Step 1: Identify a problem.Step 2: Research the problem.Step 3: Develop a collective plan of action toaddress the problem.Step 4: Implement the collective plan ofaction.Step 5: Evaluate the action, assess its efficacy,and reexamine the state of the problem
Steps are always helpful, I remember reading about this method somewhere in the past before. YPAR follows identifying a problem, research, collective plan, implement, evaluate.
In other words,I understood that Freire’s concept of reading theword and the world together applied to the readingof a dominant, oppressive narrative along with theneed for a liberating counternarrative to tell moreabout young people experiencing the name of thetardy policy through their eyes and perceptions
This reminds me of how we could shift voice into classrooms. This would also be framing of the students counter-narratives as something valuable with knowledge
ara’s pedagogy of spatial justicerecognized and valued the work her students do everyday to make meaning from their surroundings, as well asempowered them as actors able to interpret and perhapseven to change the places they inhabit.
This reminds me of seeing students as makers, and recognizing that students are people with their own lives, identities, as well as funds of knowledge. It is important that we empower our students in the classroom.
Finally, Kara invited students to participate incomposing counter narratives through their culminatingproject: a position paper in which they synthesizedinformation throughout the unit and proposed ways toaddress obesity in the African American community.
Excellent way to shift towards the end of a unit. This allows students to be makers, meaning that they can be critical consumers of their environments and promote or propose ideas on how to change their environment.
The “focal point” ina corrective lens is the exact location where one’s vision becomes clearest
This reminded me of a policy that my school follows called "corrective restorative practices" thinking about why a students critical consciousness more in depth rather than implementing strict discipline.
However, it is important for educators to understandthat pedagogies of healing and critical media literacy are not limited to Blackyouth. It is our hope that educators will use these tools to examine, heal, andinterrupt the narratives that mainstream media use to negatively portrayother marginalized youth. Finally, it is important for educators to implementthese same tools with White students who benefit from white supremacyand the damaging narratives that mainstream media produce about Blackyouth and other youth of color
Importance of educators to implement the same tools of education that benefit white students. Thinking about the traditonal concept of education as white supremacy followed by damaging narratives from the mainstream media about black youth. An example of this off the top of my head is thinking about gun violence in chicago and how often the news is always reporting shots on the southside of chicago, when something happens vise versa it does not get as much coverage and I think this is to protect the "image" of the community that it is flawless and perfect which is a damaging concept.
Once studentsreceive their original sheet of paper back, they will be asked to take a fewmoments to review the remarks written on their paper and be prepared todiscuss as a whole clas
Interesting text of collaboration in classrooms, I often feel that feedback is important for students and is often overshadowed with negativity. Positive feedback is an important and crucial and creates a classroom environment that is good for rapport.
There are better ways to bring Native storiesand books about Native peoples into classrooms.I focus on Cynthia Leitich Smith’s (2000) picture-book Jingle Dancer to illustrate how classroombook collections depicting Native people could beimprove
This reminds me of the importance of a collective classroom library, sharing students stories with each other and incorporating these stories into our classroom libraries.
Use books by Native writers all year round
This reminds me of the importance of incorporating stories that our students can relate to in the classroom environment. However, sometimes stories can be more harmful than we think rather than good. So it is important for educators to research the authors that they are presenting
I never really knew the greatness of black individuals. . . . I now know why, due to therebeing a certain system, not built to teach black individuals about their history andgreatness. . . . Still I ask myself why was I not taught this in my early educational career.I thought I was suppose to learn all this in school, but who knew that I’d have to stepaway from school to learn this information.
I remember conversations about work when I was younger, not too much conversations were around the concept of college, and rather trade work.
Across these activities, she noted how Khaleeq andhis peers were actively engaging in the community by questioning and writingjournal entries about visible signs of gentrification.
Students notice change in their communities this is not a new concept or something that should be shocking. I think that it is important that we bridge our community into our curriculum, incorporating storytelling, and providing lessons that are engaging.
