my mouth will only help them as well.


Making links 2002: Guidance for summer schools and Year 7 support programmes
You will need to have Adobe Acrobat Reader installed in order to open these files. This is available to download free from Adobe.
- Making links 2002: Guidance for summer schools
- Activity sheets - Set 1
- Activity sheets - Set 2
- Activity sheets - Set 3
- Activity sheets - Set 4
- Units of work - Set 1
- Units of work - Set 2
- Units of work - Set 3
- Units of work - Set 4
Summer schools are an integral part of the Key Stage 3 National Strategy. They are an important element in a range of provision which supports pupils who are performing below national expectations. They play an important role in giving pupils, who are still at level 3 in the National Curriculum tests, a flying start to their secondary school career by making links between the Year 6 and Year 7 curriculum. Pupils are expected to achieve the targets the summer school coordinator negotiates with them and their Year 6 teachers.
Summer schools strengthen the transition from Key Stage 2 to Key Stage 3 and incorporate approaches to teaching and learning which pupils are familiar with in the primary strategies but which are applied in the context of the secondary school curriculum and the Frameworks for English and mathematics. Those pupils who leave primary school still at level 3 are given additional support to improve their literacy or numeracy skills during summer school. This support continues throughout Year 7 through well-structured and focused catch-up programmes to enable these pupils to reach level 4 by the end of the year.
This guidance is for those running summer literacy and numeracy schools. It is written specifically for managers and coordinators in schools. It may also be of interest to local education authority (LEA) officers, headteachers and their staff, and other teaching and support staff involved in providing courses for Year 6 and Year 7 pupils.
The guidance seeks to ensure that lessons learned from the summer schools programme in previous years are applied in planning for this year. It highlights the importance of integrating summer schools with the catch-up programmes in Year 7.
The guidance is accompanied by teaching units that provide hours of teaching. Summer school co-ordinators may wish to draw on these units as they provide a balanced scheme of work.


Action research is inquiry or research in the context of focused efforts to improve the quality of an organization and its performance. It typically is designed and conducted by practitioners who analyze the data to improve their own practice. Action research can be done by individuals or by teams of colleagues. The team approach is called collaborative inquiry.
Action research has the potential to generate genuine and sustained improvements in schools. It gives educators new opportunities to reflect on and assess their teaching; to explore and test new ideas, methods, and materials; to assess how effective the new approaches were; to share feedback with fellow team members; and to make decisions about which new approaches to include in the team's curriculum, instruction, and assessment plans.
Bennett, C.K. (1994, Winter). Promoting teacher reflection through action research: What do teachers think? Journal of Staff Development 15(1), 34-38.
Calhoun, E.F. (1994). How to use action research in the self-renewing school. Alexandria, VA: Association for Supervision and Curriculum Development.
Classroom action research: The teacher as researcher. Journal of Reading, 33(3), 216-218.
Kelsay, K.L. (1991, Spring). When experience is the best teacher: The teacher as researcher. Action in Teacher Education, 13(1), 14-21.
May, W.T. (1993, Winter). Teachers-as-researchers or action research: What is it and what good is it for art education? Studies in Art Education, 34(2), 114-126.
McKay, J.A. (1992, Winter). Professional development through action research. Journal of Staff Development, 13(1), 18-21.
Miller, D.M., & Pine, G.J. (1990, Summer). Advancing professional inquiry for educational improvement through action research. Journal of Staff Development, 11(3), 56-61.
Sagor, R. How to conduct collaborative action research. Alexandria, VA: Association for Supervision and Curriculum Development.
Strickland, D.S. (1989, December). The teacher as researcher: Toward the extended professional. Language Arts, 65(8), 754-764.


How do Secondary school music teachers undertake action research?
Cain, T. (2008) How do Secondary school music teachers undertake action research? In, International Society for Music Education World Conference., Bologna, Italy, 21 - 25 Jul 2008.
Full text not available from this repository.
The theoretical position that underpins this study is that it is possible for practitioners to undertake ethically-informed research into their own practice whilst also changing that practice, through the process of action research. In this process, practitioners (such as teachers) operate a series of flexible cycles, deciding what is worth researching, collect and analyse data, in order to evaluate and improve their own educational influences, thereby making their teaching practices research-informed. Action research is sometimes contrasted with more traditional methods in which knowledge production is the job of external researchers. It is associated with the terms ‘teacher research’ ‘practitioner research’ and ‘Self-study’. Because it integrates research with action, it is essentially practical in nature, and it is seen as having a political purpose, particularly in empowering (emancipating) groups of people to work together for the common good.
Although there has been a proliferation of action research in education during the last sixty years there are few published studies of action research in music education – a literature search has revealed fewer than thirty such studies in academic journals, books and conference proceedings. The purpose of this study was to investigate why this might be – what factors discourage music teachers from undertaking action research. In consultation with Local Authorities in the South of England, a group of ten Secondary school music teachers was recruited. Over the course of one year, they undertook small-scale action research studies in their own schools and also met together to discuss and share their work. Participant observation of these meetings was used to understand how the teachers decided what to research, how they collected and analysed data, and how they came to understand patterns in their data. Semi-structured interviews were used to understand how they experienced the research process. Analysis of the data is continuing; preliminary analysis suggests that the teachers were heavily influenced by the need to conform to government-sponsored initiatives and to provide quantitative data that might demonstrate clear achievement by their pupils. As a result, they understood action research in largely technical terms. These findings build on previous studies of action research by teachers and student teachers including studies by Roulston et al. (2005), Strand (2006) and Cain et al. (2007). The study suggests that action research can act as a powerful means for music teachers to examine and develop their practice, but that its potential is not fully realised by music teachers. The study suggests some conditions which might better realise this potential.
|Item Type:||Conference or Workshop Item (Paper)|
|Keywords:||action research, practitioner research, teacher research, music education|
|Subjects:||L Education > LB Theory and practice of education
M Music and Books on Music > M Music
|Divisions:||University Structure - Pre August 2011 > School of Education > Leadership, School Improvement and Effectiveness
|Date Deposited:||10 Nov 2008|
|Last Modified:||27 Mar 2014 18:45|
|RDF:||RDF+N-Triples, RDF+N3, RDF+XML, Browse.|
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The Early Childhood Education Certificate is designed to provide students with the opportunity to complete a course of study which will prepare them to work in the field of early care and education. It is also designed for students who are already employed in an early care situation and desire to improve their knowledge and competency in working with young children. Students who complete this certificate may move into the program leading to an Associate in Science degree.
Download the Early Childhood Education certificate worksheet.
|ECE* 101||Introduction to Early Childhood Education||3|
|ECE* 103||Creative Experiences/Children||3|
|ECE* 176||Health, Safety, & Nutrition|
|+ECE* 210||Observation, Participation & Seminar||3|
|+ECE* 231||Early Language and Literacy Development||3|
|+ECE* 215||The Exceptional Learner||3|
|**ECE* ###||Early Childhood Education Elective||3|
*(Minimum "C" grade required)
|ENG* 114||Children's Literature||3|
|SOC* 190||Self and Others: Dynamics of Diversity||3|
|COM* 173||Public Speaking||3|
|THR* 110||Acting I|
**Early Childhood Education Electives: ECE* 103, ECE* 109, ECE* 141, ECE* 176, ECE* 180,
ECE* 215, ECE* 225, ECE* 275.


