natural dyes a traditional craft experiencing new attention

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Fall 2008 Volume 75-1

THEDELTAKAPPAGAMMABULLETIN

International Journal for Professional Educators


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The Delta Kappa Gamma Bulletin (ISSN 0011-8044; USPS 715-850; IPM 0302295) is published quarterly eachyear by The Delta Kappa Gamma Society International, 416 West 12th Street, Austin, Texas. Mailing address:P.O. Box 1589, Austin, TX 78767-1589. Periodicals Postage paid at Austin, Texas. Subscription, U.S. $20 peryear; single copies, $5 each. International dues include subscription to The Delta Kappa Gamma Bulletin. Viewsexpressed do not necessarily agree with positions taken by The Delta Kappa Gamma Society International.

POSTMASTER: Send address changes to The Delta Kappa Gamma BulletinP.O. Box 1589, Austin, TX 78767-1589

The Delta Kappa Gamma Bulletin

ics addressed, accuracy and validity, contribution to the

professional literature, originality, quality of writing, and

adherence to Submission Guidelines (see page 40). Edi-

torial Board members evaluate each submissions focus,

organization, development, readability and accessibility

to the general audience of Bulletin readers. Due to the

diversity of theBulletinaudience, material of a religious,

political or patriotic nature is not suitable for publication.

Please send materials to [email protected]

or to Bulletin Editorial Staff, The Delta Kappa Gamma Soci-ety International, P.O. Box 1589, Austin, TX 78767-1589.

The Bulletin, the official journal of The Delta Kappa

Gamma Society International, promotes professional and

personal growth of members through publication of their

writings.

TheBulletininvites materials appropriate to the Soci-

etys Purposes: position papers, applied and/or data-based

research, and other articles on announced themes or other

topics of interest to educators; letters to the editor; view-

points; book reviews; annotated bibliographies; anec-

dotes; poetry; and graphic arts.

Prose manuscripts for theBulletin,a refereed journal,are reviewed by the Editorial Board and the Society edi-

torial staff. Selection is based on relevance of the top-

Sarah WeesCommunications Manager

The Delta Kappa Gamma Society InternationalAustin,Texas

Andrea Honigsfeld, Ed.D, 2008-2010Associate Professor, Division of Education

Molloy CollegeRockvile Centre, New York

Judith Merz, Ed.D., 20062010Doctoral Advisor, Educational Leadership

Nova Southeastern UniversityFt. Lauderdale, Florida

Janice Novello, Ph.D., 2008-2012Doctoral Dissertation Advisor, University of Phoenix

Phoenix, Arizona

Saundra Wetig, Ed.D., 2008-2012Associate Professor

University of Nebraska at OmahaOmaha, Nebraska

Editorial Board


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2008 The Delta Kappa Gamma Society International. All rights reserved.

Published by The Delta Kappa Gamma Society International

The Delta Kappa Gamma Society Internationalpromotes professional and personal growth of women

educators and excellence in education.

4 CALLFORSUBMISSIONS

39 POETRY

40 SUBMISSIONGUIDELINES

THEDELTAKAPPAGAMMABULLETIN

Fall 2008 Volume 75-1

AWARDS5 2008 ACHIEVEMENTAWARD

by Barbara Day

6 2008 EDUCATORSAWARDS

reviewed by 2006-2008

Educators Award Committee

ARTICLES7 LIMITLESSIMAGES: DIGITAL PHOTOGRAPHYINTHECLASSROOM by Anne Zahra

10 POETRYINPROFESSIONALDEVELOPMENT

by Andrea Honigsfeld and

Maria Dove

14 NATURALDYES: A TRADITIONALCRAFTEXPERIENCINGNEWATTENTION

by Sara Kadolph

18 THEPOWEROFCOLLABORATION: TWOTEACHERSWORKINGTOGETHERFORTHEIRSTUDENTS SUCCESS

by Ellen Pochedley and Juliann Dorff

23 PATTERNEDPOETRYWRITINGHELPSPRESERVICETEACHERSSUMMARIZECONTENTLEARNING

by Susan Szabo

27 THECULMINATIONOFPROJECTWINGS INARIZONA

by Donna Reynolds

29 MUSICIANSONTHECUTTINGEDGE OFTECHNOLOGY by Jackie Grifn and

Marianne Holland

32 MYBESTBOWHOLD: PLAYINGVIOLINASANADULTBEGINNER

by Marilyn Barry

VIEWPOINT 36 RECITINGOUTLOUD: BRINGBACK

THELOVEOFPOETRYWITHAN AUDIENCE by Rita Tamalavage

BOOKMARK 38 THECHILDHOODROOTSOFADULT

HAPPINESS: FIVESTEPSTOHELPKIDSCREATEANDSUSTAINLIFELONGJOY

by Edward M. Hallowell REVIEWEDBYCHRISTOPHERR.

MURPHYANDJUDITHJ. PULA

COVERARTWORK: sixth grade classof Barbara DeWitt (Upsilon Chapter,Maryland). The students were given theshapes of a bowling pin and scissors andasked to be creative with one of them.COVERDESIGN:Sarah Wees


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ABOUTTHISISSUE

Call for Submissions!

Members are encouraged to submit manuscripts for consideration by theBulletinEditorial Board.The Delta Kappa Gamma Bulletinaccepts manuscripts for printissues (spring, fall) that areAction Research, Anecdotes, Graphic Arts, Letters to the Editor, Poetry, or Program Descriptions.The onlineissues (summer, winter) include Annotated Bibliography, Qualitative Research, andQuantitative Research. For both print and onlineissues we accept Book Reviews, Viewpoints,and Position Papers. Manuscripts should be focused, well organized, effectively developed, con-cise, and appropriate forBulletinreaders. The style should be direct, clear, readable and free fromgender, political, patriotic or religious bias. For more detailed information, please refer to the Sub-

mission Guidelines on page 40. Listed below are the suggested themes of upcoming issues.

