Dialogue Fall 2005

8/7/2019 Dialogue Fall 2005

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Learning FromWhat Didnt Work:One Teachers Story

Dena Hause, SDAWP 2005

Inside...

Protecting Students FirstAmendment Rights . . . . 4Jeff Meyer

Have Funwith Words . . . . . . . . . 6Frank Barone

As A Writing TeacherI Believe . . . . . . . . . . . 7Jennifer Roberts

Young WritersCamp . . . . . . . . . . . 8-9Alia WilkinsonMichela N. RodriguezNatalia A. DeKock

Valeria SarmientoMegan GuaranoAlexandra Chenelle

Nurturing a Sense of Selfand Communitythrough Writingand the Arts . . . . . . . 10Susan Stark

My Today . . . . . . . . . 13Romero Maratea

A Journey That Deserves

to be Witnessed. . . . . 14Rachel Bronwyn

Also Inside:Project Notes. . . . . . . . . . 6CongratulationsNew Fellows . . . . . . . . . . 7PublishingOpportunities . . . . . . 14-15DialogueAnnouncements . . . . . . . 15

One Student at a Time

DialogueA Publication of the San Diego Area Writing Project Fall 2005

Teachers are expected to reach unattainable goals with inadequate tools. The miracle ithat at times they accomplish this impossible task. (Haim G. Ginot)

Experienced teachers know that the classroom is not a perfect world, where every childcomes in with a love of learning and receives support in a loving home environment. Mosclassrooms reflect a cross section of society. Some students come to school intrinsicallymotivated and eager to learn. Others are facing such overwhelming personal challengethat its amazing that they can accomplish anything at school. Yet despite these dilemmateachers face on a daily basis, and despite the expectations placed upon them by the district and the state and the nation, they are driven to walk back into their classrooms everyday. Teachers tackle the challenges in their jobs because they care about kids and theywant to help them be successful. Andrew was one such on-the-job challenge for me.

Andrews Story

Andrew was a cool kid. The girls thought he was cute and vied for his attention in thcourtyard before school. They tried to sit at the table closest to his at lunch and giggledand pointed in his direction until he looked over, then they quickly looked away. The boycompeted to earn a place in his orbit, wanting to be known as his compatriots. They waited in front of the school until he arrived, and walked into the building disappointed if hedidnt show up before the bell rang. They started dressing like him and used the phrasehe used. Yeah, Andrew was coolat least thats what the kids at his middle school thought

But the teachers at the school had a different opinion. All of the 5th grade teachers knew who he was, as did the vice principal, the school counselors, and the aides on duty alunchtime. Andrew was the kid who came to class late and usually didnt have a pencil o

a backpack. He was the kid who never brought his homework or returned notes senhome. He was the one who was regularly sent to the vice principal because he was disobedient and disrespectful and because he argued with the noon duties when he had topick up trash at lunchtime. In the teachers lounge at the school teachers shared horrostories and called him a waste of time.

Because of Andrews poor standardized test scores, he was placed with me in a three-houliteracy block. The theory behind the three-hour block is that students who are strugglingto read and write, those who are reading and writing below grade level standards, shouldreceive more literacy instruction. But three straight hours of reading and writing for kidwho have given up after years of failing must have seemed like some sort of torture. Fromthe beginning, Andrew was rarely engaged in the work of our classroom. I watched himstart many books, but he never finished one book all year. He rarely contributed anything


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hopeful and determined.

Unfortunately, Andrews mother was not true to her word. I trieusing the contract for a couple ofdays, and even called her severaltimes when Andrews behaviorpushed me to my limit. When she was home and took my calls shsaid the right things, but I could see

there was never any follow throughat home because Andrews poorbehavior continued to disrupt theclass. She had learned how to playthe game as well, to say what sheknew we at school wanted to hearso we would leave her alone. Iquickly became discouraged andstopped calling Andrews mother. Ibasically gave up on Andrew. I toldmyself that I needed to focus onthose students who were receptiveto my teaching, that it was better tospend my energy on those students

who wanted to learn and who cameto class prepared.

At the end of the year Andrewearned an F in my class and a U forbehavior. He earned similar failinggrades in his other classes as well.His behavior problems continued to

2

In Possible Lives: The Promise of

Public Education in America, Mike

Rose works against the negative

view of teachers and U.S. publi

schools that Hirsch offers. Rose

does this largely by changing the

parameters of the discussion.

While he also uses anecdotal evi-

dence, he is careful not to univer-

salize the stories he tells. He uses

specific examples of teaching prac-

tices that work only to suggest pos-

sibilities, not to universalize these

anecdotes, and not to claim univer-

sal excellence. Hirsch, on the other

hand, uses anecdotal stories to

claim universal decline in U.S. pub-

lic schools; this may be compelling

to some, but it makes for sloppy and

irresponsible arguments. We need

to find more ways to understand

and expose this kind of argumenta-

tion. This is not to say that what

Rose is doing is not valuable and

responsibly developed--I think it is;

it is, however, to say that we need to

broaden the kinds of responses

made to such arguments. how

Dialogue, Fall 2005

to classroom discussions or in bookclubs with his peers. He was verysocial, and enjoyed hanging out andtalking with his friends, but he wasapathetic about any and all school-work.

I was involved in those disparagingconversations about Andrew in the

teachers lounge, although I neverpersonally used the phrase wasteof time to describe him. It seemedwrong to think that of any student.But after a years investment of timeand effort into this kid, with little to

no effect, it is what I came tobelieve. So why is it, a month afterschool is out, that Im still thinkingabout Andrew? Why do I findmyself still wondering what else Icould have done to get through tohim? The truth is I did like Andrew,and I feel like I failed him.

My Story

I tried a variety of interventions forAndrew throughout the school year.Early in the year the 5th gradecounselor set up a meeting withAndrew and his mother and stepfa-ther. Andrew had been sent to thiscounselor repeatedly because ofbehavior problems in more thanone class, and the counselor want-ed to put him on a behavior con-tract. His teachers were to fill outthe contract, noting whetherAndrew had met specific goals forthe class. The contract was to besent home, reviewed and signed bythe parents, and returned to schoolthe next day. The counselor talkedto Andrews parents and Andrewabout appropriate consequences,both positive and negative, basedon the notes from teachers includedon the contract. His parentsappeared to be very pleased to see aplan being put into place and theytold us they were anxious to work with us to help Andrew be moresuccessful at school. They admittedthat they were having similar prob-lems at home and welcomed thecounselors ideas on how to work with him. We agreed to start the

contract immediately. I walked outof that meeting feeling that we were going to be a team and thatwe had a strong plan in place thatwould help Andrew. Unfortunately,the contract never got off theground and Andrews behavior did-nt change, so I decided I needed anew plan.