For the past several weeks, the Crew has been reviewing computer programming software from Computer Science for Kids.
The Crew reviewed two different products, Computer Bible Games for Microsoft Small Basic and Beginning Microsoft Small Basic.
Using Small Basic, a simple computer language that makes writing code easy even for kids, these two products teach Middle School children how to program. In lessons designed to take between 3-6 hours each to complete, students learn to write simple programs culminating in demonstrating to the student how the Small Basic programs learned can be further enhanced in a more advanced computer programming language. Not only do students learn basic (or Small Basic!) programming, then, but their appetites are whetted for further computer programming.
Beginning Microsoft Small Basic is comprised of 11 chapters teaching program design, text window applications, graphics window applications, and other features of Small Basic. Computer Bible Games for Microsoft Small Basic differs from it only in that in place of Chapter 11 (which uses secular games to show how other computer languages can enhance the game experience), the program adds several new chapters explaining how to build computer Bible games. The program is designed specifically for Christian homeschool families.
Computer Bible Games and Beginning Microsoft Small Basic are available fro $59.95, but are currently on sale for $34.95. The price includes a single-user license and digital E-book download.


Radek, what jobs can you get with an Elementary Education Degree? I’m wondering, what can I do with an Elementary Education Degree?
Most students who earn degrees in elementary education become elementary teachers. However, it can be tough to find a teaching position immediately after graduation. The applicant pool can be deep. Many graduates work as teacher assistants, education technicians, or substitute teachers for a while, until they get their own teaching position.
According to the Bureau of Labor Statistics, employment of elementary school teachers is expected to grow by 13 percent between 2008 and 2018, which is about as fast as average for all occupations. Of all teaching jobs, the elementary level can be the toughest job market to crack. Many potential teachers are drawn to this age group of students, so the competition can be tough.
In some parts of the country, the population is increasing, so there is a need for new teachers. However, in many parts of the country, enrollment is declining as children of the baby-boomer generation grow up. Student enrollment in the Midwest is expected to hold steady, while it is expected to decline in the Northeast (BLS). Jobs will be more plentiful in urban areas, and teachers who can speak a second language will have an advantage.
Be aware that teaching in a public school (and in many private schools) will require state certification. While some college degree programs will guide you through the certification steps, some do not, and if you find a job in a state other than the one in which you earned a degree, you might have to jump through some hoops.
Many elementary education degree holders go on to graduate school, but not always right away. If you want to go into administration, you will probably need to teach for a few years in order to gain the necessary experience, and then earn an advanced degree.
Careers you can get with a degree in Elementary Education include:
- Education Technician
- Elementary School Teacher
- Teacher Assistant


