BCTELA

by Krista Ediger

I've been teaching thematically for the nine years I've been in the classroom, but when I heard Jeff Wilhelm speak at the SFU Literacy Continuum Conference last August, his discussion of the importance of using essential questions to frame and focus units led me to reconsider my unit planning. I had been hearing murmurings of backwards design, and was involved in a group planning process two years ago for Humanities 8 which followed many of the principles of backwards design without my being aware of it, and I worked extensively with a partner on English 11 three years ago tackling big assessment questions, but I knew that it was time to explore the process further. The key difference between the unit planning I was used to and backwards design is the piece where, before deciding on instructional activities, teachers articulate the summative assessments they will use to determine whether or not their students have met their stated enduring understandings or learning outcomes.

Last year, I followed much the same program I taught the year before for English 12, and was feeling increasingly ineffective. In February, I decided I needed to plan the rest of my grade 12 course more purposefully, and so enlisted the help of a district consultant, Joanne Panas. In this article, I'll touch on our planning process, and then outline the unit itself, which grew into a multi-faceted, three month unit on story that touched on literary analysis of poetry and short stories, small group discussion, spoken word and personal narratives. Of course there are things I'll change next year when I teach this again, but it's a unit I will teach again, and some of the principles I practised in this unit in both the planning and implementing stages are ones that I am coming to understand as increasingly important in all my teaching: backwards design (identifying clear enduring understandings, essential questions, summative and formative assessments - all prior to the creation of daily lessons), planning with a partner or team, explicit teaching using modeling, gradual release, and differentiated instruction.

Our Planning Process

Before we began formally planning this unit, we had some conversations that focused on materials and activities. In particular, I was interested in a poetry unit Joanne had done last year with her English 10's that used text sets in a literature circle format. I also wanted to incorporate some spoken-word poetry that had been successful with my students in the past. We had a great conversation about how each of us might open a unit on short stories; from this came one of our big ideas: "Why do people tell stories?" After these informal chats, we set up a meeting to plan with a focus on backwards design. To our first meeting, I brought my copy of Understanding by Design, by Wiggins and McTighe; Joanne brought an activity from her staff meeting the day before, which was a boiled-down version of chapter 1 of Wiggins's and McTighe's book.

We began by determining the enduring understandings we wished to address, and these were based on our knowledge of the new ELA 8-12 IRP and its increased focus on oral language. At the same time, we worked out our essential questions. It's important to note that this was something of a back-and-forth process, not a linear one. We wrestled with phrasing, pared down ideas, checked the book, and moved items from one category to another. Once we had these ideas down, we looked at the skills, knowledge, and attitudes we wanted the students to acquire. Though somewhat "old-school," these last three areas are still valid organizers with their practical and concrete nature, but we realized they should come after the enduring understandings and essential questions are determined.

Our next focus was on assessment. For this part, we decided to go back to our two enduring understandings. We created a chart that helped us see how for each of the enduring understandings, we would have a formative piece and a summative piece. We found it easier to divide the enduring understandings up somewhat, as you can see in our final chart. This gave us a good idea of what we would have students do to demonstrate their acquisition of the big ideas. Again, this was not a linear process; we excitedly came up with ideas for instruction and assessment as we chatted, and wrote them down separately for the next section. At times it was hard to keep focused on just the key assessments. As we worked, we realized that we wanted to weave stories and poetry together; from that came the idea of choosing poems for the literature circles that had something to do with the idea of "story," which linked back to our essential questions.

Next, we needed to get a sense of the flow of the unit-how would we instruct and assess students so as to move them toward these final assessments? Actually, it was by then a fairly simple process. I began by sketching out a flow for the unit, incorporating instruction using modeling and gradual release, as well as formative assessment. Together we brainstormed ways to flesh this out, while continually checking back to our big ideas. Once this flow was pretty well set, we went back through it to make sure we were following a clear pattern of instruction and practice, followed by assessment. When we created the chart from our notes, the purpose of each activity was clear.

We met again about a week and a half later; by that point, I had just begun the unit with a class on "stories" - the history of story, their purpose and power, how their roles have changed. We also talked about narrators and points of view and truth and perspective before sharing some of the stories we tell often from our own lives. Then we looked at three short stories: "Man from the South" by Roald Dahl, "The Bet" by Anton Chekhov and "The Chaser" by John Collier, and did a variety of pre/during/post reading strategies, followed by discussion that linked us back to our opening questions and the essential questions of the unit. Joanne and I began our second formal planning session by brainstorming other possible stories for later in the unit. Then we worked on the shift to poetry. We decided to do a "fishbowl" with three teachers, Joanne, me and Gordon Powell, the teacher-librarian at McRoberts, using a new poem for each of my three English 12 classes; in addition, each of the administrators was invited to participate in the fishbowl sessions, and we ended up having an administrator at each one. We also worked on the poetry literature circle idea, and began to think of suitable poems as well as how to make up the text sets. Because we had done so much work last time on getting a clear idea of our focus for the unit, we were able to spend more time on the actual instruction, materials, and student activities we would use. We were also able to take our initial notes from the first planning day and make changes and additions to them to reflect what was happening in the classroom.