The next thing I tried was being onAndrews case every moment he was in my classroom, not lettinghim get away with anything. I fig-ured the only thing I had controlover was what went on in my class-

room and I was going to make surethat Andrew followed my rules.When he came in late he had to paythe consequence and pick up trashat lunchtime. When he broke aclassroom rule he was immediatelysent to time out. When he didntreturn homework he had to do itduring lunch recess. I was hopingthat Andrew would get tired ofbeing nagged, that eventually hedrealize that his life would be morepleasant in my classroom if he justdid what was expected. But thatmagical transformation never hap-pened. Andrew had learned how toplay the game before he even walked into my classroom.Eventually I got tired of being thenag and his personal supervisorand I chose to start ignoring hisbehavior, thus beginning the cycleagain.

My hopes were revived in thespring when I was finally able totalk to Andrews mother on thephone and she agreed to a parentconference in March. My teampartner agreed to sit in on the con-ference, and we confronted her with our concerns. She said shewas very upset as well and she con-vinced us that she was going to fol-low through on the contract planwe had devised at the beginning ofthe year. She also told us she was worried about Andrews grades(and whether he would even passto the next grade) and she agreed to work with him on completing hishomework. So once again I was

So why is it, a month after school is out,that I am still thinking about Andrew?The truth is I did like Andrew andI feel like I failed him.

DialogueFall 2005

Issue No. 17One Student at a Time

Editors: Stacey Goldblatt Jennifer Moore

Page Design: Janis JonesWriting Angel: Susan Minnicks

Published by theSan Diego Area

Writing Project at UCSD

Director:Makeba JonesCo-Directors:Kim DouillardSam Patterson

UC San DiegoSDAWP9500 Gilman DriveLa Jolla, CA 92093-0036(858) 534-2576http://create.ucsd.edu/sdawp/


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3Dialogue, Fall 2005

the end of the year, and he wasexcluded from an end of the yearfield trip. We still talked about himin the teachers lounge, and we warned next years teachers thathes coming. But the school yearwas over and grades wer turned in.So why, if hes no longer my prob-

lem, is he still on my mind? Why isit so hard to let go?

Reflecting On WhatDidnt Work

I know that one reason I continue to

reflect on my experience withAndrew is that I know I will haveother students like him in the com-ing school year. I know I will needto face challenges like those I strug-gled with last year, but I want tohave new strategies to draw upon inorder to interact with them moreeffectively. I want to learn from myexperience last year and use it tomake me a better teacher. So whatwill be different next year?

One thing I can do to reach out tostudents like Andrew is to focus ondeveloping a strong community within my classroom. I cant con-trol a students home life or even what happens at recess, but I canimpact each of my students duringtheir time in my classroom. Uponreflection I realize that learningeveryones name and what they liketo read is only the first step in build-ing a relationship with my students.Next year I will focus at the begin-ning of the year on building a com-munity based on trust. It is impor-tant for my students to trust me andI must trust them as well if we areto work well together for an entireyear. I know I will have to give upsome of the power in my class-room. In order to do that I need toprovide opportunities for each childin my classroom to be an expert, whether it is about skateboarding,cooking, playing video games, or anacademic subject. We will take thetime to get to know each other bydoing interviews and sharing withthe class about those areas of

expertise as a means of really get-ting to know each other. As I lookback I wonderif I had known howmuch Andrew loved soccer could Ihave used that to develop a rela-tionship with him that would haveenabled me to motivate him in myclassroom?

Another personal commitment I amgoing to make for next year is toreach out to my colleagues for help.I have come to realize that reflect-ing upon my practice with otherteachers can help me to come up with ideas that might not occur to

me when Im alone in my class-room and feeling the pressure ofbeing responsible for 60 or morestudents. I will turn to the coun-selor as well, for advice and ideas,tapping into his expertise to helpme face the day-to-day challenges.I am alone in my classroom, but Idont have to be alone in my profes-sional practice.

Finally, Im going to take the time toreflect on my successes as well asmy failures. For every Andrew,there was a Leslie, a student wholearned to love reading over thecourse of the year because of thebooks I introduced her to. For

every James who made it clear tome he didnt want to be at school,there was an Andres who confessedto me, with disbelief, that he could-nt believe he actually enjoyed abook I had suggested to him. Forevery Michael who went throughthe motions at school because hehad to, there was an Alex whoeagerly reported to me how manypages he read every night andshared the exciting parts of hisbook with me. I will reflect uponthose success stories and use themto guide my practices as well.

Why Are TheseStories Important?

I know I am not alone in wondering why things didnt work as I hopedthey would with some students. Iknow other teachers face similarchallenges and many alreadyreflect on their experiences overthe course of a year in the hopes of

learning from them. I think that wecan gain strength from each otherby sharing our stories of successand failure, and reflecting on howthose experiences affect the climateand the instruction in our class-rooms. In these days of increasedchallenges and high expectationsteachers need to give themselvespermission to say, I messed up orI need help and turn to each otherfor support. These conversationscan only make us stronger.

Teaching is a difficult job; somewould argue it is one of the tougher jobs anyone can undertakTeachers tend to be isolated in aclassroom with kids like Andrewwho are so frustrated by school thatthey have given up trying. But giv-ing up is not an option for dedicatedteachers who took on the jobbecause they care about kids. I ammaking a personal commitment tomyself not to give up. I will contin-ue to reflect on my practice, collab-orate with my colleagues, andsearch out new strategies to helpme, and my students, be successfulin my classroom. I owe this to thekids, but I also owe it to myself.

A successful teacher needs: theeducation of a college presidentthe executive ability of a financier,the humility of a deacon, the adapt-ability of a chameleon, the hope ofan optimist, the courage of a herothe wisdom of a serpent, the gentle-ness of a dove, the patience of Job,the grace of God, and the persis-tence of the Devil.

Anonymous

...teachers need to give themselves permission tosay, I messed up, or I need help and turn toeach other for support. These conversationscan only make us stronger.

But giving up is not an option for dedicatedteachers who took on the job because they

care about kids. I am making a personacommitment to myself not to give up.