Spring 2009 (75-3) Educational Travel(Postmark deadline is December 1, 2008)

Study Abroad Travel as Professional Growth Personal Stories Hostels TeachingAbroad Foreign Language Study

Summer 2009 (75-4) Comparative Education: Issues and Practices(Postmark deadline is March 1, 2009)

Study Abroad Information Literacy Cultural Impacts Licensing Teaching in ForeignCountries Teacher Preparation Programs Specialty Schools Peace Education Evolving

High School Models Global Awareness

Submit all materials to:Bulletin Editorial Staff

The Delta Kappa Gamma Society InternationalP.O. Box 1589, Austin, Texas 787671589

[email protected]

The theme for this issueThe Artsmusthave spoken to many of our members,because we received a number of great theme-oriented submissions. In fact, a class of sixthgrade students got in on the action by submittingtheir creative artwork (used on the cover). Wehope you enjoy the informative and interestingarticles in such diverse genres as poetry, music,

and photography. In addition to the articles, youcan read about this years Achievement Awardrecipient as well as the two authors whose bookswere chosen for the Educators Award. Wevealso included a poem that is particularly ttingfor this time of year, The First Day of Class. Wewelcome your feedback, so feel free to contact usat [email protected].


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THEDELTAKAPPAGAMMABULLETIN 5

2 0 0 8 A c h i e v e m e n t A w a r d

The International Achievement Award isgiven annually by the Society to a Leaderwho has given devoted service and distinguishedleadership to the Society at the chapter, state or-ganization and international levels. The symbolof this honor, a gold medallion, is worn only bymembers who have been voted that honor andprivilege by the International Executive Board.The Constitutionsays that it will be presented atan international convention or a regional confer-

ence. Given rst to Dr. An-nie Webb Blanton in 1933,this years award is to begiven here. Our recipienttoday is described as dedi-cated, exceptionally com-

petent and dynamic. Hermembership and inuencein the Society began at thechapter level and quickly

embraced a much wider audience at the state or-ganization and International levels.

Her journey in education began as ateacher. The challenge of enticing young peopleinto becoming lifelong learners, the changingroles of technology, the excitement of new ques-tions to be researched were all challenging andexciting to her.

This charter member of Lambda Iota inTexas has held nearly every ofce at the chapterlevel; she was her chapters achievement awardrecipient. She has been an area coordinator of herstate organization and chaired the State Nomina-

tions Committee. Winning a state AchievementAward and the attending the Golden Gift Leader-ship/Management Seminar are among the high-lights in her Society journey.

She loves to travel, particularly with herhusband, since they both enjoy visiting art gal-leries, museums, and bakeries with equal fervor.Her idea of heaven on earth is being with friendsand discussing movies and books over a leisurelymeal. She treasurers a womens spiritual forma-

tion group and a book discussion group whichshe misses only when Delta Kappa Gamma du-ties take her away from home. Spirituality in theworkplace is particularly interesting to her, andshe has an extensive library on this subject. Oneof her favorite wisdoms is the African Proverb:The two antelopes will walk side by side, so thatone can blow the dust from the others eyes.

The recipient spent 25 wonderful yearsas a classroom teacher in Andrews and Austin,

Texas, and then as a librarian in the Austin In-dependent School District. In 1998 she becamethe Business Services Administrator for The Del-ta Kappa Gamma Society International, and in2003 she became its Executive Coordinator. In2007 she resigned to care for her mother, who re-cently died, and her husband and soul-mate Ed-die. On a personal note, when I became Interna-tional President, she said to me, I consider myjob is to make you look good, and she did. Everwise and compassionate, she called me when Iwas on one of my long travel journeys and said,

I know you are tired. Take a long bath and orderroom service and have a good hot meal.

In nominating her, one member said,Sandras understanding of, and commitment to,empowering others has consistently been a tenetof her personality and actions. This human em-

powerment is reected in those with whom shehas both worked and supervised. The strength ofher character in this area makes her the quintes-sential choice for the International AchievementAward. Sandra Smith Bull embodies the essence

of the Achievement Award.It was my happy privilege to presentto Sandra the 2008 International AchievementAward, rst presented to Agnes Ellen Harris in1934 and re-circulated in 1979 to Laginia Halewho was a mentor and friend to the recipient.

Sandra Bull Receives International

Achievement Award

Barbara Day, Ph.D.2006-2008 International PresidentJuly 24, 2008 wChicago, Illinois


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The selection process for two EducatorsAward books for 2008 proved to bechallenging, stimulating, and controversial.

Guided by the Society Constitutionand sustainedby award money from account interest, grants,and donations, the Educators Award Committeesupports educational research and writingthrough recognition of women authors. Awardmoney goes to authors whose books, published inmember countries, might inuence the directionof educational thought and action in a complexglobal society. If no nominee ts the regulatorycriteria, the committee may withhold the award. At rst the Committee considered the

possibility of withholding the award for 2008when obscurity seemed to reign supreme.Passionate discussions created a delightfuldilemmato expand or to narrow the globalscope of educational research. We wrote reviewsand narrowed the eld. Finally, we voteda tieensued for two captivating books. A wise andpassionate member brought us to closure withthe statement, This one appeals to my heartwhile the other one appeals to my mind. Whenmind and heart respond to creatively detailed andcarefully documented research, our choice to

choose two books was simple. The two selectedauthors made connections thatsparked passions of the heart.Two bookscreatively writtenand wisely documentedspoke life into complex worlds.Nina Burleigh (picturedright) energized the scienticworld of 150 scholars to bringencyclopedic scope of scientic

exploration to historical research and writing.Linda Lear (pictured below) invigorated the

world of nature with accuracy,

detail, and compassion in hermesmerizing biography ofBeatrix Potter.

InMirage,Nina Burleighcollected research revealingworks of scholars, artists,and scientists whose agoniesand ecstasies bring readers

to painful awareness of the contradictions ofscientic research and military aggression duringa specic historic time. The heart-wrenching

documentary of success and failure, of strategyand struggle, is presented from varying points ofview of the 150 savants who took a voyage ofscientic discovery and military conquest withNapoleon Bonaparte in 1798. Miragereads likea thriller when intrigues abound as two countriesvie for the spoils of war. Scientic discoveries,analyses, and records underscore the Napoleonicconquest of Egypt at the turn of the 18thcentury. Documented scientic inquiry, personalsacrices, and political intrigue propel the readeron a trip to the past. Burleigh touches hearts

of readers as she hints at signicant inuenceson present historical development. Burleighsgripping account of human interaction and herexemplary research into the experiences of thecreators of a 23-volume encyclopedic workchallenge the reader to explore history and itsglobal ramications. The marvelously detailed sketches ofPeter Rabbits natural world earned Beatrix

2 0 0 8 E d u c a t o r s A w a r d

Mirage: Napoleons Scientists and the

Unveiling of EgyptBYNINABURLEIGH(HARPER-COLLINS)

Beatrix Potter, A Life in NatureBYLINDALEAR(ST. MARTINSPRESS)

(Continued on page 22)


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When todays educators strive to enrich

their classroom instruction withtechnology-based activities, most

focus on computer applications or the Internet.However, digital photography is an ideal toolfor developing academic and technologicalskills. Students creating, sharing, publishing,manipulating, and analyzing digital images areactively engaged in their learning. Photography-centered activities empower students to createand communicate with others while building thestudents self-esteem and breaking down culturaland emotional barriers. The ever-increasing

sophistication and popularity of digital camerashas made it easier to include photography-centered activities in the curriculum.