Obtaining a License
Students considering teaching history at the K-12 level should prepare themselves through coursework for the following goals: to obtain a license (or state certification), which makes one eligible to teach at the K-12 level; and endorsement, which makes one eligible to teach particular fields at the K-12 level.
There are two primary routes to obtaining a license:
- The undergraduate route. History majors apply to the School of Education in the second semester of their sophomore year, generally around mid-January. Transfer students may apply shortly before the start of their junior year, typically in late August; rising juniors have a second opportunity to apply at this time, as well. Confirm all deadlines for admission with the School of Education well in advance. Those students wishing a license to teach in Elementary Education start their coursework in either the fall or spring semester of their junior year. They take a total of 33 credit hours in the School of Education, leading to a double major in History and Elementary Education. Those wishing a license to teach in Secondary Education begin their coursework in the fall semester of their junior year and take a total of 24 credit hours of Education classes.
- The graduate school route. This route allows students who did not enter the School of Education as an undergraduate to spend the year after graduation (or at some later date) working toward the M.A. Ed. degree, thus leading to a license for teaching. Students begin in the summer and end the following summer, for a total of fourteen months of instruction and student teaching. Students enroll in either the Elementary Education Program or the Secondary Education Program.
For more information about programs administered by the School of Education, contact the Office of Academic Programs, Jones Hall 100 (221-2317), or visit http://education.wm.edu.
For those without a license, there is a third option, the private school route. A few private schools, as well as some public schools in "high need" areas, do not require a license as a precondition of hire. Typically, teachers hired by such schools are granted a provisional license for three years, with the expectation that they will take the appropriate coursework to obtain a license. Students should be aware, however, that there are far fewer opportunities to teach without a license than with a license.
History majors might also be interested in the Teach for America Program, which aggressively recruits William and Mary students. Students selected for this program commit to teach for two years in low-income areas, typically central cities and remote rural districts. Licensing is not a precondition of employment, but new hires are expected to take courses after they begin teaching. Application deadlines are in October and February. Consult www.teachforamerica.org for more details and an application.
Teaching at the K-12 level requires not only a license but an endorsement to teach particular subjects. Students should prepare themselves by taking additional courses outside the department, depending on their career objective:
- Elementary Education. In addition to courses in their History major, students seeking endorsement in elementary education should take one three-credit course in each of the following areas: English language, literature, American history or American government, and geography. Since some of these courses may also meet General Education Requirements, it would be wise for students to plan their academic programs as early as possible.
- Secondary Education (History). To obtain endorsement to teach history at the high school level, History majors must take one additional course in economics; also, 24 of the 33 credits required for the History major must be distributed in courses in U.S. and world history. For the world history component, students should consider taking Hist 191 and Hist 192, Global History, since most high school teachers offer world history courses. They might also consider taking a couple of courses in some non-Western area, such as Latin America, Africa, East Asia, etc.
- Secondary Education (Social Studies). Some high schools prefer that their new hires are endorsed to teach social studies, because such people would be more flexible in terms of the range of courses they could offer. To acquire social studies endorsement, History majors must take: 12 credit hours in government; 6 credit hours in economics; and 6 credit hours in geography (see the list of eligible courses maintained by the School of Education).
For more information about endorsement, contact Dr. Roger Ries, Professor of Social Studies Education, in the School of Education, Jones Hall 334 [[rrries]]; 221-2345).


Many have asked how one applies the principles of Critical Pedagogy for Music Education to the choral rehearsal. While it is easier to write a general music lesson using a plan that focuses your thinking to problematize, prescribe, personalize and perform, many do not see how that might carry over into the choir. While the lesson plan model for classroom music does not transfer easily, the strategies and global precepts of critical pedagogy and Critical Pedagogy for Music Education do.
It is important to remember that Critical Pedagogy for Music Education is not a methodology. Methodologies imply a particular sequence of steps and an ordering of learning in a very specific way. For instance, Kodály has a very clear process by which students become musically literate. There is a procedure of preparation, presentation and practice whereby teachers introduce musical intervals in a specific and ordered way. Sol-mi is first, followed by sol-mi-la, etc. The Kodály experience is rich in folk material that is indigenous to the culture and in play party songs (sometimes thought of as games) to reinforce concepts. Orff, on the other hand, introduces musical experiences as they are connected to speech and focuses on experiences that are rich in improvisation and movement. Gordon also has a very specific taxonomy of steps one follows when presenting learning sequence activities to children. It begins with oral/aural and moves to theoretical understanding in a very deliberate order.
The choral rehearsal presents a unique set of problems as the choral experience is focused on repertoire rather than a specific skill set. Since each piece the choir sings presents its own unique challenges, no one size fits all. For some ensemble conductors, the performance is the end all and be all of the choral experience. Learn the notes, sing the rhythms, unify the vowels, tune the chords, and spin the phrase. For those conductors, a systematic routine or procedure works well. Those who advocate critical pedagogy are concerned with those issues too, but also have a concern for the ways in which the choral experience adds value to the singer’s life by changing perception and by transforming what is to what might and could be.
Tenets of critical pedagogy include the importance of dialogue; of shifting the power inside the classroom/rehearsal from the all-knowing teacher working with students who know nothing, to a teacher/student relationship that acknowledges that both have contributions to bring to the rehearsal. Advocates of Critical Pedagogy for Music Education are concerned with empowering the students to be musicians by nurturing and empowering their musicianship. Music literacy, in that paradigm, is much broader than being able to identify a key signature, a dynamic marking and a rhythm pattern. Choral conductors who embrace critical pedagogy recognize the importance of dialogue. In the choral rehearsal such dialogue is both verbal and musical with the ratio of taking to music making considered very carefully. Such dialogue involves singers and conductor posing and solving problems together. Advocates of Critical Pedagogy for Music Education recognize the power of community and know that fostering community is appropriately accomplished in the choral rehearsal.
In a recent class, I introduced several strategies that align to a commitment to Critical Pedagogy for Music Education. One strategy, I call “Circle All Around.” In this strategy the chairs in each section are arranged in two circles – one outer and one inner so that students in each circle face each other. This forms a partnership of two. Together, and informally, each set of partners scans the music to identify rehearsal or performance challenges and brainstorm a solution together. They predict those issues they may encounter that might hinder the group’s performance. The conductor then asks representatives of the group to clarify their issue and summarize the solution. Asking probing questions, the conductor helps the group to connect the issue, the solution and the music. Then, when the group sings the music, students check their predictions against the reality of what happens. A brief discussion follows. In some instances there is need for re-focusing, refining and remediating. The conductor moderates that. This technique comes from the literature on reciprocal teaching and differentiated instruction.
“Circle All Around” empowers musicianship and causes each singer to accept ownership and responsibility for ensuring that musical challenges are identified and conquered. Sometimes the conductor also identifies challenges, but after presenting the challenge, calls on students to suggest remedies. Individuals are often asked what they will do specifically to make something better.
As a conductor, I was able to apply principles of formative and summative assessment throughout. Schools are very concerned that teachers do ongoing assessments. As to formative assessment, I visited each group to monitor student engagement and student ability to stay on task. For summative assessment I was able to make judgments when we performed the music as an ensemble. Each time we stopped, I asked for a higher level of contribution.