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in a representative democracy.

My passion for this issue can per-haps best be understood anecdotal-ly. Several years ago, our staff wasinformed that a student at ourschool, recently returned from thePhilippines, had tested positive for

tuberculosis . The nurse andadministration decided that they would contact only the parents ofthe students who shared a classwith the infected boyroughly 300kids. After serious discussion, thenewspaper staff unanimouslydecided that this story was news-

worthyit definitely had potentialconsequences given that T.B. is acontagious airborne disease. Onereporter showed concern for thefact that only ten percent of the stu-dent body was informed. It wasimportant to her that the story bewritten.

Shortly after that student left for thenurses office seeking an interview,my phone rang. I barely got thehello out of my mouth when Ibegan hearing an impassionedadmonition that what the reporterwas doing was foolish and irrespon-sible. The nurse told me that shecould not possibly handle thou-sands of concerned parents callingher hysterically; nor was theadministration in any mood to dealwith potential mass absences afterthe article ran. When I tried to rea-son with her, she flatly stated thatshe would not be granting an inter-view to the reporter.

At my school and other schools, theadministration is pushing hard to

break up the campus into smallerlearning communities, each onebased around a real world theme.On almost a weekly basis, we hearhow too many students are notinterested or engaged, and toomany are falling throughthe cracks. I often hear Ifonly we could give studentshands-on projects and connectionsto the business community! Thisrefrain obviously has some validityto it, but I often wonder if we really

need to restructure the school com-pletely, especially when I remem-ber the young reporter returningfrom the nurses office without aninterview. This student wasengaged in a serious, hands-on,real world learning experience.She was producing authentic writ-

ing. She had talked seriously withthe editorial staff about the ethicalimplications of the story. She hadthoughtfully pondered the legalissues. She had serious motivationto conduct research about tubercu-losis, from its symptoms to its con-tagiousness. She was willing to sit

down with me and revise the storyuntil I had deemed it fair, balanced,accurate, and responsible. She wasacting on moral imperative.

And she was being told that she wasdoing the wrong thing.

The nurse failed to realize that thestudent was a responsible youngadult and a talented writer, and thatas the advisor, I would have workedwith the reporter to ensure that thestory was accurate, and the risk notsensationalized. Nor did she realizethat the reporter could have actual-ly acted as her ally in terms of edu-

cating the student body about therelatively low risk of infection; suchinformation could have actually

helped dispel rumors and assuagefear. The nurse failed to appreciatethat we were all wasting a uniqueteaching opportunity for the entirestudent body, whose motivation tolearn about the science of conta-gious diseases was at a high point.

Call me foolishly optimistic, but Ibelieve that even if a flawed storywere published, it would have beena powerful learning experience forthe newspaper writer and the staff.

As a teacher, some of my most valu-able growth has come from mymost miserable mistakes, and wehave all seen students coast easilythrough the year in our classes without failure, only to learn thathey had great difficulty when theyfinally had to adjust to challenge.Furthermore, moments of contro- versy are learning opportunitie

Many people, especially adoles-cents, are interested in debate anddisagreement, and I cannot imag-ine a more appropriate forum fordiscussion than the student news-paper; the entire student body couldhave learned a great deal even in aworst-case scenario.

After some explaining and convinc-ing, we received approval from theprincipal (who has since beenreplaced) to run the story. Yet this was only one small victory, an

without a happy ending. That ibecause the prior review policycontinues at our school and othersThis policy sends the same messageto my young reporters about their writing that the nurse sent abouthe tuberculosis story. It inadver-tently communicates that the workof a student journalist is somehow just pretend journalism, that students can write whatever they wantas long as it is innocuous, does notshed negative light upon the schoolor create a headache for anybodyon the staff. The policy takes awaymotivation and authenticity andtherefore is detrimental to learning.

Sadly, this issue is not just an edu-cational one. Sure, prior reviewhurts student writing by removing

motivation and authenticity, but thedamage runs much, much deeperAside from giving the students anopportunity to develop their writ-ing, journalism class offers animportant civics lesson. I proudlyhang two posters in my classroomOn the first is Jeffersons quote; onthe second is the first amendment.I expend much energy at the begin-ning of each school year teachingabout the importance of the pressDuring my unit on journalistic

Ibarely got the hello out of my mouth when Ibegan hearing an impassionedadmonition that whatthe reporter was doing was foolish and irresponsible.

They understand that being disliked is necessary fora journalist, becausepeople often do

not like to be heldaccountablefor theiractions.


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6

ethics I often show my class All thePresidents Men, from which my studentslearn that a newspaper staff which pro-duces a totally innocuous newspaper isnot doing its job. They understand thatbeing disliked is necessary for a journal-ist, because people often do not like to beheld accountable for their actions. Andthey understand how incredibly frighten-ing it would be to live in a society in which

government has control over the press.Could you imagine, I ask my students,what our nation would be like if TheWashington Posthad to submit copy to theWhite House prior to going to press?

But near the final deadline of each issue,when each student sees an administratorstroll into the classroom and beginreviewing copy, my students witnesssomething out of a George Orwell novel.I do not allude to Orwell intending hyper-bole. A recent survey found that a majori-ty of high school students think newspa-

pers should not be able to publish withoutgovernment approval. Almost one in fivesaid that Americans should be prohibitedfrom expressing unpopular opinions. And why shouldnt young adults think this, when they are learning that lesson intheir schools (and in their journalismclass, of all places!)? We are not that faroff from the repressive dystopia thatOrwell wrote about in 1984, a dystopiathat Jefferson and other framers of theconstitution sought desperately to pre-vent.

As a writing teacher I tell my students tokeep their language fresh and to avoidclichs. Yet I cannot resist saying that ournations founders would be turning overin their graves if they could foresee thecurrent press that is easily manipulatedby the powers that be. Worse yet, whatshould be a lively forum for ideas and dis-cussion has given way to apathy andintimidation. One of the most disturbingtrends in my experience is that very fewpeoplestudents, staff, or parentseverconsider writing letters to the editor.During the past seven years, I havereceived highly critical anonymous notes

in my mailbox, and I have been openlyadmonished by more than one of my fel-low staff members, both in private and inpublic.

But I would not make any decisions dif-ferently if I had the chance. My job is tohelp students put out the best productthey are capable of producing. I cannotdo this if I am making their decisions forthemor allowing others to do the same.

