Workshop
Participants will engage in creating culturally responsive online teaching practice by reconciling best practices in online teaching and culturally responsive teaching. Participants will understand the potential for online education to reach students who have previously been under served. (Workshop)
Subcultures in The Classroom: Informing ELT, engaging students!Andrés Ramos
More often than we expect, there is a disconnect between our well-meaning efforts to make English classes meaningful to students and their “whatever” attitude. Is it us? Is it them? Is it the books? We will review the application of key concepts from demographics and sociolinguistics as simple research tools, and their application along with ELT strategies. As teachers, we can develop skills to replicate our students’ subcultures and urban tribes, so that they can contextualize English as a relevant aspect of their lives, in ways conducive to their really speaking and writing.
Fostering Creativity in the Sixth Grade at History Education through a Story-...Elias Stouraitis
This paper presents the results of an innovative conceptual framework called C2Learn [Fostering Co-Creativity in Learning through Digital Games], a European research project in Technology-Enhanced Learning. This project aims to foster co-creativity in learning through digital gaming activities. The challenge was to implement these activities in history education, which remains a subject of memorization of historical names and events. History education in Greece does not develop students’ imagination in an historical context. As such, students believe that history has nothing in relation to their lives and they face it as a given subject. In this research, students optimized teachers’ stimuli so as to develop their imagination in an historical context. Our hypotheses related to the following questions:
Do students actually believe that history is a creative subject?
Does this implementation give students an historical sense?
Does digital gaming develop students’ imagination and afterwards their creativity?
Do students acquire historical knowledge through this procedure?
This is a PowerPoint presentation that explores some of my work over the years. Please do connect with me via email if you have any questions. Look forward to connect with you!
New, improved, updated version just uploaded! This introductory 2.5-hour seminar is presented regularly to groups of instructors at the University of Toronto School of Continuing Studies on teaching to a multicultural audience. I use a cultural competence framework to approach the topic.
Subcultures in The Classroom: Informing ELT, engaging students!Andrés Ramos
More often than we expect, there is a disconnect between our well-meaning efforts to make English classes meaningful to students and their “whatever” attitude. Is it us? Is it them? Is it the books? We will review the application of key concepts from demographics and sociolinguistics as simple research tools, and their application along with ELT strategies. As teachers, we can develop skills to replicate our students’ subcultures and urban tribes, so that they can contextualize English as a relevant aspect of their lives, in ways conducive to their really speaking and writing.
Fostering Creativity in the Sixth Grade at History Education through a Story-...Elias Stouraitis
This paper presents the results of an innovative conceptual framework called C2Learn [Fostering Co-Creativity in Learning through Digital Games], a European research project in Technology-Enhanced Learning. This project aims to foster co-creativity in learning through digital gaming activities. The challenge was to implement these activities in history education, which remains a subject of memorization of historical names and events. History education in Greece does not develop students’ imagination in an historical context. As such, students believe that history has nothing in relation to their lives and they face it as a given subject. In this research, students optimized teachers’ stimuli so as to develop their imagination in an historical context. Our hypotheses related to the following questions:
Do students actually believe that history is a creative subject?
Does this implementation give students an historical sense?
Does digital gaming develop students’ imagination and afterwards their creativity?
Do students acquire historical knowledge through this procedure?
This is a PowerPoint presentation that explores some of my work over the years. Please do connect with me via email if you have any questions. Look forward to connect with you!
New, improved, updated version just uploaded! This introductory 2.5-hour seminar is presented regularly to groups of instructors at the University of Toronto School of Continuing Studies on teaching to a multicultural audience. I use a cultural competence framework to approach the topic.
Intercultural Learning from the Inside Out: Supporting Faculty, Staff, and St...CIEE
In this session, we'll explore research on the role of faculty and staff in supporting students’ intercultural learning, and discuss opportunities for intercultural development for education professionals, including training, coaching, and peer-learning groups. We'll share an institutional account of how intercultural training efforts have benefited staff and students. Participants will discuss how they can develop faculty and staff intercultural development programs at their own institutions to create more inclusive and effective programming.
Description from NCTE '14 Program: Within urban classrooms, students from culturally diverse backgrounds often experience a cultural disconnect with teachers. Through storytelling, teachers and students can build a common language for learning. Educators will pair narrative nonfiction across curricular content to demonstrate the power of scaffolding readers’ comprehension and build literacy independence.