Preventing failure at school
- ENGINEERING STUDENTS' SURVIVAL GUIDE: Success Isn't an Accident: Avoiding the Five Roads to Failure. Phillips, Bruce E. // Hispanic Engineer & Information Technology;Nov/Dec2003, Vol. 18 Issue 2, p38
Provides information on the reasons Hispanic American engineering students fail according to several guidance counselors and academic deans in the United States.
- The Effects of a Peer-Mediated Positive Behavior Support Program on Socially Appropriate Classroom Behavior. Christensen, Lynnette; Young, K. Richard; Marchant, Michelle // Education & Treatment of Children (ETC);Aug2004, Vol. 27 Issue 3, p199
This study explored the results of aligning functional behavioral assessment (FBA) information with positive behavior support plans (PBS plans) designed with consideration for teacher acceptability. The independent variable had the three major components of a package, including assessment and...
- The First Step: Some States' Working Definitions of Students 'At Risk'. T. M. // Education Week;9/21/1988, Vol. 8 Issue 3, p14
The article discusses the result of a survey indicating the majority of state governments that either adopted or are preparing a definition for the segment of their students at risk for school failure in the U.S. Their definitions had been based in state board and department policy statements,...
- No Choice But Success. Corbett, Dick; Wilson, Bruce; Williams, Belinda // Educational Leadership;Mar2005, Vol. 62 Issue 6, p8
Focuses on the belief of urban teachers in the U.S. that the responsibility for student success rested on the educators. Causes of student failure; Examples of practices used by teachers to reap positive results from students; Description of a good teacher.
- In Defense of the Underachiever. Hill, Helen // Education Digest;Nov1968, Vol. 34 Issue 3, p45
The article discusses underachieving students in the U.S. Every second pupil in American classrooms today, according to some tallies, is not performing up to his abilities. It has been estimated that one of every four youngsters is in serious trouble--a year and a half or more below his grade...
- SECONDARY STUDENT PERCEPTIONS OF FACTORS EFFECTING FAILURE IN SCIENCE IN PORTUGAL. Fonseca, Jesu�na M. B.; Conboy, Joseph E. // Eurasia Journal of Mathematics, Science & Technology Education;Jul2006, Vol. 2 Issue 2, p83
High rates of failure in secondary level science classes are a problem worldwide. Effective teaching and efficient management of schools requires information as to the causes of failure. One approach to acquiring this information is to improve our understanding of what the students themselves...
- Ilkï¿½gretim ï¿½grencilerinin Akademik Basarisizliklarina Iliskin Veli, ï¿½gretmen ve ï¿½grenci Gï¿½rï¿½slerinin Incelenmesi. Altun, Sadeg�l Akbaba // Ilkogretim Online;2009, Vol. 8 Issue 2, p567
The aim of this study is to find out factors that causes elementary education students' academic faliure. Participants were selected by using criterion sampling. Data were collected by elementary education studetns, their parents, and teachers through open ended survey. Collected data were...
- L'Ã©preuve des trois arbres. Le Bihan, M. // Echanger;2010, Issue 92, Special section p1
No abstract available.
- COLUMN ONE. R. R. // Education Week;11/25/1992, Vol. 12 Issue 12, p6
The article reports developments related to education in the U.S. The new study by the National Center for Education Statistics confirms that minority students are more likely to be at risk of school failure. The extension of remediation periods during the school day had helped disadvantaged...


School Flag Program: Managing Asthma Through Air Quality Awareness
By Melissa Payne
Imagine that you’re a child- or even a teenager- with asthma. Every day you go to school. It’s up to you to tell someone when you start to feel wheezy or your breathing is uncomfortable. But, sometimes it’s hard to stop or slow down what you’re doing and tell an adult.
So, what if there was a way for you to know what the air quality was going to be like- just by walking into school every morning? Your teachers would know. Your coaches would know. You would know. Everyone would have a part in keeping you and other kids healthy on poor air quality days.
As an adult, there’s something you can do to help your school make this a reality. The School Flag Program helps protect children’s health by increasing awareness about air quality and the effect it can have on children.
Local air quality can affect our daily lives and trigger asthma attacks. Like the weather, air quality can change from day to day. EPA developed the Air Quality Index, or AQI to make information available about the health effects of common air pollutants, and how to avoid those effects.
The School Flag Program is based on the AQI and participating is really simple. School officials raise the flag each day based on the colors of the AQI (green =good, red=unhealthy, etc.). The flag colors let kids, teachers, coaches and the rest of the community know what the air quality forecast is for the day. Using the program activity guidelines schools can modify their outdoor activities when the air quality is unhealthy.
To get your local school started, speak to someone in the school front office, a teacher, or coach. You can direct them to www.airnow.gov/schoolflag or print out a fact sheet from the website. It’s an easy way to keep kids healthy!
About the author: Melissa Payne works in the Office of Air Quality Programs and Standards and likes to write about science for kids of all ages.
Editor's Note: The opinions expressed here are those of the author. They do not reflect EPA policy, endorsement, or action, and EPA does not verify the accuracy or science of the contents of the blog.
Please share this post. However, please don't change the title or the content. If you do make changes, don't attribute the edited title or content to EPA or the author.