Project Notes...Please welcome our new co-director, Sam Patterson, SDAWP 1998,who joins Makeba and Kim in directing the work of our site. Sam has his M.F.A.from San Diego State University and teaches 7th grade math and English, andphotography for grades 9-12, at the San Diego Jewish Academy. Sam is currentlypursuing his doctorate in literacy education in the USD/SDSU Joint Program. Sam

has always been an active Teacher Consultant, juggling the many tasks that comewith classroom teaching and site leadership. His common ports of call at theSDAWP include responding to writing, the college essay, and secondary profession-al development. During the summer, Sam teachesand directs trafficat YoungWriters' Camp.

SDAWP needs your email address. We regularly email information onupcoming events and education issues that are of interest to our Fellows. If youhavent been receiving our email updates, you can add your name to our contactlist by visiting our web site (http://create.ucsd.edu/sdawp/) and emailing Carol

Schrammel, Program Rep. ([email protected]) from the contact page.

HAVE FUN WITH WORDSFrank Barone, SDAWP 1977

Follow Alice through the looking glassinto a wonderland of words and wild adventures.Sail with words toward tropical islandsand ride off with words toward enchanted castles.

Search for words in dictionarieswithin the pages of a thesaurusor inside the chapters of any good story.Smile or laugh when the words of a poemsurprise your eyes and your imagination.Hold hands with words when they lead youinto mysterious caves and through magical kingdoms.Fling a fistful of words into the evening skyand watch them turn into stars.Slip a few nouns into your piggy bank every once in a whileand always carry a couple of verbs in your pocketin case of an emergency.

Sprinkle some metaphors on your cereal for breakfastand, after supper, treat yourselfto some chocolate-covered metaphors for dessert.Remember to wash your hands frequently with soap and words.When you find some new words that you likehang them up in the closetso you can wear them on special occasions.When you go to bed at nightput one or two of your favorite words under the pillowso you will have pleasant dreams.But most of all, sing and dance and have fun with words.Words like it when you play with them.Sometimes, if you listen quietly,you can hear them chuckle and giggle.

Dialogue, Fall 2005


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As a Writ ing

Teacher

I Believe:

I must write it before I teach it.

Students should make their own choices.

Kids need to be able to write functionally and fictionally.

Everyone has a story to tell and a point of view to share.

My job is to provide possibilities they havent considered.

There is a huge difference between

teaching and assigning.

Risks are necessary!

Inspiration is everywhere.

No idea is too small to grow.

Planning makes drafting easier.

Models are crucial.

You should know your audience.

Sometimes you have to start in the middle.

Getting your thoughts onto paper takes practice.

No one should work in total isolation.

You cant always trust your spell check.

Revision makes the candle burnbrighter.

Re-reading aloud will make you change things.

Presentation counts.

We learn from our mistakes.

People will judge what you write.No piece is ever completely finished.

Writing should be shared with a larger audience.

Jennifer RobertsSDAWP 2005

Congratulations to

New SDAWP

Teaching Fellows!

2005 Invitational

Dialogue, Fall 2005 7

Sheryl Sharifa AbukarMt. Everest AcademySan Diego

Erin BartosiewiczSolana Pacific ElementarySolana Beach

Vicki CalmanNubia Leadership AcademySan Diego

Jennifer CostSan Diego Mesa CollegeSan Diego

Lesly EassonCardiff ElementaryCardiff

Dena HauseDana Middle SchoolSan Diego

Heather LattimerKearny High ComplexSan Diego

Jeff MeyerMorse HighSan Diego

Paige PennockTorrey Pines HighSan Dieguito Union

Jennifer RobertsKroc Middle SchoolSan Diego

Susan SerafinoKumeyaay ElementarySan Diego

Ruthie SmithValley Middle SchoolCarlsbad

Susan StarkSan Diego Jewish AcademySan Diego

Linda WebbChollas Mead ElementarySan Diego


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Dialogue, Fall 20058

oung

riters

amp

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U

M

M

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2

0

0

5

Y

WC

OrangeNatalia A DeKock, 4th Grade

Orange is a pumpkin waiting in a patch,

Orange is a parrot squawking on and on,

Orange is a dress thats waiting in your closet.

Orange is the sunset bringing in the night.

Orange is the kitten playing on your bed

Who also loves to sleep and curl up by your head.

Orange is a rainbow stretching in the sky,

Orange is the moment that always makes you cry.

Orange is an eagle swooping in the wind,

Orange is your cousin coming back again.

Orange is the fox thats running here and there,

Orange is a lock thats settled in your hair.

Orange.

The color.

The magic.

The Adventure

Michela N. Rodriguez, 4th Grade

Look. An adventure lies ahead. It is extraordinary. The stories you

will hear. The tales that are told. Perhaps the path to royalty. Not

knowing where youre going but hoping to go somewhere new. A

journey is waiting. The trail to power and beauty. Not only outside,

but in. So search. Try hard. Open up to a whole different world inside.

Apology of a Self-Centered ChildAlia Wilkinson, 8th Grade

Im sorry my motherThat I stole your cigarsI was afraidYou would fill up with tar

Your lungs would crackYour liver would failAnd then youd be dead:Who would fetch the mail?I would say Paige and she would say meAnd then we would fightAll thanks to theeSo you cant die now, were too young,Too violentPlease do tell dad the same thing.


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English (and Writing) Are a PainMegan Guarano, 9th Grade

Write, rite, right,English is a pain.Although the words all sound alike,The spelling is never the same.

There, their, theyreEnglish I cannot bare.English may sound nice,But its not always fair.

Be, bee, B,If you misspell a word,

It always has its fee.You write the words three times each,Then youll see you spelled them right.

See, sea, C,I have a friend named Dee.She doesnt like English either,Who else wouldnt agree with me.

To, too, two,What is it you kids cant do?I think Ill move to Neptune,And leave this all with you.

Black OceansAlexandra Chenelle, 6th Grade

Oceans filled with brown goo and debris,

Water turns into a churning spiral of black.

Children build Sand Queen castles with shells,

As dirty men with neon yellow suits crush their

Happiness with one evil stomp, and begin to dump cans

Of shimmering green waste, devils formula

Bee swarms the water before the children are

Done sobbing.