This has been a great process, and has solidified for us a few key points: two minds (or more) are better than one; the process of backward design is very practical, but it's not linear; and there is no "one right way" to incorporate the key concepts of understanding by design into your own planning. It doesn't matter what route you take, as long as you get to the desired destination.

 

The following is the result of our initial work with backwards design.

  

Part 1: THE BIG IDEAS
Enduring Understandings

• Students will understand how to engage with and respond to literature and ideas, and to interact with others around those ideas, orally and in writing.
• Students will understand that stories have a variety of purposes in our lives and society, and a variety of effects on us.
  

Essential Questions

• Why do we tell stories?
• What are the ways we tell stories?
• What stories do I (students) want to tell? Skills:

Students will…

• Respond personally to literature and ideas
• Participate appropriately and thoughtfully in small-group and large-group discussions
• Make appropriate choices in diction, language, rhythm, and structure when presenting
• Write analytical paragraphs and essays about short stories and poems

Knowledge: Students will…

• Review and use the elements of literature and literary devices of short stories and poems

Attitudes: Students will…

• Gain an appreciation of the purpose of stories in our lives and culture n Demonstrate willingness to engage in and explore literature and ideas
  

  

Part 2: Assessment

Enduring Understanding	Formative Assessment	Summative Assessment
Engage with and respond to literature and ideas, and interact with others around those ideas, orally…	■ class discussion of rubric for group discussion; students use rubric to evaluate teachers in fishbowl discussion ■ self-assessment and teacher feedback of small-group discussions (first - poetry lit circles and then short stories)	■ self-evaluation of small-group discussions (poetry lit circles)
…and in writing	■ teacher feedback and self/peer-assessment of analytical paragraphs on poems and essays on stories using teacher rubric	■ teacher evaluation of analytical essay on short story
Understand that stories have a variety of purposes in our lives and society…	■ peer/self-assessment of language and presentation skills for group poem written in response to a story or poem, presented to the class	See below.
… and a variety of effects on us	See above.	■ teacher assessment of spoken-word poem (your own story) written by individuals and presented to the class (Poetry Café)

 

This list was started by Susan Ma and Celia Brownrigg.  It is meant to be open-ended and we hope it will enjoy many contributers.

 

Understanding Comics by Scott McCloud

- a great book to have.  McCloud acknowledges and tears down so many of our prejudices when approaching the graphic novel medium: comics.  The explanation of active readership (what goes on the our head when we read a graphic text) is easy to understand and integrate in to planning and instruction.  This is an excellent book for a novice in the graphic, or comics, form to start with.  It is written in the comics medium which facilitates McCloud's descriptions of the graphic form as well as subliminally reinforces the stance that "comics" is a medium suited to many types of content; don't mistake it as simply the message (sorry Marshall). This resource is a must-read for any teacher considering using graphic novels or other comics in class.

 

Panel Discussion: Design In Sequential Art Storytelling

Interviews with Masters of the Craft!  What's talking about graphic
novels without talking to the creators and storytellers?  The
interviews are very insightful.

 

 Graphic Novels in Your Media Library Center  by Allyson and Barry Lyga

This resource is notes from a teacher-librarian int he USA who uses graphic nevels in her classroom.   The Lygas' variety of grade coverage is good, covering grades two through ten, as well as their cultural coverage of both "eastern" and "western" graphic novels.  Check out their activity ideas too!

 

In Graphic Detail by David Booth and Kathy Gould Lundy

This resouce is exclusivly available to educators through Scholastic Education.  The approach in this book is particular to using comics in classroom activities.  While some of the examples used could be better, both authors are well-known educators and have great experience working with Canadian teachers and librarians.

 

After publishing the annual Wordscapes: British Columbia Youth Writing Anthology for the past six years, Ripple Effect Arts and Literature Society (REAL) will be relaunching the publication as the new Wordscapes Youth Arts Journal in March 2008. In addition to publishing nearly 50 talented high school writers and visual artists each year, the journal will also have a Contemporary Writing section with writing samples by established authors from Canada’s literary community. REAL is excited to have lined up a number of excellent writers to appear in the first three issues in 2008, including: Douglas Coupland, Christian Bök, Wade Compton, Rachel Zolf, Janina Hornosty and Billeh Nickerson.