As rewarding as it can be to help our preschoolers learn their ABCs, parents sometimes need a break — and thanks to technology, we can take one. There are dozens of apps and websites designed to help build preschool reading skills, and many of the best are so much fun that children won't even realize they're learning. A few of the best include:
1. The Reading Rainbow App
The television show was canceled in 2009 after 26 years on the air, but producers are hoping to reach a new generation of readers with the recently released Reading Rainbow app. The app, which is geared toward ages 3-9, engages preschoolers through storytelling and virtual "field trips," and helps to build not only the skills essential for reading success, but also an appreciation for classic children's literature.
2. The PlayTales App
With the PlayTales Bookstore app, you can create your preschooler's very own virtual bookstore by downloading interactive titles from the comprehensive PlayTales library. An autoplay option is available for children who aren't yet reading, and the illustrations and games that accompany the stories will delight readers of all ages and abilities.
Starfall.com is a free website designed to teach preschool and early elementary children to read through phonics. According to the National Right to Read Foundation, "nothing develops the quick and accurate (automatic) recognition of written words better than does proper phonics instruction" — and what better way to provide this instruction than through fun online games and activities?
4. The abc PocketPhonics App
Prefer your phonics lesson on an app? Then check out the highly praised abc PocketPhonics app. The "Lite" version (which only includes 6 letters) is free, or pay $2.99 for the complete alphabet.
ABCmouse.com is a subscription-based website that offers a full learning curriculum for toddler, preschool, pre-K, and Kindergarten. Each child gets to create his own individual character and follow a "step-by-step learning path" that includes puzzles, maps, coloring, songs, reading, math, and more.
6. The PBSKids SuperWhy App
If your preschoolers watch PBS, then you're probably familiar with the show SuperWhy. With the app by the same name, your child can play games with their favorite characters, all while practicing sound and letter recognition.
7. The Letter Writer Oceans App
With the Letter Writer Oceans app, preschoolers "swim" through the ocean to find the floating letters they want to trace. The app only includes capital letters, but is still a fun introduction to basic letter formation.
Disclosure: I received a complimentary subscription to ABCmouse.com for the purpose of review. My 4-year-old and I struggled to navigate the website a bit at first — mostly because he's never used a mouse before, and because we had to figure out which level he belonged at through trial and error. But now that we've worked through the confusion, he's enjoying it immensely, and is quite proud to get computer time like his older sister.


Math 5 emphasizes the understanding of subtraction, multiplication, and division of fractions through the use of manipulatives. Students gain confidence as they develop reasoning and judgment skills through a variety of estimating and problem-solving activities. An optional pre-algebra chapter explores adding, subtracting, comparing, and ordering positive and negative numbers.
Mrs. Melissa Seeling teaches this course.
Recommended Viewing Schedule: five 30-minute lessons a week for a full year; 165 lessons per year
>> Click the Resources tab to learn more about the instructor for this course.
>> If you plan on using this distance learning kit before May 1, 2014, please contact Customer Service at 800.845.5731 to place your order.
Printed Teacher’s Editions are not included with this kit. A complete copy of the Teacher’s Edition (formerly TE on CD) and the Teacher’s Toolkit CD as well as files for printing materials from the Teacher Support Materials CD are available by logging into your account (Available May 1, 2014). If you desire a printed Teacher Edition, please contact Customer Service for special pricing.
All DVD and Hard Drive Distance Learning kits now include a Parent Guide as well as a Student Worksheets Packet which have all of the teacher support materials and answer keys needed for the subject(s). Learn more.
|109249||Math 5 Home Teacher's Edition (2nd ed.)|
|109256||Math 5 Home Teacher's Packet (2nd ed.)|
|268607||Math 5 Student Text (2nd ed.)|
|082891||Math 5 Student Materials Packet (2nd ed.)|
|083014||Math 5 Teaching Charts Flip Chart (for use with 2nd ed.)|
|082909||Math 5 Tests (2nd ed.)|
|082917||Math 5 Tests Answer Key (2nd ed.)|
|363119||DL MATH 5 DVD MOD 09|
Melissa graduated with a bachelor's degree in Elementary Education 2008 and a master's degree in Elementary Education in 2010. Shortly after finishing graduate school, she married Hans Seeling. About a year later, she began teaching here at Press Distance Learning. “I am thankful for the opportunities that the Lord has given me, and my desire is that He will use me to impact the lives of my students. Thank you so much for giving me the opportunity to teach your child and to have a small part in your child's education. ”
Math 5 DVD with Books342212
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VIEWS: 2 PAGES: 3 POSTED ON: 5/18/2012
Lesson: Georgia O’Keefe Flowers Art Education Oshkosh Area School District Painting Level: 3rd Grade Unit: Melissa Harmon Teacher: Photos of Finished Product, O’Keefe paintings Objectives Materials/Resources Students will understand the life story of Georgia Getting to Know Georgia O’Keefe by Mike Venezia O’Keefe. Students will create their own Georgia flowers O’Keefe-style paintings. Students will demonstrate knowledge of complementary and analogous colors. Art Education Benchmarks-3rd Grade A1.3.1 Understand content vocabulary A1.3.3 Understand that art communicates the voice/style of the artist A1.3.4 Know and remember visual information Nature, Books, Illustrations, Reproductions, Photographs, Mass Media A1.3.5 Understand that an artist is sensitive to the visual world. Detail, Observation C1.3.1 Use the elements and principles of art and design to produce art. Line, shape/form, color, texture, space, balance, emphasis, unity, and repetition C1.3.2 Use various art media Painting, Drawing, Print Making, Ceramics, Mixed Media C1.3.3 Develop basic skills appropriate to media C1.3.4 Demonstrate Craftsmanship D1.3.2 Use basic art language and concepts that may include form follows function, less is more, originality, symmetry, and balance E1.3.1 Produce artwork to create meaning and communicate ideas Studio art forms, Design art forms, Arts and crafts, Sketches, models, and visual brainstorming G1.3.1 Know the importance of visual literacy Describe, Analyze, Interpret, Judge, Compare/Contrast, Create H1.3.1 Understand that critical observation impacts artwork Design, Quality, Production, Procedures I1.3.1 Understand that art communicates feelings and/or emotions Create, Reflect, Discuss L1.3.1 Develop original ideas and produce artwork Personal experiences, Nature, Other artists, Intuition, Media M1.3.1 Demonstrate the characteristics of a global citizen Uses time effectively, Listens attentively, Follows directions, Works independently, Shows respect, Cooperates with others Key Content Language-3rd Grade Painting Key Content Language: color, neutral, warm, cool, primary, secondary, complimentary, brushes, blending Drawing Key Content Language: design, line, shape, space, texture Other: tertiary, contrast, organic, hue Procedure Day One: Read Getting to Know Georgia O’Keefe. Demonstrate to students how to draw a flower like Georgia O’Keefe by concentrating on the inside of the flower and keeping the lines simple and organic. Have one large flower in the center of each table and the students will choose the flower they would like to draw. Demonstrate painting: Choose one primary or secondary color for the main color of the flower. Blend an analogous color into each petal, starting with one side, and getting truer to the original hue, closer to the other side. Day Two: Continue painting. Use the hue’s complementary color in a space where the background shows through next to the flower. *in between classes, the teacher mounts the painting onto a piece of railroad board Day Three: Hand students their pictures and have them describe their painting with one word, i.e: calm, firey, peace. Use that word to title the painting with a label. Share with the class!