Building Classroom RelationshipsHighly effective educators foster a sense

of community in the classroom, establishing acomfortable rapport with students regardlessof differences in ethnic background orsocioeconomic status. They make all students

Digital photography is a valuable technology for todays educators. Photography-centered activitieshelp educators foster a positive, trusting atmosphere in the classroom and give students an opportunityto develop academic and technological skills. Students may use digital photographs to report ontheir learning, gather images for classroom discussions and projects, or jumpstart creative activities.Photography-centered activities build technology skills, encourage creativity, and develop self-esteem.However, teachers must train students to use the camera effectively and must plan photography-centeredactivities carefully. Ethical considerations, including district privacy policies, must be weighed whenplanning photography-centered activities.

Limitless Images: DigitalPhotography in the Classroom

feel accepted and successful, even those

challenged by learning disability or limitedEnglish prociency.

Digital photography can be surprisinglyhelpful to any educator hoping to build trustingrelationships with students. Simple snapshotsof classroom groups can be displayed in theclassroom and given to students at the end of thecourse as an inexpensive keepsake. The teacherwho appears in photographs with studentsbecomes a part of their personal historical recordand may live on as a positive memory and rolemodel for many years to come.

BYANNEZAHRA

THEAUTHOR

Anne K. Zahra is a member of Delta Epsilon Chapterin Gulf County, Florida. She holds a Bachelorsdegree in French, a Masters of Science in secondaryeducation from the University of South Alabamaand has been a certied teacher of French andGerman since 1993. Anne has also taught student

journalism and served as a technology coordinator,workshop presenter, and learning lab manager, mostrecently for A. Crawford Mosley High School inLynn Haven, Florida.


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8 FALL2008

Simply keeping a bulletin board orscrapbook to which students can add their ownphotos encourages positive feelings towards theclass and helps foster the trusting atmosphere theteacher hopes to create. Creating and updating aphoto display throughout the term is a reliableway to document classroom activities, therebyencouraging students to discuss and reect onwhat they have learned.

Teaching Through the Power of ImagesThe digital image is one of the best

teaching resources available, whatever the contentto be learned. Because digital images are so easyand inexpensive to create, retrieve, manipulateand share, digital photography is arguably theeasiest technology to integrate into an instructional

program. Digital photographs can be edited, altered,enhanced, and combined using expensive or freecomputer software. Rather than printing images,students can share them digitally, incorporating theminto a slideshow or displaying them using a digitalprojector. Digital images can even be compiled intovideos playable on a standard DVD player.

Photography-centered activities in class-rooms typically include the following:

1. Reporting tasks: Students use the cam-era to present the product or outcome of an activ-ity that will be graded. For example, the photos

may document the steps students followed in con-structing a model or carrying out an experiment.The photos may be part of a report or portfolio tobe examined by the teacher, parents, or other stu-dents who will complete the activity in the future.

2. Analysis tasks: The digital imagescollected or created by the teacher or studentsare a springboard for discussion or a resourcesupporting a lesson. For example, science studentsmay photograph different types of trees and laterdiscuss the characteristics shown in the photos.

3. Note-taking tasks: Teachers or studentsuse cameras to gather and share images thatcontain information relevant to their learning.Students visiting a museum may be assignedcertain displays to photograph in order to supportin-class activities. Students photographed whilecompeting may develop insights that improvelater performance. Students completing a scienceproject may use their photos to support theconclusions drawn through their research.

4. Response tasks: Teachers and studentsuse digital images to express and inspirecreativity and develop artistic skill. For example,students may nd, create, or share photos thatthen become springboards for creative writing orne arts activities.

Applying Technical Skills in the ClassroomDigital devices today are increasingly

integrated with computers and the Internet.Not long ago, peripheral devices

typically meant computer mice and printers.Today, peripheral devices include cameras,mobile phones, portable media players,microphones, toys, and even musical instruments.Advances in wireless communication will lead toeven more interactivity for electronic and non-

electronic devices of all kinds.Using a digital camera requires studentsto apply a variety of technical skills they will alsouse in the working world. For instance, amateurdigital photographers handle memory cards anddiscs, manage les, and work with their imagesusing common computer applications. Whenstudents use their photos as part of a learningactivity, they are using classroom technology asit is meant to usedas a means to achieve anacademic goal, and not for its own sake.

Student Photographers as ArtistsDigital photography taps the students

inner creative drive, empowering all studentsto express themselves both through their digitalimages and any new works they create bycollecting, combining, and manipulating digitalimages.

One of the most popular independentphotography projects for students is thephotographic autobiography. Students use aclassroom camera to capture images that explain

and describe the world as they know it, creating aseries of images of their homes, families, friends,and communities. With the help of the teacher,they compile their favorite photos into a portfolio,adding a written narrative to unify the photosinto a presentation they can share with the class,the school, or even the community. Students whoproduce high quality photos can enter them incontests, display them at ne arts shows, or havethem published in local newspapers. Although the


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Poetry in Professional Development

While conducting professionaldevelopment on topics as varied asdifferentiated instruction or meeting

the needs of culturally and linguistically diversestudents in the mainstream classroom, adultliteracy, or standardized test preparation, wefrequently use poetry. Those who teach poetrywith passion and joy know it is one of therichest learning experiences students can have.We journey to worlds and peer into spaces in

our hearts and minds and soul through poetry(Fitch & Swartz, 2008, p. 4). Classroom practiceappropriate for K-12 students can inspire creativeways to deliver instruction for adult learners.By the same token, professional developmentsessions may utilize learning strategies andtechniques that mainstream teachers andeducation specialists can adapt for lesson deliveryin their own classrooms. Poetry as a genre allowsteachers (and their students) to be self-reective

The authors share their experiences of utilizing poetry in pre-service and in-service teacher educationprograms. They incorporate poetry into their education courses and professional development sessionsfor two purposes. Poetry becomes the avenue to explore pertinent educational topics such as culturaldiversity, bilingualism, adult literacy, or the immigrant experience. It may also serve as a focus forexploring literacy instruction, such as discussing how poetry can be used to promote literacy development

through differentiated, scaffolded, or tiered activities.

and to express thoughts and feelings that maynot t into the curriculum while also exploringinstructional strategies and practicing literacyskills.