Colorful schools of fish are overpowered by

Rainbows of soda cans. Towers of metal buildingsCanopy over whispering waters,

While inside greedy, yellow-toothed men

Puff cigar smoke as their cackles echo through the

Halls as cold as their hearts. Destroying the oceans

Special Thanks

The San Diego Area Writing ProjectYoung Writers' Campwould like to acknowledge the generous community dona-tions to our scholarship and transportation fund in 2005. Weprovided scholarships for nine young writers and were ableto provide transportation for six of those young writersfrom East County! We are grateful for your support:

Greater San Diego Council of Teachers of English

Marquita and Mary Bell

Barnes and Noble Booksellers, Mira Mesa Marketplace

The many Fellows and community members who supported

our "California Stories Ice Cream Social" on May 21, 2005Honey I LoveValeria Sarmiento, 3rd Grade

I love

I love a lot of things

A whole lot of things

I love my mom myFamily and I love my

Friends. But I dont

Love to go to sleep or

To color. I dont love

To run a lot or watch

Too much TV. But I love

A lot of things. And

Honey I love me too.


10/16

Nurturing a Senseof Self

and Community through Writingand the Arts


Susan Stark, SDAWP 2005

I panicked when one of my 8thgrade students slid the feared yel-low ribbon card on my desk andasked Can we talk during lunch?Somewhat shocked and uncomfort-able that we would be talking aboutsuicide, I replied with a Sure, noproblem, and tried to whisk awaybeads of sweat as nonchalantly aspossible. That day at lunch the stu-

dent explained how he constantlystruggled with severe feelings ofinsecurity; yet in my AmericanStudies class he felt confident andsafe.

Little did this student know that twodays prior to our conversation, histeachers had met to discuss theYellow Ribbon Day that our school would be hosting. The liaisonexplained how, if a studentapproached them with suicidalthoughts, teachers were expectedto follow a certain protocol. At themeetings end, I raised my handand interjected, What if I feelextremely uncomfortable with therole you want us to assume? Nogasps came from this audience ofteachers: they already knew aboutmy deficiencies in tact and my lackof nurturing qualities. Such a rolehonestly terrified me. I believedthat if teachers really sought to cre-ate interesting and meaningfulclasses, they needed to master theircontent, so I tended to concen-trate on lessons, not students.

Throughout my teaching career, Inever saw myself as a counselor orpsychologist and I always feltuncomfortable with that extra com-ponent of perceived teacherresponsibilities.

Nonetheless, this unexpected lunchconversation forced me to consider why the 8th grader felt safe in myclassroom. I struggled with thisone. You see, I wasnt the kind ofgifted storyteller who could create a

sense of community with my tales, Ididnt possess a vast knowledge offun facts that could lighten the envi-ronment, I didnt know many jokes,I didnt listen particularly well, andI in no way projected a motherlypersona. While the more coun-selor-inclined teachers lavishedaffectionate references like sweet-heart or dear on their students,

such words never came from mymouth.

Eventually I came to realize thatwhat I dont feel comfortable doingemotionally, I achieve by exposingstudents to the critical and emo-tionally rich world of written and

artistic human expression. Despitethe fact that most teachers wouldacknowledge the inherent powersof writing and the arts, these disci-plines are often underused in many

classrooms, or rarely combined. Itsa pity because I have observed that,when used in tandem, they providenon-threatening emotional outletsthat can validate the voices of mystudents in ways I had not recog-nized. For one, students discoverthat their studies gain meaningwhen what they learn is examinedcritically and applied to their ownlives through both artistic and writ-ten forms. Second, if a teacher provides an atmosphere that encour-

ages the expression of individualthought and values what studentshave to say, she provides a forum where students can collectivelexpress their newfound insightsthus building a vibrant communitythat is both safe and meaningful. Ifmy 8th graders remark was any-thing to go by, I didnt have to be anurturer in the traditional sense. I

could capitalize on the strengths ofartistic and written expression andfacilitate a gradual process of self-discovery against the backdrop ofhuman struggles within Americanhistory.

It is hard to overlook the critical,thought-provoking nature of thearts. Artists, whether they are musi-cal, theatrical, or visual, enable usto examine our world with newinsight and sensitivity. How differ-ent would our world be without works like Upton SinclaiThe Jungle; plays like ArthurMillers The Crucible; or MonetsWaterlilies? While works such asthese can trigger radical thoughtand even significant change, thearts serve as agents of criticalthought in other ways. They oftenact as concrete springboards thatpropel students into a strongerunderstanding of abstract ideas thatbecome more articulate when theirpens hit the paper. CindyShermans photography, for exam-ple, offers a concrete way to deal

with stereotyping. Students arquick to write down their reactionsto Three Possible Guests based onthe way they appear in Shermansphotosthat is until they find outthat these seemingly disparatecharacters are actually the artistherself cloaked in different attireand placed within a variety of set-tings. They are shocked at how eas-ily they fall prey to stereotyping.The class discussion that ensues isoften lively and insightful, particu-

Artists, whether theyare musical,

theatrical or visual,enable us to

examine our worldwith new insightand sensitivity.


11/16


larly as students comment on whythey think stereotyping occurs.

Eighth graders revisit this topic ofstereotyping through the arts lateron in the year, this time from differ-ent angles. To introduce a unit onNative American history, I ask stu-dents to draw a Native Americanand then a scientist. This exercise

invariably helps students identifythe pitfalls of stereotyping when

they gaze at their very narrow ren-derings as well as those of theirpeers. Yet our examination ofstereotyping continues further. Asstudents listen to three differenttypes of foreign sounding music,they are asked to write down theirthoughts about where they mighthear such songs, who might besinging them, and what the singermight be saying. Once again, stu-dents are startled to discover thatall three songs are NativeAmerican. They cant believetheyve been caught in the act ofstereotyping once more. A monthlater, after completing a researchpaper that explores NativeAmerican history beyond a specifictribes initial interactions withcolonists/settlers, we delve intomodern day issues that varioustribes face. We conclude with reac-tions to the message of a Sioux rapgroup known as Without

Rezervation. The song, Are youready for W.O.R.? projects contem-porary reactions to past and presentinjustices experienced at the handsof stereotyping. We then hearJohnny Cash convey the tragedy ofa fictionalized Native Americanstereotype, Ira Hayes, in a ballad. Amore tolerant, meaningful discus-sion followsone that builds on ournew understanding of NativeAmerican history and the manyissues that concern different tribes

today. By this point, students nolonger laugh as they draw funnypictures of feathered men inteepees or react to music theyarent used to hearing. They have,through the process of writing andthrough layered experiences with various art forms, reached a moreconcrete, critical understanding of what previously misunderstand

individuals and groups still experi-ence in the United States.