Information about implementing Early Head Start–Home Visiting is included in the Head Start Program Performance Standards and in resources included on the Early Childhood Learning and Knowledge Center (ECLKC) website.
Service Delivery Forms
No information is available.
Although Early Head Start does not require the use of a specific assessment tool, each Early Head Start program must implement a process for ongoing assessment. The Head Start Program Performance Standards require that programs perform or obtain screenings to identify concerns regarding a child’s developmental, sensory, behavioral, motor, language, social, cognitive, perceptual, and emotional skills. Early Head Start recommends that programs implement screening procedures that are sensitive to the child’s cultural and linguistic background and that the screening be done in conjunction with the child’s parent.
Early Head Start-Home Visiting programs are not required to follow a specific curriculum. Rather, the Head Start Program Performance Standards stipulate that programs select an in-home and group-based curriculum that encourages the development of secure relationships, trust and emotional security, and opportunities for each child to explore a variety of sensory and motor experiences, and that supports other aspects of social, emotional, and physical development. The curriculum must be based on sound child development principles about how children grow and learn.
Because programs select their own curriculum, they can select materials in the languages appropriate for the families they serve. All Early Head Start-Home Visiting programs are required, through the Head Start Program Performance Standards, to work with families in their primary, or preferred language.
According to the Head Start Program Performance Standards, Early Head Start-Home Visiting programs must establish and implement procedures for the ongoing monitoring of their own operations, as well as those of each of their delegate agencies. At least once every program year, Early Head Start-Home Visiting programs must conduct a self-assessment of their effectiveness and progress in meeting program goals and objectives and in implementing federal regulations. Early Head Start-Home Visiting programs are monitored for compliance with the performance standards every three years by a team of external consultants. The review teams use a monitoring protocol developed by the Office of Head Start to review programs.
All Early Head Start-Home Visiting programs must follow the relevant Head Start Program Performance Standards as outlined in 45 CFR Parts 1301, 1303, 1304, 1305, 1306, and 1308.
The information contained on this page was last updated in April 2013. Recommended Further Reading lists the sources for this information. In addition, the information contained in this profile was reviewed for accuracy by the Office of Head Start on April 8, 2013. HomVEE reserves the right to edit the profile for clarity and consistency.


“Advances in digital and networked technologies mean that more young people are participating today in the production and sharing of culture and knowledge than in any time in human history.”
“Artists help us see ourselves. They stand at the precipice of the present and look into it.” It was with this mindset that Steinhardt Assistant Professor David Darts threw himself into curating Conflux, an international art and technology festival that promotes the intellectual and artistic investigation of everyday urban life though emerging artistic, technological and social practices. The event featured three days of lectures, performances, workshops, and exhibitions from over 150 public space scholars and artists, and included a virtual golf game played in the streets of NYC, a human-scale chess game spanning 10 city blocks, and an iPhone drumming circle held in a local park.
Darts teaches in the art education program and serves as associate director of the Steinhartd’s MA Studio Art Summer in Venice, Italy. Darts approaches his teaching with the same curatorial eye he uses for Conflux by challenging his students to experiment, take risks, and push boundaries with their work. He also encourages his students to place themselves and their artworks directly in dialogue with the community. “Introducing young people to the methods of public-space artists and art activists can be a powerful way of modeling and inspiring artful forms of civic engagement.”
A native of Vancouver, Canada, Darts' educational background combines studies in English literature, fine arts, curriculum studies, and art education. His research focuses on the convergences between education, contemporary art and media, technology, and democracy. His Creative Tools for Critical Times (CT4CT) is a web-based research project and repository of artistic works that exist at the intersection of contemporary culture, critical theory, and civic engagement. The site serves as a research tool and archive of contemporary artists and artworks.
Darts believes technology is profoundly transforming cultural practices and lowering the barriers to artistic production and collaboration. “Advances in digital and networked technologies mean that more young people are participating today in the production and sharing of culture and knowledge than in any time in human history,” he said. While he sees this as a positive development, his research also reveals a growing rift between the lives of contemporary young people and the culture inside schools. “Educators will be increasingly pressed to find ways to integrate young peoples' experiences and cultural practices outside of school with instruction within the classroom.”
Darts is currently writing a book whose working title is “Hacking School,” where he will explore the lessons that teachers and schools can learn from amateur artists, electronics enthusiasts, DIYers, and other “makers” of contemporary culture. “Schools are no longer the primary site for teaching and learning in our society. We can learn a great deal about intrinsic motivation and learning by studying and participating in the communities of practice that are springing up all over the world,” he said.