The purpose of this article is to sharesome of our successful professional developmentactivities that use poetry. Poetry either (a) becomesthe avenue to explore pertinent educationaltopics such as cultural diversity, bilingualism,adult literacy, or the immigrant education; or

(b) serves as a focus of exploration in itselfto discuss how poetry can be used to promoteliteracy development through differentiated,scaffolded, or tiered activities.

Poetry as an Avenue to Explore Diverse TopicsWindows and Mirrors

A favorite activity of ours that maybe used with a range of artistic expressions(paintings, lm clips, music, or quotes from any

BYANDREAHONIGSFELDANDMARIADOVE

ANDREAHONIGSFELD MARIADOVE


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form of literature including poetry) is calledWindows and Mirrors. As we read a poem, weinvite teachers with whom we work to reecton the experiences described in the poem andjot down their reactions in a Windows andMirrors graphic organizer. On the Window side,they are asked to write down new insights theygained from the poem; whereas, on the Mirrorside they record ways in which their own livesor experiences are reected in the poem. Wehave selected a few poems we use in variousprofessional development programs and providedthe rst stanza or initial segment of each poem tooffer a sense of direction the activity takes for

participants as they listen to these poems, reecton, and then share their Windows and Mirrors.

Prospective Immigrants, Please Note

by Adrienne Rich (1967) invites readers to placethemselves in the immigrants shoes and pondertheir dilemmas. The poem immediately pulls theaudience into the world of immigrants:

Either you willgo through this dooror you will not go through.If you go throughthere is always the riskof remembering your name.

Another poem, Elena, by Pat Mora

(Williams & Muller, 1994) also explores theimmigrant experience from the perspective of a40-year-old Spanish-speaking mother.

My Spanish isnt enough.I remember how Id smilelistening to my little ones,understanding every word theyd say,their jokes, their songs, their plots.Vamos a pedirle dulces a mama.Vamos.But that was in Mexico.Now my children go to American high

schools.They speak English. At night they sitaround

the kitchen table, laugh with oneanother.

I stand by the stove and feel dumb,alone

Conversations about immigration take anew turn when the topic is introduced through

poems such as the ones cited. Both the cognitiveand affective domains of the participants areengaged.

In a workshop on literacy developmentand the challenges of developing writing skills,we use Why Do I Write? by Enid SantiagoWelch (Schneider, 1989):

I write to be heardto be understoodI write to impressto encourageI write abouttruth, honorAbout suffering andhappiness

By offering sentence starters such as I

write to and I write about, we inviteparticipating teachers to enumerate the manyreasons they engage in the process of writingand how they may model authentic writingexperiences for their students.

Poetry to Teach LiteracyWe often turn to poetry to model

differentiation of instruction and to demonstrateways to adapt tasks for English LanguageLearners or other at-risk students throughscaffolding or tiering assignments. Eloise

Greenelds poem titled By Myself (Heard,2000) lends itself to exploring dimensions ofidentity and metaphorical expressions of selfwhile offering an enriching literacy experienceboth to struggling learners and gifted childrenwithin the same classroom. We use this poem toshow how teachers can use poetry as mentor text(Hoyt, 2008) and how they can create scaffoldedframes for retelling or recreating the poem. Thescaffold below illustrates what type of supportmay be helpful for intermediate level learners to

write their own poem modeled after the originalby Greeneld.By MyselfRetold by ___________When Im by myselfAnd I close my eyesIm a __________________Im a __________________Im a __________________Im a __________________


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Im a whatever I want to beAn anything I care to beAnd when I open my eyesWhat I care to beIs me

For a learner who might not be able tofully comprehend the original poem and struggleswith creating metaphors to describe himself orherself, a more thoroughly scaffolded versionmay be helpful:

By MyselfRetold by ___________When Im by myselfAnd I close my eyesIm a __________________Im a __________________

And when I open my eyesWhat I care to beIs me

Poetry Splash Staff developers as well as classroomteachers often facilitate learning and sparkinterest regarding the topic at hand by tappinginto the prior knowledge of those involved inthe learning experience. By anticipating whatthey will learn, participants are better able toincorporate what they already know, resulting in a

deeper understanding of the topic and an increasein active participation. Educators either involvedin conducting professional development or inregular classroom teaching generally accomplishthe task of activating prior knowledge throughvarious techniques such as brainstorming or theuse of graphic organizers. However, anotheravenue to focus participants on the topic being

presented is a type of ll-in-the-blank poetry wecall Poetry Splash.

A Poetry Splash is a way in which teachers

can scaffold poetry writing using content areaor nonction topics and vocabulary. It requiresparticipants to complete a poem about a particulartheme by selecting from a splash of wordsprovided in a word bank. The words containedin the word bank lead learners to create poemsbased on both their previous experience with thesubject as well as to learn new information. Thispoetry technique is a versatile tool that can be usedwith any age group. A recent staff development

session on guided reading was introduced byasking a group of teachers to complete a PoetrySplash (see Table 1). One way to initiate a Poetry Splashactivity is to present the vocabulary wordscontained in the word bank rst. Allow the

participants to associate the words freely with thetopic being targeted, encouraging them to makeconnections, construct denitions, and sharesentences aloud containing one or more of thewords. Subsequently, the facilitator distributesthe ll-in-the-blank portion of the activity andhas participants complete their own poems.

Acrostic Poems Ongoing evaluation and assessment isan important element to include in planning a

successful learning session. During professionaldevelopment, facilitators need to assess whetheror not the participating cohort fully understandsthe information being presented. A quick andsimple way to gauge learning is the use of acrosticpoems.