While people recognize the criticalmerits offered by these disciplines,they are perhaps less aware of howa combination of writing and thearts sparks inner reflections thatsubtly strengthen community bondsin the classroom. As seen withthe Cindy Sherman and NativeAmerican examples, reference tothe arts can provide a humoroussegue into potentially controversial,

or uncomfortable discussions. But itis on a personal level where the artsreally thrive. Once students under-stand that artistic works take onnew forms with each of their audi-ence members and that, dependingon the level of reaction it ignites, works can forge a direct channelinto the inner feelings of thosemembers, the examined worksbecome more meaningful. Art, byits very nature, is open to interpre-tation and I try to express thisnotion right away. On the first dayof school, students read the lyrics asthey listen to the song Where is theLove by theBlack Eyed Peas . I thenask them an open-ended question:Is this song talking about Americaor the world? Because studentsfind specific evidence to supportboth positions in the song and wedont reach a class consensus onthe issue, students feel saferexpressing their thoughts. Theyrealize that thoughts or interpreta-tions are viewed as opinions. Fromthat point on, I continually reiteratethat there are no right or wrong

answers, only strong and weak rea-soning.

As the year progresses, we continueto rely on the arts to nurture inde-pendent thought and to help stu-dents feel more comfortable voic-ing their interpretations of history. When we focus on how minoritygroups have experienced discrimi-nation in American history and howthey have sought to deal with thatdiscrimination we see, for example,

how Dr. Seuss likely played on anti-Japanese hysteria during World War II to express his support ointernment camps. We also exam-ine the ways in which late 18th cen-tury advertisements depictedAfrican slaves as chattel to promotebusiness interests, and we noticehow Jacob Lawrence used variouspaintings to project his reactions to

Jim Crow laws in the South. Whenstudents are continually remindedthat works of art generally havesome purpose, and that artists oftenuse art to express that purpose, it iseasier for students to understandhow writing is one of many ways tointerpret or react to the historicalevents they study. Just as they areentitled to an interpretation of art,they can react to textbook or prima-ry source information any way theywant so long as they back up theirpoints in a persuasive manner. This

approach gives students ownershipover what they think and say; as aresult, they are more willing to par-ticipate in a community, listen toother students, and take risks. And

for those who dont like to partici-pate in class discussion, they can beheard strictly through visual andwritten expressions.

I noticed significant benefits fromassignments that combined art and writing, particularly for my mor

silent students, when I asked theclass to create murals for anexpressed purpose and then reflecton those murals. I originally cameup with the idea as a creative way totest their understanding ofMexican-American history by hav-ing students depict the types of dis-crimination Mexican-Americansfaced over time and identifyattempts made to overcome suchdiscrimination. Fueled by simplecuriosity, I tacked on the require-

...reference to thearts can provide

a humorous segueinto potentiallycontroversial, oruncomfortablediscussions.

From that point on,I continually

reiterate that thereare no right or

wrong answers,only strong andweak reasoning.


12/16


ment that students also create theirown personal mural on similargrounds. When students turned intheir mural assignments the nextday, I asked them to explain thesymbols they chose, the colors theyused, and the layout they created with a written response. While Inoticed that basing written expla-nations on visual evidence

enhanced their expressed under-standing of Mexican-American his-

tory, far greater gains could be seenin both the visual and writtenexpression of their own personalstruggles. Nevernot even in theautobiographies they wrote at thebeginning of the yeardid I havesuch a large window into their per-sonal lives. It appeared as if artisticexpression gave students the per-mission to open up and pin downtheir concerns in writing.

A girl who never spoke in my classfelt free to reveal her struggles withreligion, depression, and peer pres-sure by placing quotes people havemade about her around anAmerican flag that highlightsAmerican ideals and inspirationalquotes. As if her visual depiction ofher personal experience in Americadidnt already reveal far more abouther than I had previously known,her written commentary added newlevels of understanding. She

explained that, In the left handcorner there is a cross because I amCatholic and a little tiny Jewish starbecause all my friends are Jewishand sometimes they say I have aJewish soul. I took heart in the factthat even though this girl dared nottake any risks in class discussions,she somehow felt comfortableenough to project such a strongvoice in art and writing.

Having spotted a way to move into

more meaningful applications ofhistory, I began class the next day with a more personal writingprompt. I asked students to identifythree issues/problems/ challengesthat people their age generally faceand then suggest ways that theythink those issues could beresolved. The resulting discussion was eye-opening for all of us. I

realized that I had no idea aboutwhat went on in the lives of my 8thgraders outside school; they foundcomfort in knowing that other peo-ple held their concerns and evenshared their experiences. After weidentified common concerns likedrugs, sex, peer pressure, schoolanxiety, and eating disorders, Iasked students why presidentialcandidates dont seem to spend a lotof time on these issues and whyother issues like taxes and defensespending have priority over their

concerns. Students seemed toappreciate a forum that allowedthem to talk about their voice innational politics as well as the kindsof things they could do to eithermake their voice stronger or solvetheir own issues. I was thrilled tosee students link low self-esteem tomany of the major struggles theyhad identified and then offer tangi-ble ways to improve self-confidenceon our campus. I was more delight-ed to note that the 8th grader whomet with me on Yellow Ribbon Dayhelped guide his fellow students tothat realization and then take com-fort in the fact that he was not alonein his struggles. Best of all, the classas a whole took pride in the solu-tions they generated: a group ofthese students later met with ourprincipal and proposed that he hirea school counselor who would offer weekly lunch sessions during which time students could meetand talk about ways to bolster selfconfidence. By this point it hadbecome very clear to me that a con-tinued reliance on artistic and writ-

ten expression had provided con-crete emotional outlets that wereable to be voiced and heard by anincreasingly empathetic audience.