Critical pedagogy: education in the practice of freedomAlan Carbery
Slides from a talk at the Vermont Library Association College & Special Libraries Conference, October 2015. Abstract: Our presentation focuses on the use of primary sources in library instruction to inspire students to think around issues of injustice and oppression. Following remarks on our chapter-in-progress for a book on Critical Library Instruction, the session will be devoted to introducing/discussing Critical Pedagogy and its influence on library instruction. Because Critical Pedagogy is dependent upon decentering the lecturer in favor of a participatory and community-driven style of learning, we hope this session can act as a forum for our colleagues to share ways in which they’ve incorporated facets of Critical Pedagogy into their instructional practice, ask questions about Critical Library Instruction, and offer any critiques they have of Critical Pedagogy/Critical Library Instruction. Delivered with Sean Leahy, Instruction & Learning Assessment Librarian, Champlain College.
Presented as an introduction to the study beginning in the fall - a personal reflection and literature review of the need to incorporate multicultural literature in the classroom on a frequent and regular basis to assist not only with reading skills, but in self development, esteem, and identification. Shared at UCF's International Conference on Poverty, Globalization, and Education: A Holistic Approach in February, 2015.
Webinar presentation for the TLC (Teaching and Learning Conversations). I expand on the use of Formulation in Learning Development and how it might be practised.
The Question is the Answer: Making the Language Arts Classroom Meaningful wit...darinjohn2
Ashley Jorgensen, Price Laboratory School, UNI
This presentation will focus on developing a curriculum built around inquiry-based units of instruction in a secondary language arts classroom. Audiences will have the chance to see evidence of how the use of essential questions can lead students into a process of inquiry, giving them the skills they need to think critically, question the world around them, and broaden and deepen their perspectives by connecting with others. Audiences will embark on a journey that takes them through a course entitled, ‘The American Teenager,’ and see the activities, assessments, and instructional strategies that transformed this course from a traditional study of American Literature to a course that is relevant, engaging, and challenging for teenagers in the 21st century. Through essential questions like ‘How do societal expectations impact our identity?’, ‘What are the costs and benefits of conformity?’ and ‘Is the American Dream a reality for all?’, this course blends classic and contemporary, and combines writers like Sherman Alexie with The Breakfast Club, Henry David Thoreau with text messaging, and Catcher in the Rye with Jay-Z. Audiences will gain important techniques for creating a classroom built around student-led discussions, including Socratic Seminars and blogging, as well as see examples of competency based assessments fully aligned with the Iowa Core Curriculum and National Common Core Standards.
Tips on teaching international students who come to study at university in the UK. Given at QMUL in 2015 as part of a taught postgraduate course in higher education.
Intercultural Learning from the Inside Out: Supporting Faculty, Staff, and St...CIEE
In this session, we'll explore research on the role of faculty and staff in supporting students’ intercultural learning, and discuss opportunities for intercultural development for education professionals, including training, coaching, and peer-learning groups. We'll share an institutional account of how intercultural training efforts have benefited staff and students. Participants will discuss how they can develop faculty and staff intercultural development programs at their own institutions to create more inclusive and effective programming.
Description from NCTE '14 Program: Within urban classrooms, students from culturally diverse backgrounds often experience a cultural disconnect with teachers. Through storytelling, teachers and students can build a common language for learning. Educators will pair narrative nonfiction across curricular content to demonstrate the power of scaffolding readers’ comprehension and build literacy independence.
Critical pedagogy: education in the practice of freedomAlan Carbery
Slides from a talk at the Vermont Library Association College & Special Libraries Conference, October 2015. Abstract: Our presentation focuses on the use of primary sources in library instruction to inspire students to think around issues of injustice and oppression. Following remarks on our chapter-in-progress for a book on Critical Library Instruction, the session will be devoted to introducing/discussing Critical Pedagogy and its influence on library instruction. Because Critical Pedagogy is dependent upon decentering the lecturer in favor of a participatory and community-driven style of learning, we hope this session can act as a forum for our colleagues to share ways in which they’ve incorporated facets of Critical Pedagogy into their instructional practice, ask questions about Critical Library Instruction, and offer any critiques they have of Critical Pedagogy/Critical Library Instruction. Delivered with Sean Leahy, Instruction & Learning Assessment Librarian, Champlain College.
Presented as an introduction to the study beginning in the fall - a personal reflection and literature review of the need to incorporate multicultural literature in the classroom on a frequent and regular basis to assist not only with reading skills, but in self development, esteem, and identification. Shared at UCF's International Conference on Poverty, Globalization, and Education: A Holistic Approach in February, 2015.