During a lesson presentation, thefacilitator will ask participants to pause andreect on a particular concept or idea. They willbe asked to write the concept vertically on a pieceof paper using one letter per line. Participantsuse each of the letters to write phrases about the

selected concept. The following is an example ofan acrostic poem on literacy:

Love to readInterconnectedThink aloudsEveryone at their own paceReading to learnAbility to read and writeComprehensionYearning to be life-long readers

By sharing their acrostic poems,

participants have the opportunity to assesstheir own learning. This strategy can be usedto reinforce presented information or furtherexamine and discuss the topic to acquire a greaterunderstanding.

Diamante Poetry Poetry writing may also be used asa culminating activity in a learning event tocontrast two ideas that have been presented


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(Upson, 1998). A Diamante Poem may be usedfor this purpose. It contains seven lines, with eachmaintaining a different format by using a specictype and number of words. When completed, thepoem resembles the shape of a diamond. Thefollowing describes the format in greater detail:

Line 1 Noun: identies topic 1Line 2 Two adjectives: describes topic 1Line 3 Three -ing verbs: telling about topic 1Line 4 Four words: Two words about topic 1/

two about topic 2Line 5 Three -ing verbs: telling about topic 2Line 6 Two adjectives: describes topic 2Line 7 Noun: identies topic 2

Here is an example of a Diamante Poem produced

by a workshop participant:Guided ReadingDynamic, strategies

Supporting, assisting, explainingGroups, monitored, alone, on-my-own

Selecting, enjoying, re-readingSilent, comfortable

Independent Reading

Conclusion Infusing poetry into everyday instructionis benecial to learners of all ages. Poetry is often

taught in isolation to youngsters with infrequentlessons that revolve around the reading andunderstanding of a particular poem unrelated tocurriculum or content area instruction. When itcomes to professional development, poetry maybe a rare treat. Developing a common practiceof using poetry as a part of the learning processhelps to eliminate its mystique and makes poetrymore accessible to young students. With adultlearnerswhether future teachers or practicingeducatorsthe use of poetry in pre-service or

in-service classes can help them reach beyondthe limits of the learning experience to promotereective practice, an essential technique todevelop and rene ones teaching expertise whilealso experiencing an evocative art form.

References

Fitch, S., & Swartz, L. (2008). The poetry experience: Choosing and using

poetry in the classroom.Portland, ME: Stenhouse.

Heard, G. (Ed.). (2000). Songs of myself: An anthology of poems and arts.

New York: Mondo.

Hoyt, L. (2008).Interactive read alouds. Retrieved on May 28, 2008, from

http://www.interactivereadalouds.com/overview.aspx

Rich, A. (1967). Snapshots of a daughter-in-law.New York: W. W. Norton.

Schneider, P. (Ed.). (1989).In our own voices: Writing by women from the

Chicopee writing workshop. Amherst, MA: Amherst Writers &

Artists.

Upson, G. B. (1998).Poetry writing handbook: Denitions, examples,

lessons(Gr. 4-6). Carthage, IL: Teaching & Learning Company.

Williams, J. A., & Muller, G. H. (1994).Bridges: Literature across cultures.

New York: McGraw-Hill.

Guided ReadingGuided Reading is an instructional __________Teachers help students become good ________

Teachers work with small, exible __________Teachers carefully select __________________Teachers provide ________________________Teachers ask higher order level _____________Guided Reading encourages _______________Students are actively engaged in ____________Students focus on________________________Students better understand ________________Students use a variety of__________________Students may read _______________________Guided Reading is a part of balanced ________

Poetry Splash Word Bank

reading readers strategy

texts strategies supportmeaning groups thinking

content silently questions

literacy

Table 1

THEAUTHORS

Andrea Honigsfeld, Ed.D., Alpha Pi Chapter, NewYork, is associate professor in the Division ofEducation at Molloy College. She is a Fulbrightscholar and member of the American EducationalResearch Association, Association for Supervisionand Curriculum Development, Kappa Delta Pi,International Reading Association, Phi Delta Kappaand Teachers of English to Speakers of OtherLanguages (TESOL) and NYSTESOL. Maria Doveis an ESL teacher in Valley Stream, New York, andadjunct instructor at Molloy College. She is currently

pursuing an advanced degree in the instructionalleadership doctoral program.


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The traditions and crafts associated

with adding color to textiles and othermaterials were important to almost all

historic cultural groups. Naturally occurringcolored materials or natural colorants were usedto paint the body; add interest and pattern to clay,basketry, and wood objects; and color textiles.Archaeological evidence and documentation ofmaterials and practices of anthropologists andothers demonstrate the important cultural roleof natural colorants (Barber, 1991). Until 1856when the rst synthetic dye was created, naturalsources of color included plants, insects, animals,

and minerals. The colorants that bond withtextile bers or other materials are collectivelydescribed as natural dyes. Natural dyes were oneof the components that fueled the spice trade andwere signicant trade commodities for centuriesincluding most of the nineteenth century(Casselman, 1993; Fereday, 2003; Liles, 1990).

Because of the wide range of colors possiblewith natural dyes, medieval and cultural dye recipeswere carefully protected and rarely recorded so

Natural Dyes: A TraditionalCraft Experiencing NewAttention

Natural dyes are derived from naturally occurring sources. Although natural dyes have been used forcenturies, their use was greatly reduced with the development of synthetic dyes in the nineteenth century.These natural dyes are experiencing renewed interest because of the importance of green and naturalproducts. While natural dyes are renewable and sustainable, their use can be controversial. Natural dyesare a great tool for educators because they add interest to many areas of education including history,natural science, math, art, social studies, and family and consumer sciences.

BYSARAKADOLPH

that dyers could maintain a competitive advantage

over their competition. Unfortunately, when dyersswitched to synthetic dyes, their knowledge of thetraditional craft of natural dyes died with them.By 1910, most commercially available textiles inthe North American and European markets weredyed with synthetic dyes. By the 1930s mostethnic groups who had maintained a dye traditionafter contact with Europeans had also switched tosynthetic dyes. Natural dyes and plant-based pigmentsare colorants derived from natural sources suchas plants (e.g., indigo and saffron); insects (e.g.,

cochineal beetles and lac scale insects); animals(e.g., some species of mollusks or shellsh); and

THEAUTHOR

Sara J. Kadolph is professor in textiles andclothing in the Department of Apparel, EducationalStudies, and Hospitality Management at Iowa StateUniversity, where she has been a faculty membersince 1980. Sara is a member of Beta Theta Chapterin Iowa. She has written several textbooks relatedto textiles and quality assurance in the textile andapparel industry and is a passionate natural dyer.