Although that 8th grader and Inever had another one-on-one con-versation after our lunch meeting, Inoticed the ways he had made sig-nificant strides as a writer and aperson; I dont think such growthwould have occurred without a con-tinued emphasis on critical thought

fueled by the arts and reinforcedthrough discussion and writing. Itseemed fitting that a student so sen-sitive to what was going on aroundhim was incredibly receptive to anyclass discussions generated from anexamination of artistic expressionHe made excellent contributions toour discussions about stereotyping,particularly in regards to our explo-

ration of Native American music.Its also not surprising to note, thenthat one of his most mature writingassignments focused on the innerreflections that his main character,a musician, faced as he watched thehorrors of civil war unfold andreacted to its aftermath. Such a work, as well as others that followed, were a far cry from the dis-jointed commentary I had previous-ly received from him. At the end ofthe year, his positive feelings aboutthe class were even clearer. He

wrote me a thank-you note i which he admitted that while hhad never liked history before, he

now did; he also mentioned that ifwe were the same age he was con-vinced we would be best buddies.I may not have been the motherlynurturing type, but like a goodfriend, I gave him an outlet where

he could find a voice and feel com-fortable expressing it. In that regardhe is not alone. Teenagers havequestions and they often feel isolat-ed; a critical study of the humani-ties can help them feel connected toothers who have questioned theirrole in the world around them,especially when they see howartists themselves have tried to dealwith their own struggles.

It was eye-openingfor all of us. I

realized that I hadno idea about whatwent on in the livesof my 8th gradersoutside school...

I may not havebeen the motherlynurturing type, but

like a good friend, Igave him an outlet

where he could finda voice and feelcomfortableexpressing it.


13/16


THE MUSE BOX

Look deep inside youideas screamingexpressing their thoughtsenchanting thoughtschoose careful wordsbut strong meaning

and see what is rightand when the wind whispers to youread it out loud.Your echo will weave through thetrees, anyone will hear it!

Jane Han, 4th GradeYWC 2005 Participant

When is the last time you talked to yourself out loud?The last time you recited a poem or sang aloud inthe shower, even?

Sometimes we lose track of our voice in the rumblingsof thought. How often is it that we allow our literal voiceto speak in the open mic of our daily lives? In Walt

Whitmans Song of Myself he wrote:

I too am not a bit tamed, I too am untranslatable,I sound my barbaric yawp over the roofs of the world.

Talk to yourself in the cabin of the car. Go back to afavorite poem, memorize it, recite it. Create a mantra thatallows you to be who you want to be. Yawp barbarically.Hear yourself and listen to what you have to say.

My TodayRomero Maratea, SDAWP 2004

I woke up tired today.

Today I was tired from all of the yesterdays

and the pleasesand the will yous

and the maybes.

Maybes I wont.

Wont that be something?

Something to slow

the way the yesterdays and the yesterdays yesterdays became the todays and why

Im here.

Here is where the to dos for other someones become to dones.

Dones the way I like.

Like my way, the right way, the way my mama taught me.

Me,the teacher,

the role model,

the husband,

the brother,

the father-to-be,

the athlete,

the friend,

the capital I.

I woke up tired today.


14/16


Watching Ariana Rs transformation from a street-tough, sullen student into a grace-ful, inquisitive scholar who will begin her first year at CSU San Marcos in a few shortweeks has been one of the most moving experiences of my career as a teacher.

I first met Ariana when she was a student in my AVID class during her freshman year.While it was obvious that she was extremely intelligent, I could also tell that she did-n't completely accept the possibility that in four short years she would go to college.She chafed against the high expectations of the AVID elective, and moreover, she out-wardly resented my determined interventions on her behalf.

Ariana's first year in high school did not go well. She failed CPM I (an integrated math

course) and English 9. Two years later when I asked her about this disastrous firstyear, she quite frankly explained that she couldn't stand that in AVID she was beingtold what to dothat I thought I had a right to "get into her business." Her commentswere difficult for me to hear, because our entire AVID team at Orange Glen believespassionately that the hallmark of a good AVID teacher is his/her willingness to con-stantly "get into our students' business." It took me a while to realize that this deter-mined resistance to outside influence is actually what has allowed her survive in herneighborhood and flourish despite the constant debilitating pressure of poverty.

Ariana slowly started to improve her grades during the second semester of her fresh-man year, and a full year later, she earned a 3.5 GPA in rigorous, college-prep class-es. During the second semester of her junior year, Ariana earned a 3.71 GPA, despitethe fact that she was enrolled in two extremely challenging classesChemistry andAdvanced Placement Spanish Language. During her senior year, while many of her

peers were indulging themselves in "senioritis," she continued to work diligently,earning a 3.5 both semesters. Ariana's transcript is a testament to her disciplinedstudy habits and a manifesto which proclaims her considerable intelligence.

I am filled with admiration for the character that Ariana has determinedly forged. Shedeliberately decided what kind of future she wanted for herself. She had the strengthto turn a deaf ear to close friends and relatives who skeptically questioned her col-lege dreams. I know that Ariana even had to fight against her own beliefs about whoshe could become. She is the daughter of an undocumented, single mother who works long hours to support her children. Her father, though a citizen, has aban-doned the family and offers them no financial support. Ariana lives in the poorestneighborhood in Escondido; the police regard her block of apartments as an epicen-ter of gang activity. To listen to the quiet persistent voice in her own heartwhen somuch in the surrounding environment crackles nosily with despairtakes tremen-

dous courage. Ariana demonstrated again and again that she has heart of a lion.

Because of her character and her outstanding grades, Ariana became a role model toother AVID studentsespecially the younger girls who had not yet shed their street-tough mien. Her classmates depended on her bold, impassioned judgments. Theywelcomed the sweet yet stern way Ariana directed them to their studies. She treatedeveryone with respect and offered them the full measure of her kindness. Sheinspired, and still inspires, all of us with her fierce and persistent intelligence.

There are not many women like Ariana, women who can combine grace with tough-ness, erudite opinions with street savvy, and tenderness with determination. Sheembodies the boundless arc of possibility.

California Writing2005-2006

CWP Call for SubmissionsCalifornia Writing Anthologies of

Student Writing

California Writing offers students

a powerful opportunity to readand write about four provocativethemes:

Growing up and finding ouridentity in a changingCalifornia

Understanding how ourcommunity, history, and heritagehave shaped who we are asCalifornians

Examining the realities andchallenges of life in California

Dreaming of a better life inCalifornia, as newcomers andlong-time residents

Students may choose the writtengenre that best communicates theirresponse to one or more of thethemes. They can choose from a variety genres that may includereflective essay, biography, memoirnarrative, letter, poem, editorial,problem solution proposal, or per-suasive essay. Students may submitpieces written in English and/or ahome/heritage language if they arebilingual. Teachers are invited touse the CWP Teacher-to-TeacherCurriculum Resources as a spring-board for writing instruction.Information about how to accessthese instructional materials and a wealth of additional resources areavailable on the CWP website listedbelow.