LitTECH Outreach was a 3-year OSEP-funded outreach project conducted by staff at the Center for Best Practices in Early Childhood (the Center), a research and development division of the College of Education and Human Services at Western Illinois University. LitTECH was based on ideas that work—the positive results of two research studies and two related research-based early childhood technology and literacy projects, all conducted by the Center. The project was designed to link the results of effective emergent literacy technology research findings to early childhood practice, thereby improving emergent literacy practices for young children with disabilities.
LitTECH was replicated in 10 sites: three sites in Year 1, eight sites in Year 2, and eight sites in Year 3. Some sites participated more than one year. Nine sites were in Illinois and one was in Missouri. Sites included early childhood centers, a Head Start program, pre-K programs, and special education cooperative classrooms. The total teacher sample over the 3-year period was 92 treatment classroom teachers (some participating more that one year) and 37 comparison classroom teachers. Treatment classrooms over the 3 years served 1,549 children (some more than one year). Comparison classrooms served 609 children.
- improve educational practice by linking tested research results to practice in replication sites
- provide access to the general curriculum, specifically related to literacy development, to children with disabilities
- promote awareness of the positive effects software and adaptations can have on children's literacy skills
- provide effective teaching/learning strategies for early childhood personnel and families
- advance the knowledge and competencies of those using emergent literacy technology applications with children with disabilities.


Bilinguality and Literacy: Principles and Practice
What are the educational needs of bilingual children? What methods can be deployed to develop their education? And - most important of all - how can their bilinguality be an asset in the classroom?
Applying theory and research findings to classroom practice, Bilinguality and Literacy demonstrates how bilingual children can benefit from a sensitive, informed and challenging education. With plentiful case studies and examples of children's work, this rich and optimistic text shows how children's bilinguality provides opportunities for the development of literacy throughout the curriculum.
The book includes contributions by Maggie Ross, Li Wei, Peter Cunningham, Ian Menter, and Azar Sheibani, together with a foreword by Colin Baker.
Cosa dicono le persone - Scrivi una recensione
Nessuna recensione trovata nei soliti posti.
Bilinguality literacy and principles
Bilinguality and making learning
aami ekta bhooteir golpo likhba
Bilinguality imagination and literature
Abidur activities adult Anancy asked Bangladesh Bengali bilingual children Bollywood Chapter child children learn children's bilinguality Chinese classroom cognitive collaborative confident contexts create creative curriculum discussion enable encouraged English environment example experience feel fluent fluently ghost Gujarati Hindi image-forming images imagination important interactive Jaswinder Jill Murphy Judith Kerr Kasi Keith Hill knowledge language awareness language shift languages and cultures learners linguistic listening literacy development literary language look Maggie Ross Mahinder meaning meaning-making metaphor mother multilingual Nadia Namita narrative Nirmala nursery opportunities Paramjeet parents Pat Hutchins peers play poem poetry Punjabi Rabab reader refugee children responses rhymes role Samia samosas second language Seema shared significant skills social songs sounds speech story strategies structures talk Tasnim teacher teaching tell understanding Urdu Uzma voice words young bilinguals Zaida Zubair