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minerals (e.g., ferrous sulfate, ochre, and clay).Heat and water as the solvent are used to extract thenatural dye from the dyestuff (the plant or insectpart from which the colorant is removed). Thesedyes are usually applied to textiles by combiningthem in a hot water bath and heating the bath forapproximately one hour to bond the dye to the ber.Unfortunately, not all colored extracts function asdyes. For example, chlorophyll, extracted fromgrass and other green vegetation, is not an effectivedye because it will not form a permanent chemical

bond with textile bers. Natural dyes are categorized as eitheradditive or substantive. Additive natural dyesrequire the addition of a chemical assistant,such as a metallic salt, to form chemical bonds

between the dyes and the ber. The metallic salt is

known as a mordant. Common mordants includealum (aluminum potassium sulfate), copper(copper sulfate), and iron (ferrous sulfate). Theadditive dyes are also known as mordant dyes.Substantive natural dyes chemically bond withbers without requiring the use of any chemicalassistant. Additive dyes include onion skins andmarigold. Substantive dyes include cochinealand most tree barks.

Mordants can be added before dyeing(pre-mordanting), during dyeing (simultaneousmordanting), or after dyeing (post-mordanting).

The specic mordant and the stage of mordantinginuence the color achieved. While many dyersprefer to mordant a large quantity of textiles at atime, other dyers mordant only what they plan todye or mordant while dyeing. Post-mordanting isused to shift hue and is usually used to achieve acolor not possible with any other combination ofdye or mordant. The manner in which the dyestuff ishandled will also affect the color achieved. Indigoand woad are fermented to develop their blue

colors. Some dyestuffs such as Queen Annes laceand elderberries are used fresh to best advantage;others, such as lac, must be boiled and reduced toachieve a useable dye. Dried materials, especiallyower petals and fruit, often produce a differentcolor compared to fresh materials.

Current Developments With the ever-increasing interest in greenproducts, low carbon-footprint lifestyles, and

environmentally friendly consumerism, thereis an escalating interest in natural products,including natural dyes. Current commercialinterest in natural dyes is primarily as colorantsfor food. Natural food dyes include carminic acidfor processed foods and yogurt, annatto for dairyand bakery products, carotene for beveragesand frozen foods, curcumin for beverages andcandies, spinach for ice cream and candies,and beets for fruit and dairy products (RungInternational, 2008). In addition to use as a fooddye, there is a growing interest for using naturaldyes to dye textiles; to stain wood, ceramics, andsome plastics; to add color to cosmetics; and todye hair. While synthetic dyes are derived fromnon-renewable coal tar and petroleum, naturaldyes are extracted from plant and animal sources

and are renewable and sustainable.By denition and careful management,natural dyes are renewable since they can befarmed much as grain crops, livestock, sh,and honeybees are produced. However, thereis some concern about the sustainability andenvironmental impact of natural dyes. Theseconcerns include harvest practices, use of certainmordants, and disposal of extracted dyestuffs(Glover, 1995). Natural dyestuffs are eitherharvested from the surrounding area or grownspecically to be used as a natural dye. When

harvesting from naturally occurring dyestuffs,one should harvest no more than one-fourth ofthe dyestuff in an area to ensure that the dyestuffwill remain as a viable colony in its naturalenvironment. When natural dyestuffs are grown,one must be careful to minimize any damage tothe environment resulting from the growing andharvesting of the dyestuff. Many contemporary natural dyers useonly mordants that have minimal environmentaland chemical hazard issues. For example, alum

(aluminum potassium sulfate) is used in baking.Most dyers do not use the more toxic mordantsthat were commonly used prior to 1856: stannouschloride, potassium dichromate, or mercurysalts. Even when using alum, many dyers useconcentrations as low as 5 percent and reusemordant baths many times by adding smallerconcentrations of alum to the bath. The manner of discarding dyestuffs fromwhich the dye has been extracted depends on


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the type of material. Most plant materials canbe added when cool to a compost heap. Aftertheir decomposition, the residue can be used toaugment the soil.

Another concern with natural dyes relatesto their supposedly poor fastness characteristics(Glover, 1995). While some natural dyes dofade, it is also true that not all synthetic dyes arecompletely colorfast. In support of the fastness ofnatural dyes, one can examine the textiles in mostmuseums for color. Any item dated prior to 1856and many items dated between 1856 and 1900 aredyed with natural dyes. A wide range of vibrantcolors can be seen in these historic textiles thatprovide evidence of the good fastness propertiesof the commercially signicant natural dyes. Research and development programs

focus on natural dyes as a means of developingrural areas, producing unique sustainableagricultural products, enhancing an existingor developing a new craft market, and meetingconsumer needs for organic products. India hasseveral research programs focused on providingcommercial textile and related products that aredyed with natural dyes. These programs supportthe discovery of new natural dyes, improvementsin the color-fastness performance of traditionalnatural dyes, and increases in the output ofnatural dyes and naturally dyed goods for sale.

Mexico has developed cochineal farms wherethe cochineal beetle is raised as a red dye. TheDominican Republic is developing plantationsof logwood for commercial use to produce blue,gray, or black dyes. Fiber artists on several continents workprimarily or exclusively with natural dyes toproduce their art (Kadolph & Gilbertson, 2002).This list demonstrates the range of artists andtheir work: traditional Iban weavings by KaramaAk Dampa (Malaysia); rugs by Pamela Feldman

(U.S.); wall hangings by Susan Furneaux (Canada)and Di McPherson (Australia); baskets by JudyDominic (U.S.); parchment by Inge BoeskenKanold (France); yardage by Ulla Lapiolahti(Finland) and Seiju Yamazaki (Japan); tapestriesby Karin Delaunay-Delfs (France); womens apparelby Ruby Ghuznavi (Bangladesh); water color onpaper by Virginia Hoge (U.S.); pojaggi (fabric quilts)by Ji-Hee Kim (Korea); and traditional Maoricostume by Christina Wirihana (New Zealand).

Teaching ApplicationsNatural dyes are a rich source of informationfor educators. Educators can use these dyes toillustrate the history of exploration and globaltrade; to assist in the study of science (thebotany of dye plants, the zoology of dye insectsand mollusks, the geology of mordants and themineral dyes, the chemistry of natural dyes, thephysics of color, and the physiology of colorvision); to understand the development of artby examining the use of color in paintings,architecture, and sculpture; to animate socialstudies or anthropology by examining thecultural traditions of dyeing; to provide practicein calculating simple mathematical problemsto determine the textile-to-mordant ratios andweights needed for dyeing; to give hands-on

experiences in family and consumer sciences byadding natural color to food or textiles; and toprovide a framework to help students understandthe basic concepts of laboratory research.