Teachers may submit no more thanthree student pieces for publicationin one of two CWP CaliforniaWriting anthologies, one for stu-dents grades 1-6 and the other for

students grades 7-12. Submissionswill be selected based on their con-nection to the themes and on theeffectiveness and impact of the writ-ing itself.

For more information, visit theCWP website, and follow thelinks for "Teacher" to "CaliforniaWriting."

CWP Website:californiawritingproject.org

AJourney

that Deserves to

beWitnessed

Rachel Bronwyn, SDAWP 1997


15/16

September 2006: PoetrySubmission Deadline:

January 15, 2006

In most of our classrooms, poetry isan object of attention. But it can alsobe a tool for instruction. While weprefer not to consider poetry infunctional terms by asking how it isused, we do want to know whatroles it plays in your curriculum and your school. For this issue, we areinterested in a wide variety ofapproaches to teaching about andthrough poetry. How do you teachpoetry as a genre? What poets and

poems are successful in helping stu-dents understand and appreciatepoetic form and language? How doyou encourage students to write andrevise poems? What connections doyou make between poetry and otherareas of the curriculum such as sci-ence, social studies, math, and soon? How do you work with Englishlanguage learners?

We would like to see student andprofessional poems if they are rele-vant to your manuscript, but please

note that you will be responsible forobtaining permissions if the manu-script is accepted for publication.

English Journal,Louann Reid, Editor,English Department,1773 Campus DeliveryColorado State UniversityFort Collins, CO [email protected]


DIALOGUE

Call for Manuscripts

SPRING 2006

Voices from the Classroom

Submission Deadline:March 1, 2006

What inspiring words have your stu-

dents written? Is there an essay,

excerpt, poem or profound thought a

student has shared that you would

like to share with us? Give your stu-

dents and yourselves the opportunity

to publish by submitting it to the

Dialogue.

Writers love to get mail, and so dothe editors of newsletters for writingteachers! Dialogue would like toreceive your work or the work of

your students. Submit a story of stu-dent success, a strategy for imple-mentation, or a personal essay on your teaching experience. Send allmanuscript submissions, sugges-tions, letters to the editor and ProjectNotes to:

Dialogue UCSD/SDAWP9500 Gilman Drive, 0036La Jolla, CA 92093 - 0036Email: [email protected]

[email protected]

PUBLISHING OPPORTUNITIES

May 2006:Past Lessons/Future Directions

Submission Deadline:January 3, 2006

It's hard to imagine that we havereached the final issue for this edi-torial team. From December 1999through May 2006, we have enjoyedbeing a part of your professionalconversations. With the December1999 issue, we tried to identify which ideas and practices wouldmost benefit educators (and theirstudents) in the new millennium.

Now, in the year 2006, we take timeto look back, reflecting on whatwe've learned about adolescent lit-eracy since 1999.

We encourage you to send your sto-ries of what you've learned in theseopening years of the 21st century.Take a moment to revisit the last sixyears of VM issues to find the arti-cles that have most inspired you;then send us your short list of "TheBest of VM 1999-2006," telling uswhy those articles (or entire issues)

were important to you.

Reflect on the practices you'veencountered in these pages andothers, and tell us which ones havehelped your students the most.What professional books publishedduring this time would you recom-mend to colleagues? What tradebooks published between 1999-2006 have your students mostenjoyed?

We want to include responses from

as many readers as possible, soplease keep your comments to 700words.

Voices from the Middle

Editorial Office,Department of InterdisciplinaryLearning and Teaching,The University of Texasat San Antonio,6900 North Loop 1604 West,San Antonio, TX78249, [email protected]

Voices from theMiddle

English JournalNCTE

today? What do readers ofLanguage Arts need to notice andthink about? What inquiry workhave you done that can stretch thefield of literacy and language arts?Describe your process of learningabout literature, literacy, culturesocial justice, and language. Whatnew literacy practices do you see incommunities, after school pro-

grams, and classrooms? What isgetting in the way of change? Whatconnections are adults and childrenmaking as they engage in the art oflanguage?

Join us in creating a collection ofinquiries and insights.

Editorial correspondence andmanuscripts should be directed to:

Language Arts Editorial Office,School of Teaching and Learning,The Ohio State University 333 Arps

Hall, 1945 N. High St.Columbus, Ohio 43210E-mail: [email protected].

May 2007: Inquiries and InsightsSubmission deadline:

January 15, 2006

In this unthemed issue, we feature your current questions and trans-formations as educators, com-munity members, students, andresearchers. Many directions arepossible in this issue. What tensionsdo you see in literacy education

Language Arts

NCTE


16/16

Non-Profit Org.U.S. Postage

PAIDSan Diego, CA

Permit No. 1909

San Diego Area Writing ProjectUniversity of California, San Diego9500 Gilman Drive, Dept. 0036La Jolla, CA 92093-0036

Calendar of EventsSan Diego AreaWriting Project

DirectorMakeba Jones

[email protected]

Co-DirectorsKim Douillard

[email protected] [email protected]

Associate DirectorsKaren Wroblewski

[email protected] Mendez (Imperial Valley)

[email protected]

Young Writers ProgramsCoordinatorsSam Patterson

[email protected] Roy

[email protected]

NWP Technology LiaisonJohn Adams

[email protected]

Program RepresentativeCarol Schrammel

To contact the SDAWP office,call (858) 534-2576

or email [email protected]

Visit our website athttp://create.ucsd.edu/sdawp/

National Writing Project 2006Urban Sites Network Conference

Writing Across BordersTeaching Where Differences Matter

Hosted by the San Diego Area Writing ProjectApril 28 - 29, 2006

Conference Highlights:

Keynote address and engaging interactive sessionsVisits to local schoolsWriting marathons in the historic Gaslamp Quarter and/or Old Town San DiegoFriday reception and dinner with entertainment

$95.00 Friday and Saturday (Full Conference)$65.00 (Saturday Only)

For information contactthe SDAWP officeat 858-534-2576

or email [email protected]

http://create.ucsd.edu.sdawp/

CATE 2006Adventures in AnaheimAn "E Ticket" Adventure

February 3 - 5, 2006Hyatt Regency Orange County

Register online: www.CATEweb.org

Documents

Dialogue Fall 2005