The journal will be published three times a school year, and each issue will focus on one writing genre – fiction, poetry, and personal essay. The always topical and engaging youth writing and cover art in the journal is by the winners of REAL’s annual BC Youth Writing and Design Contest, now in its seventh year. All students who enter the contest receive a one year subscription to Wordscapes and a chance to win $100-$500 and publication in the journal. (The next deadline for student and school entries is May 31, 2008. See www.rippleeffect.ca in the new year for details.)

REAL believes the new Wordscapes Youth Arts Journal will give students a unique opportunity to read and be inspired by current writing practices as exemplified by their student peers and Canada’s diverse community of authors. For teachers, the journal will provide an enhanced classroom resource that sets a benchmark for provincial writing and motivates students with contemporary literature they are not normally exposed to through standard curriculum resources. Students whose teachers introduce them to Wordscapes in class generally demonstrate higher literacy and write more mature and accomplished pieces.

In order to give teachers an opportunity to see firsthand the quality and teaching potential of the new Wordscapes Youth Arts Journal, REAL is planning to donate 1000 copies of the first two issues to be published in February (Fiction) and March (Poetry) to BC school libraries and teachers. I’ve arranged it so that all BCTELA members who are interested in receiving a free copy just have to email REAL Society at info@rippleeffect.ca and write “BCTELA Wordscapes copy” in the subject line, and your Name, School, Position, and Mailing Address in the email.

I highly recommend all members take a few seconds to take advantage of this offer and check out this high quality publication. It will be a good read for both students and teachers!

 

BCTELA wants to keep English language arts teachers “in the loop” during the development of this exciting new course. Keep posted for lists of recommended resources and opportunities to get involved with piloting units of study by checking out the BCTELA web site (www.bctf.ca/bctela) and the First Nations Education Steering Committee web site (www.fnesc.bc.ca).

The BC Ministry of Education, in collaboration with the First Nations Education Steering Committee (FNESC) and the BCTF, is currently developing a new language arts course: English 12 First Peoples. English 12 First Peoples is intended to appeal to both aboriginal and non-aboriginal students and will present authentic Aboriginal voices (i.e., historical or contemporary texts created by or with Aboriginal people) and will feature various forms of text – including oral story, speech, poetry, dramatic work, dance, song, film, and prose.

 

It will give students opportunities to:

• work with oral texts and develop an understanding of the significance of oral tradition

• look at connections between texts and distinctively Aboriginal worldviews and themes

• experience texts in a way that reflects pedagogical approaches prevalent within Aboriginal cultures

• examine texts grounded in varied Aboriginal cultures, including local Aboriginal perspectives

The development of English 12 First Peoples occurs within the context of the new English Language Arts curriculum, which recognizes the importance of oral language by having ORAL LANGUAGE (Speaking & Listening) as one of 3 main curriculum organizers.

 

English 12 First Peoples will go beyond this by requiring students to:

• study some specific oral texts

• demonstrate understanding of the role and significance of the oral tradition in Aboriginal societies, with reference to specific examples How will the English 12 First Peoples curriculum be the same as the English 12 curriculum?

• It will be equally rigorous (counts as a Required Course in English at the Grade 12 level).

• It will include opportunities to study (& create, as appropriate) texts in a wide range of genres (novels, drama, song, speech, stories, film).

• It will use similar organizers, learning outcomes, and achievement indicators for the curriculum, where appropriate (i.e., adapt, NOT adopt).

 

How will English 12 First Peoples be different from English 12?

• It will focus exclusively on texts that present authentic Aboriginal voices.

• Themes, images, and ideas that are common to the experience of many Aboriginal people will be highlighted (social context for texts).

• There will be even more emphasis on oral text, and students will be expected to learn about the oral tradition (social context for texts).

• The use and student awareness of pedagogical approaches prevalent within Aboriginal cultures will be encouraged.

• Close connections between the classroom and local Aboriginal communities or organizations will be promoted. When will English 12 First Peoples be introduced?

• May 2007 draft curriculum
• July 2007 pilot resource package available u
• September 2007 pilot testing
• September 2008 full implementatio

GRADE 6 - POETRY

Title	Student	School	Teacher
Red	Mandy Wong	John Norquay Elementary, Vancouver	Kim Perry
Break Your Bindings	Russell Owen Copley	John Norquay Elementary, Vancouver	Kim Perry

 

GRADE 6 - PROSE

Title	Student	School	Teacher
Tomoe Gozen & the Great Battle	Alice Huang	John Norquay Elementary, Vancouver	Mr. Wrinch

 

 