In an upper level textile science coursein a public land grant universitys apparelmerchandising and design program, natural dyesare used to introduce the chemistry of dyes anddyeing methods used in the worldwide textile andapparel industry and to help students integrate thechemistry of bers with the chemistry of dyes.The class uses a variety of exotic (e.g., imported

dried insects, wood, spice or dried owers) andlocally grown materials (e.g., hulls, fruit, leaves,roots, or fresh owers). The natural dye unitincludes lecture; readings; laboratory experiencesmordanting fabric, extracting dyes, and dyeingfabric with them; and a project focusing onindependent research related to students interests.The lecture includes a brief history of dyeingand natural dyes, availability of natural dyes intodays market, the potential of natural dyes as asustainable and renewal resource, environmental

issues related to natural dyes and their uses, andtechniques and processes used with natural dyes.Lecture and readings also include basic conceptsrelated to laboratory research: use of controlgroups, independent and dependent variables,research design, and development of hypotheses.Variables that student researchers manipulate inthe project include generic ber type (wool, silk,cotton, rayon, nylon, or polyester), plant species,treatment of the dyestuff (fresh, fermented,


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frozen, or dried), mordant, stage of mordanting,pH of the dyebath, and post-mordanting of thedyed textiles. The laboratory work includes preparingselected dyestuffs for extraction, extracting thedye, mordanting the fabric before dyeing, anddyeing the fabric. Each student receives 16samples of dyed fabric using four dyes (cochineal,logwood, marigold, and ragweed) and fourmordants (alum, copper, iron, and no mordant).Written reports focus on application of dyetheory emphasizing dye class and ber type; thehypothesis being tested; the experimental designidentifying independent and dependent variablesand use of controls; the method of handling thedyestuff , extracting the dye and dyeing the fabric;results including textile samples, conclusions,

and references. Students in the class have enjoyed theopportunity to explore natural dyes and developa small research project. They were able to applyconcepts learned in class and address challengesthat occur when conducting research. The singlelargest area of comment was that the resultingcolor was not what they expected based on thecolor of the original dyestuff. That issue is onethat all dyers address regardless of using naturalor synthetic dyes, but it is more pronounced withnatural dyes. It is also one of the attractions of

natural dyeingthe serendipitous nature ofworking with natural materials.

SummaryNatural dyes are experiencing renewed interestin the art world and in commercial applications.Natural dyes are a renewable and sustainableresource that can have minimal environmentalimpact while providing good serviceability toconsumers. These dyes also provide educatorswith a rich source of information to supplement orprovide a framework for educational experiencescovering a range of subject matter areas andlearning styles.

References

Barber, E.J.W. (1991).Prehistoric textiles: The development of cloth in the

Neolithic and Bronze Ages with special reference to the Aegean.

Princeton, NJ: Princeton University Press.

Casselman, K.L. (1993). Craft of the dyer: Colour from plants and lichens.

(2nd Rev. ed.). New York: Dover Publications, Inc.

Fereday, G. (2003).Natural dyes. London: The British Museum Press.

Glover, B. (1995). Are natural colorants good for your health? Are synthetic

ones better? Textile Chemist and Colorist, 27(4), 17-20.

Kadolph, S. J., & Gilbertson, L. F. (Eds.) (2002).Proceedings, Colour

Congress 2002: The art, history and use of natural dyes . Ames,

IA: Iowa State University.

Liles, J.N. (1990). The art and craft of natural dyeing: Traditional recipes for

modern use. Knoxville, TN: University of Tennessee Press.

Rung International, website accessed May 19, 2008, at

http://www.foodadditivesworld.com/products/

useful pictures or may be tempted to misuse thecamera.

Some students are very resistant to beingphotographed at all. Their wishes should berespected, but teachers can still encourage themto participate every time photos are being taken.Camera-shy students can take photos, select the

best photos for a project, arrange subjects to bephotographed, take responsibility for copyingphotos to a classroom computer, or carry out theplanning and note-taking the project might require.A camera-shy student may be more willing toparticipate in a small-group activity with trustedpeers or when prints of the photos will be given tothe students at the end of the project.

School districts may have a privacypolicy forbidding photography in classrooms that

serve special student populations. Teachers mustbe aware of district privacy policies before theyphotograph students. While parents are unlikelyto object when photos are displayed only in theclassroom or are given to students as keepsakes,they may object if the same photos are used inschool print publications or on school websites

without prior parent permission. Administrationmay recommend that parents sign a permissionslip that explains district policies on photographyand details how classroom photos will be used.

As with any technology, knowledge ispower. An educator who is familiar with thecamera and knows how to collect and managethe students photographs will be better preparedto deal with ethical concerns that may arise fromthe use of digital cameras in the classroom.

Continued from page 9Limitless Images: Digital Photography in the Classroom


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In art class, children are often praised forthe uniqueness of their work, rather thanits conformity to a predetermined standard or

response (Hurwitz & Day, 2007, p. 28).

The University Course Art Education Field Experience is arequired senior level course for art educationmajors prior to student teaching. The courseprovides secondary teaching experience for pre-service art teachers in preparation for their studentteaching experience. After implementation of theIndividuals with Disabilities Education Act of

This article presents an anecdotal discussion of collaboration between a college art education professorand a high school teacher. In the past 4 years, the secondary experiential course for pre-service artteachers has included teaching a class of students with special needs at a local high school. The goal isto provide pre-service art teachers with condence and skills that will improve their teaching practicewith all students.

The Power of Collaboration: TwoTeachers Working Together for TheirStudents SuccessBYELLENPOCHEDLEYANDJULIANNDORFF

1997, a review of the course led to the inclusionof an assignment that places pre-service teachersin a classroom of students with special needs.

The hope is that pre-service teachers will realizethe humanity in all students and overcome thefear that keeps teachers from fully includingevery student in their classrooms.

As stated by Hurwitz and Day, the art roomis a place where uniqueness and individualityare celebrated. In order for all students to ndthis environment welcoming, teachers must becondent in their abilities to teach all children.This sense of teacher efcacy directly relates to

ELLENPOCHEDLEY JULIANNDORFF


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student success in the classroom (Delacruz, 1997,p. 58). Exposure and experience help developteacher efcacy in pre-service teachers.