Webinar presentation for the TLC (Teaching and Learning Conversations). I expand on the use of Formulation in Learning Development and how it might be practised.
The Question is the Answer: Making the Language Arts Classroom Meaningful wit...darinjohn2
Ashley Jorgensen, Price Laboratory School, UNI
This presentation will focus on developing a curriculum built around inquiry-based units of instruction in a secondary language arts classroom. Audiences will have the chance to see evidence of how the use of essential questions can lead students into a process of inquiry, giving them the skills they need to think critically, question the world around them, and broaden and deepen their perspectives by connecting with others. Audiences will embark on a journey that takes them through a course entitled, ‘The American Teenager,’ and see the activities, assessments, and instructional strategies that transformed this course from a traditional study of American Literature to a course that is relevant, engaging, and challenging for teenagers in the 21st century. Through essential questions like ‘How do societal expectations impact our identity?’, ‘What are the costs and benefits of conformity?’ and ‘Is the American Dream a reality for all?’, this course blends classic and contemporary, and combines writers like Sherman Alexie with The Breakfast Club, Henry David Thoreau with text messaging, and Catcher in the Rye with Jay-Z. Audiences will gain important techniques for creating a classroom built around student-led discussions, including Socratic Seminars and blogging, as well as see examples of competency based assessments fully aligned with the Iowa Core Curriculum and National Common Core Standards.
Tips on teaching international students who come to study at university in the UK. Given at QMUL in 2015 as part of a taught postgraduate course in higher education.
Teaching TolerancePublished on Teaching Tolerance (httpww.docxssuserf9c51d
Teaching Tolerance
Published on Teaching Tolerance (http://www.tolerance.org)
Home > Relevant: Beyond the Basics
Blogs and Articles: Cultural Competence [1]
Overview:
Monica Edwards was frustrated. As a teacher in an urban elementary school, Edwards faced a
class that was largely African American and Latino: she was neither. She often felt that she
wasn’t effectively reaching them, and she was beginning to get discouraged.
Number 36: Fall 2009 [2]
Jacqueline Jordan Irvine [3]
Monica Edwards was frustrated.
As a teacher in an urban elementary school, Edwards faced a class that was largely African
American and Latino: she was neither. She often felt that she wasn’t effectively reaching them,
and she was beginning to get discouraged. (Monica Edwards isn’t her real name. She’s a real
teacher who told me her story privately.)
After hearing a colleague briefly mention her success in using culturally relevant instructional
strategies, Edwards decided to try her hand at the same. She bought a commercial CD called
Multiplication Rap, which promised to teach mathematics based on repetition and rhyme,
hand-clapping and a hip-hop musical style. She was sure the CD would appeal to her students’
interest in the rap music genre.
In the classroom, however, things didn’t go quite as planned. Students focused on the music
itself, paying little attention to the math objectives. Several were unimpressed with the CD, and
commented on the poor audio quality and amateurish lyrics. Except for the musical debate,
nothing much happened. The failure rate on Edwards’ weekly exam did not change.
Sadly, Edwards’ experience is not uncommon. Many teachers have a cursory understanding of
culturally relevant pedagogy, and a desire to see it succeed in their classrooms. The problem is
that in many cases, teachers have only a cursory understanding, and their efforts to bridge the
cultural gap often fall short.
“Culturally relevant pedagogy” is a term that describes effective teaching in culturally diverse
classrooms. It can be a daunting idea to understand and implement. Yet even when people do not
know the term, they tend to appreciate culturally relevant pedagogy when they see it.
Think of the film Stand and Deliver, in which Edward James Olmos, as teacher Jaime Escalante,
teaches his students about negative numbers using the example of digging and filling holes in the
sand on the California beach. He tells his mostly Latino class that the Mayan civilization
independently invented the concept of zero. When the students begin to catch on, the audience is
inspired by this moment of epiphany.
Relevant: Beyond the Basics http://www.tolerance.org/print/magazine/number-36-fall-2009/feature/re...
1 of 5 8/13/2014 11:27 AM
Most people understand intuitively that this type of teaching engages and motivates students.
Teachers want to be a Jaime Escalante for their own students — and they leap at the chance to
try new techniques or tools designed to bridge a cultural g ...