Many organizations do not require you to have any special skills; simply a good work ethic, an open mind, and a willingness to learn. Here are five voluntourism opportunities that are sure to be eye-opening and impactful.
Volunteering in Mexico: Teach English to University Students
Many non-English speakers in Mexico would like to learn the language, and the most effective way to learn any language is to study it with a native speaker. In Global Volunteers’ host communities of Queretaro and Guanajuato, volunteers teach conversational English to college students, either individually or in small groups, in a fun, informal environment for several hours a day for two weeks.
Volunteers build relationships with the students, and learn about their country and culture while helping them build their English language skills. Here, the emphasis is not on grammar, but on conversation. No previous teaching experience is required. The class will use a syllabus and textbooks.
Volunteering in India: Community Development in New Delhi
Women worldwide are striving for equality in their societies. In New Delhi, you can volunteer at women’s organizations to help provide forums and resources for local women. Ways volunteers can contribute include exchanging ideas on ways to fight for women’s rights, coming up with income-generating projects, teaching basic computer skills, helping with small businesses, providing shelters for victims of domestic violence, or even providing childcare services while mothers run errands.
There is strength in numbers, and when women are fully integrated into their communities as equal citizens, their communities, local economies, and the world at large benefits. Volunteers must commit to at least three weeks and can stay for a maximum of twelve weeks.
Volunteer Vacations in the US: Helping and Exploring New Orleans
Six years after Hurricane Katrina devastated the Gulf Coast, there’s still much work to be done in rebuilding many of the areas affected. In New Orleans, Sierra Club volunteers work under the inter-faith group, Center for Ethical Living, and focus on housing construction and repair, and wetlands restoration. In addition to learning about the importance of wetlands to the environment and the issues that have stalled restoration, volunteers will also have ample opportunity to explore the city on their own and in groups, as well as listen to and facilitate dialogue with speakers on the history of race and class politics in New Orleans.
The trip’s duration will be one week. Check the website for the itinerary, and keep in mind that the program may be subject to change due to weather or other conditions.
Volunteering in Poland: Witness to History
Sixty-six years ago, one of the darkest periods in human history ended, leaving six million Jews, along with millions of other Europeans, dead in its wake. Volunteers who participate in this 10-day journey will help preserve the memory of those who perished during the Holocaust and learn about modern-day Jewish life in Poland.
The program starts in Krakow, where volunteers take a guided tour of the city and are introduced to Jewish culture. Next, they take the bus to Oswiecim, the location of the Auschwitz-Birkenau Concentration Camp. Here, volunteers will work on projects at Auschwitz and the nearby Jewish Cemetery that range from groundskeeping, to working with artifacts. After volunteers complete their service, they return to Krakow.
Volunteers are sure to come away with a deeper understanding of the resilience of Jewish people, and people in general, and humanity’s capacity to triumph over devastating tragedy.
Volunteering in Jamaica: The Music Project
The arts are a vital part of every culture. If you play an instrument and love a wide variety of music, this program is an opportunity to use your expertise to teach music education to children in Jamaica. Volunteers will teach children between the ages of 6-18 how to play keyboard, guitar, drums, flutes, and violins, as well as instruct children on how to read and notate music, improvise melodies, and compose and arrange music. The education and experiences children gain from this program have the potential to not only bring them a greater appreciation of music, but also a better understanding of the connection between music and culture.
This program focuses primarily on traditional Jamaican music, but volunteers will also be encouraged to develop workshops on different music genres for students. Volunteers can choose their own start and end dates, but they must commit to at least two weeks.


The story of puppets Hur-Ray© and Kiddazy® is a full-color picture book that is a fun and innovative way to bring imaginations to life. Role-play discussions build boys and girls self-esteem. What a wonderful way for your child to learn that he or she is special! Children blossom when they know parents are always there to cheer them on and be supportive.
Play is Important
American Academy of Pediatrics recommends unscheduled family time and free, child-centered play to build creativity and emotional resiliency in children
(Clinical Report on Play, Oct 9, 2006)
Today’s factors driving concern for how children use their time: (AAP)
- More families rely on outside child care or after school programs while parents are at work.
- More families are aware that the first years of life are essential to future learning and want to make the most of their children’s time.
- Structured and unstructured play proves an invaluable medium for developmental and emotional learning.
Through self esteem activities, children develop important foundational skills to enhance and refine their natural inclination to imagine and use this special ability as a powerful vehicle for developing language and creativity resulting in a positive self-concept. This gives them self-confidence, and successful images.
A child’s self esteem is as important to them as the air they breathe, this kit helps parents, big sisters and brothers, even aunts, uncles and grandparents foster an atmosphere in which self esteem can flourish.
YYOL® teaches all to find the inner “cheer” so you and your child end up feeling better about yourself and stronger inside. You'll teach them positive ways to deal with strong feelings like anxiety and bullying. And you'll discover the “YEAH YEAH” message and communicate to them the times when they’ll need it most!


New online training outlines nine strategies for improved reading and writing
The Laurent Clerc National Deaf Education Center has developed a free, self-paced, online course, entitled Literacy-It All Connects, that provides teachers with an overview of the components of a balanced literacy program for deaf and hard of hearing students from preschool through high school. This research-based training reflects effective teaching practices in schools around the country and highlights a literacy program based on nine strategies for encouraging the development of reading and writing skills.
The nine literacy strategies are:
- Reading to students
- Dialogue journals
- Shared reading and writing
- Writer's workshop
- Independent reading
- Journals and logs
- Guided reading and writing
- Language experience
- Research reading and writing
The course features presentations in American Sign Language on each of the strategies, as well as suggestions for, and real-life examples of, application of the strategies in the classroom. Online course participants will come away with an understanding of the nine strategies and their importance in supporting the literacy development of students.
Register now: Literacy-It All Connects
For more information, contact firstname.lastname@example.org.


Young children dance their way through the alphabet, learning as they play
Search the full text of this book
Illustrated by Robert Bender
Children learn best through movement and play, and the delightful, colorful Alphabet Movers inspires kids to shape letters with their bodies while dancing from A to Z. Using movement-rich words, like bounce and climb, children are encouraged to create a dance with a specific letter or to jump, hop, leap, and skip from letter to letter to spell words and have fun.
Distributed by Temple University Press for Teresa Benzwie
"An excellent resource for teachers and parents -- and loads of fun for kids. Benzwie uses movement, song and rhyme to teach young children the alaphabet. Children can instinctively create, perform, and respond to language through movement which builds strong pathways to learning. Easy and fun to use at home or in play groups, early childhood programs, nursery schools, or elementary education classrooms. Kids learn better through movement and kinesthetic learning. Highly Recomended!"
Teresa Benzwie, EdD, has earned graduate degrees in Early Childhood Education, Dance Education, and Clinical Social Work. She is a former kindergarten teacher and international presenter in the use of creative movement. Dr. Benzwie is a licensed clinical social worker in private practice at the Center for Creative Change and mentors Temple University dance students as part of the Teresa Benzwie Dance in Education Grant. She is the author of A Moving Experience (book and video), More Moving Experiences, and Numbers on the Move.