GRADE 8 - POETRY

Title	Student	School	Teacher
Odd One Out	Grayeme Ritchie	Ecole Au coeur de l'ile, Comox	Monica Ashwell
Alternate Worlds	Roderick Gravoueille	Ecole Au coeur de l'ile, Comox	Monica Ashwell
The Potter	Damian Spence	Alpha Secondary, Burnaby	Mara Brkich
Sunrise	David Ivanov	Ecole Au coeur de l'ile, Comox	Monica Ashwell
Christmas Morning	David Ivanov	Ecole Au coeur de l'ile, Comox	Monica Ashwell
I AM FROM...	Alison Legge	St. Thomas Aquinas Secondary, North Vancouver	Ms. Dawn Goh Bugarin

 

GRADE 8 - PROSE

Title	Student	School	Teacher
Bloody Mess	Danel Teagai	Ecole Au coeur de l'ile, Comox	Monica Ashwell

GRADE 9 - POETRY

Title	Student	School	Teacher
Math  Homework	Elise Sarty Peterson	Ecole Au coeur de l'ile, Comox	Monica Ashwell

 

 

GRADE 9 - PROSE

Title	Student	School	Teacher
A day in the life of Peyton Stanley	Hilary Jahelka	Ladysmith Secondary, Ladysmith	Ms. Walker
Around the World in Two Months	Alexandra Dibnah	Maple Ridge Secondary, Maple Ridge	Cindy Thompson
Must Break Free	Tessa Leyland	Maple Ridge Secondary, Maple Ridge	Cindy Thompson
Stones	Mallory Wyant	Maple Ridge Secondary, Maple Ridge	Cindy Thompson

GRADE 10 - POETRY

Title	Student	School	Teacher
Mining Sorrows	Maciej Siwocha	Saint Thomas Aquinas Secondary, North Vancouver	Mr. Mendoza
Middle Ground	Claire Mackay	Claremont Secondary, Victoria	Susan Stenson
The Wooden Goat	Eric Xu	Burnaby North Secondary, Burnaby	Dan Roberts

 

GRADE 10 - PROSE

Title	Student	School	Teacher
What the Night Hides	Claire O'Brien	Shawnigan Lake Secondary, Shawnigan Lake	Stephanie Owen
Bent	Erin Murray	Shawnigan Lake Secondary, Shawnigan Lake	Stephanie Owen
Bittersweet	Maddie Burlin	Shawnigan Lake Secondary, Shawnigan Lake	Stephanie Owen

 

 

GRADE 11 - POETRY

Title	Student	School	Teacher
Addiction	Amanda Cribdon	Parkland Secondary, Sidney	Joan Saunders
Scarecrow	Stephen Glossop	Parkland Secondary, Saanich	Joan Saunders
Letter to a Dead Grandfather	Ian Kopp	Claremont Secondary, Victoria	Susan Stenson
Mommy	Sammy Leung	Langley Fine Arts School, Langley	Silvia Knittel
Fetish	Emma Kirkpatrick	Claremont Secondary, Victoria	Susan Stenson
The Veil of Kabul	Nicki Grewal	Claremont Secondary, Victoria	Susan Stenson
244 GPJ	Kendra Stone	Claremont Secondary, Victoria	Susan Stenson
Uninhibited	Becky Treieaven	Claremont Secondary, Victoria	Susan Stenson
Window	Emily Lankhorst	Sardis Secondary, Chilliwack	Mrs. Wieler

 

GRADE 11 - PROSE

Title	Student	School	Teacher
Unitard	Kristina Knappett	Claremont Secondary, Victoria	Susan Field
Dancing Lessons	Ian Kopp	Claremont Secondary, Victoria	Susan Stenson
Hands	Gloria Loi	Sir Winston Churchill Secondary, Vancouver	Mr. Buium

 

GRADE 12 - POETRY

Title	Student	School	Teacher
Happily Ever After	Sara Shayan	Point Grey Secondary, Vancouver	B. Lloyd
Thanksgiving Trenches	Matthew Hering	Parkland Secondary, Sidney	Mrs. Saunders
Someone Else's Grandmother	Cat Christison	Claremont Secondary, Victoria	Susan Stenson
Merry Christmas from ICU Six	R.L. Saunders	Claremont Secondary, Victoria	Susan Stenson
Iranian Football	Rachel Orfani	Claremont Secondary, Victoria	Susan Stenson
Elephant Tree	Chelsea Leadbetter	Claremont Secondary, Victoria	Susan Stenson
Word Choice	Kyle Lalonde	Sardis Secondary, Chilliwack	Mrs. Wieler
For Allen Whitman	Evelyn Gendron	Langley Fine Arts School, Langley	Silvia Knittel
Tall, decaf, extra hot	Ashleigh Toby	Claremont Secondary, Victoria	Susan Stenson
Susan Stenson	Ashleigh Toby	Claremont, Secondary, Victoria	Susan Stenson