This is a presentation for ICTsummit.ca. First Nations Pedagogy for Online Learning, is a BCcampus-funded project led by Nicola Valley Institute for Technology in partnership with Kwantlen University College
Let’s Go, Let’s Show, Let’s Rodeo: African American Involvement in RodeoSSSJ
We examine the complicated and multi-‐dimensional roles that African American cowboys played in rodeo from its conception in the late nineteenth century. From rodeo’s beginnings, the visual representation of what rodeo was and is portrays a white sport; however, upon further inspection there are many unsung rodeo stars and heroes that have been left out of the narrative, specifically African American cowboys. (Paper presentation)
Beyond Diversity: Creating Communities Where Everyone Feels WelcomedSSSJ
Workshop.
An interactive discussion of what each of us can do to build communities where people from all cultural backgrounds feel welcomed and included.
Workshop
Pamela Oiler -‐ National Coalition for Cancer Survivorship, National Association of Social Workers, and Oncology Nursing Society Social Work, University of Wyoming Family Residency Program ABSTRACT: This is an introduction to the Cancer Survivor Toolbox which teaches professionals to care for cancer survivors in a geographically, culturally, and socio-‐economically sensitive manner. Upon completion of this course, participants will be aware of the entire scope of the cancer experience and have comprehensive resource information both for themselves and
Wind River UNITY Photovoice for Healthy Relationships: Sharing our Stories to...SSSJ
Photovoice is a medium of storytelling for social justice. We highlight how Native American youth draw on cultural heritage to enjoy and promote healthy relationships. Various counter narratives to commonly held stereotypes have emerged from this project. These narratives highlight the wisdom, strength, and power of Native American culture that guide young people in their spiritual, mental, physical and social development.
This paper would present the use of theatre as an inspirational and educational tool in promoting diversity and social justice. Web-‐based courses reach across geographical lines and allow various cultures to come together to discuss, explore and create works that produce change in their community as well as the world. The paper will focus on the creation, process and outcome of two specific courses: Theatre for Social Justice and Theatre of Diversity. The paper will show how theatre reflects social justice and diverse issues and then goes a step further in inspiring students to have a voice.
2. By the end of this session, you will O Review Best Practices in Online Teaching O Understand Culturally Responsive Teaching and its best practices O Synthesize and reconcile best practices in both Culturally Responsive Teaching and Online Teaching O Identify personal key “take aways” and next steps O All of the Above
4. “Distance learning environments are by no means immune to the problems arising from cultural differences. In fact, these environments may even be more prone to cultural conflicts than traditional classrooms as instructors in these settings not only interact with students who have removed themselves from their native culture, but they also interact with students who remain ‘physically and socially within the different culture, a culture that is foreign to, and mostly unknown, to the teacher’(Moore, 2006, p. 1).” “Questions of Culture in Distance Learning: A Research Review” SedefUzuner
25. Gay describes culturally responsive teaching as using the cultural knowledge, prior experiences, and performance styles of diverse students to make learning more appropriate and effective for them; it teaches to and through the strengths of these students. “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
39. Personal Assertiveness“Black and White Styles in conflict.” Thomas Kochman “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
42. Topic-associate discourse style – prolific use of conjunctions, topic chaining, circular rather than linear, creativity as much as content
43. Inductive Reasoning“Functions of Language in the Classroom.” C. B. Cazden, V.P. John, and D. Hymes. “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
47. Collaborative knowledge building“A study of mathematics achievement of Black students at the University of California..” Treisman, P.U. “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
48.
49. Topic-associate discourse style – prolific use of conjunctions, topic chaining, circular rather than linear, creativity as much as content
53. Co-narration storytelling“Indigenous Knowledge Systems and Alaska Native Ways of Knowing,” Ray Barnhardt and Angayuqaq Oscar Kawagley “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
54. Adaptability and Agility “Cultural Resiliency: 5 Essential 21st Century Competencies. “ Juan Carlos Arauz
63. translators of cultural resiliencies“Cultural Resiliency: 5 Essential 21st Century Competencies. “ Juan Carlos Arauz “Culturally Responsive Teaching: Theory, Research and Practice,” Geneva Gay
67. Social Networks Videos Live Sessions Tutorials Discussion Boards Recordings Readings GameS And more…
68.
69. Culturally Responsive Online Teachers identify and utilize cultural strengths and resiliencies through aligned online teaching best practices, while utilizing diverse discourse structures and curriculum.
(Facilitator's choice of personal story – could use props or visuals)Let me tell you about…Why I got involved with PBLHow I became interested in PBLMy experience in PBLA project I’ve done/seen…
You have to classify what these things are (materials, tools, instruction), and what you have control over, in terms of making it culturally responsive.
Are you having students collaborate? Are you allow for different voices in the materials taught?