Finally, fairy tales wereselected because they represent a set of narrativesthat most young children are exposed to in earlyliterary interactions or through educational chil-dren’s programs. Together the model represents theinteractions
This made me think about the recent outburst that fired when the new ariel movie came out and individuals were acting all shocked and offended. This impacts young children's perspectives and their imagination of the future, as well as how life should be. White cinderella becomes a young girl's dream, this is a toxic trait that can follow into adulthood
“Black girl” that manifests itself in intricateways. Literature has the power to oppose or upholdstereotypical depictions of Black girls and women
Thinking about how Individuals should be represented as a whole and not in a deficit based lens. Literature and thinking about often that young adult literature can push these concepts that uphold stereotypical depictions
Educational policy has placed teachersin a precarious corner of needing to address the ongoing needs and ques-tions in their classrooms while also navigating worries that administrators,parents, and observers may see these efforts as indoctrination.
This made me think about the meaning of hidden curriculum. How are we ensuring as educators that we are addressing state standards while also addressing the needs of our students social and emotionally. This also makes me think about how we can intertwine transformative healing practices into our everyday curriculum
The harm caused by Trump’s words and actions during and after the electionmakes clear how politics connect with and exacerbate the trauma and painfelt in schools
Often times external factors are often overshadowed in the class room environment. These factors can pile up and cause traumatic experiences in the classroom. I think it is important for educators to honor and recognize these in the classroom. When we pay attention to how our curricula can honor students traumas and relate to experiences in the classroom.
These days I attempt to teach a critical literacy thatequips students to “read” power relationships at thesame time it imparts academic skills. I try to make myliteracy work a sustained argument against inequalityand injustice.
Linda C was an author that I read in undergrad, I believe it was an article called "Rethinking Schools" it was about honoring students names and in particular I enjoyed an activity called a name poem. However, when I first gave this activity to my students I realized that my students did not have the foundational skills to create a poem, so we did some backwards thinking and did a few lessons on that. The second time around it went really good. This section reminded me of some importance towards academic skills.
When I stopped attending to test scores and startedlistening to the music of my students’ voices and seeingthem as “more than a score,” I increased my capacity toengage them. I knew what didn’t work, but I still didn’tknow what did work
Being on the MTSS committee at my school, we are often so focused on assessment and comparing students scores to other students scores, I often found that they do not enjoy my input on testing scores since I feel that it is little to none of information that truly captures a student. I suggested a check in and out program at my school for these students to ensure that they are even in the right headspace to learn for the day. Linda C makes some excellent notes about how we should stop viewing our students as test scores and numbers.
stressthe following guiding principles for any writing program:n Teachers must be writers.n Students must see themselves as writers.n Teachers must cultivate spaces for students towrite.n Students must have opportunities to write inmultiple ways, for multiple purposes, and inmultiple genres.n Teachers must honor and respect youth-led andyouth-centered writing practices
It is interesting to read these guidelines. I think about how in my own classroom space that we are often doing quite a bit of writing activities. I get a handful of questions from students like "isn't this art??" I provide students the opportunity to write about art since I feel like that is often overlooked, especially in middle school art curriculum.. I like to stress that art is not always about creating and creating! but it has a process to it! For us educators, regardless of content area we should be providing opportunities for students to use these guidelines in our classroom spaces.
I askthem to complete the statement: “I am a [blank] writer.”This exercise presumes their writing competence andassumes that all youth are writers. They cannot beexempt from the identity of writer, even if they seethemselves as a “bad” writer. Our starting point is thatour writing community includes everyone. We are allwriters; from there, we move forward
This reminds me of some of the teaching practices that I currently use in my art classroom. I use the phrase "everyone is an artist" quite a bit. I notice that my students would often groan and disagree and say "I'm bad at art!" I wonder if I took an approach like this if some of my students answers would shift or change? "I am a___artist" I think this approach would reframe the measurement of success and create opportunities for students to realize their artistic identities..
You are your child’s first teacher.The schools don’t teach the children anything abouthistory. They need to know their history.
Thinking about the importance of educating our children on our own stories, histories, and identities.