The High School Students with Autism Identied on the autism spectrum, the ve

participating students possessed decits in speechand language, cognitive development, and socialskills and behaviors. Instructional planning wasbased on an embedded functional curriculumfocusing on life skills, work experiences,functional academics, and community activities.The instructional goals of the curriculum weremaking independent choices, communicatingneeds in a nonverbal manner (e.g. picture cards,communication boards, gestures), completingwork tasks, and demonstrating appropriate social

courtesies and practices. The descriptions belowprovide a sketch of each student and his or herabilities.

Kevin was a 17-year-old with echolalic speech.Speaking in rst person to Kevin increased hisresponses to the teachers questions. He enjoyeddrawing, and he placed a high priority on completingevery project that he started in a session.

Martha was 17 and possessed a very largerepertoire of sight words. She was the most

vocal student in the class. During art class shedemonstrated heightened verbal expression andvaried voice inection. Martha worked slowlyand precisely on her drawings, using them toexpress her interests.

Annewas 21 and used basic signs and gesturesto communicate her choices and needs. She alsoutilized an augmentative communication devicewith teacher support. Annes ne motor skillswere delayed, and she received occupational

therapy to learn and practice daily living skillsthat require ne motor use.

Matt was 17 and followed many establishedrituals during the school day. He displayed somestressed behavior when his routine or environmentwas changed.

Adamwas 16 and worked in short sessions timedwith a visual timer. He began his project, took a

break for physical activity, and then returned tohis art project.

Kevin, Martha, Anne, and Matt followeda written daily schedule indicating times andactivities. Each student carried a clipboardwith his or her schedule attached and markedoff scheduled activities as they occurred. Adamutilized a picture schedule kept in the classroomthat he checked after completing each activity orlesson.

Planning for Instruction Due to students special needs, increasedmodications and adaptations are needed forsuccessful experiences in the art classroom.The rst step for the pre-service teachers is an

observational visit to the classroom. This providesthem with the opportunity to meet the students,talk with the teacher and para-professionals, andbegin to develop ideas regarding instruction. Thepre-service teachers are encouraged to incorporatethe instructional goals of the class within their artlessons.

The pre-service art teachers then identifyartworks of interest. When selecting artworks toshare with the students, they are encouraged toselect works with identiable subjects rather thannon-objective (abstract) imagery (Yenawine,

2002). This enables the students to connect withthe artwork and read the stories presented in thepieces. After a thorough critical examinationof the artwork to uncover the story, meaning,and message, the pre-service teachers developdetailed two-day lesson plans that include scripts.As with any student population, investigatingideas of interest to the students is essential. The pre-service art teachers areencouraged to post their names and picturesof themselves on the board. These are left

up throughout their tenure to reinforce theiridentities. The pre-service teachers createvisual schedules for each of the students. Theseprovide a reference for the steps of the lesson.This advance notice provides a more relaxedatmosphere in the classroom. For example,knowing that washing hands is a step in thelesson, students are more comfortable workingwith messy materials. These visual schedules arereinforced with posters of the art materials and


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processes being used when appropriate. A largevisual timer is used to establish the duration ofeach step in the lesson. Students are more easilyconvinced to continue a task when they knowthere is a set end to the activity. Other concepts considered duringplanning ensure that each activity can becompleted in the time allowed. For example,books must be read in their entirety, or studentslike Kevin will be upset. If this is not possible,copies of the appropriate pages must be providedrather than the entire text. It is also recommendedthat instruction be varied rather than routinized.This variation limits the development of a ritual.It is also essential, due to the students difcultyin processing auditory information, that verbalinstruction is provided in simple commands.

These commands are more effective whenreinforced with hand movements, includingsign language. Because students with autisminterpret language literally, commands must bephrased for clear understanding. The command,Recess is over has little meaning, but Time toget back to work is clearly understood. It is alsoimportant to provide only one activity at a time.For example, instructions are lost if given whiledistributing papers. It was also important for the pre-service art teachers to be aware of behaviors

that communicate student anxiety. Rapid eyemovement, apping of hands and arms, andhand biting are indications that the students arebecoming upset.

The Lesson Strategies Because the ve students were mostlynon-verbal, creative methods were needed toengage the students with the artworks and theconcepts of the lesson. It was important toprovide the students with visuals they could

easily see. Rather than posting an image on thewall, the instructor handed out individual copiesfor each student to allow him or her to examinethe image close up. Based on the story beingtold, different activities helped the studentsexplore the image. For example, when viewingthe work Giant Snowball (2003) by AndyGoldsworthy, the pre-service teacher began byplacing an ice cube on each students desk. Asthe students examined the progression of the

melting snowball in the artwork, they witnessedthe change taking place in real time through theice cube. To assist the students in understandinga sculpture of a toy bear by Jeff Koons, the pre-service teacher brought in the actual toy alongwith texture plates and porcelain so the studentscould feel the difference between a plush animaland a statue. This was reinforced by playing amystery touch game where differently texturedobjects were placed in bags for the students totouch without visual cues. Simple costumes werealso used to make connections. When examiningthe work Some/One(2001) by artist Do-Ho Suh,the students discussed the concept of security.They were each given a baseball mitt, a kitchenapron, sunglasses, and a hard hat to wearprotective objects that helped them feel safe.

Individual works allowed students toplay I spy, identifying key objects in theartwork. This can be done in a variety of ways.With laminated reproductions, students can usea washable marker directly on the piece andcircle important elements. In another activity,pre-service art teachers cut out images from thework and prompt students to nd matching pairs.Alternately, the artwork can be cut into simplepuzzle pieces that when assembled reveal thestory. Paint color swatches can provide easymatching tools to identify the colors present

and relate them to colors on a color wheel. Thisalso demonstrates how students with autism willoften match the color swatches to less signicantfacets of the work rather than the focal point. Forexample, when examining the workButtons, HerStrength is in Her Principles(1982) by ElizabethLayton, Kevin focused on the outline of the gurein the colored-pencil drawing.

Studio Production Any studio materials can be effective

for students with autism provided reasonableprecautions are taken. Care must be takento provide the students with clean, cared-formaterials that ease stress. For example, whenproviding watercolor trays, it is important tohave the cakes clean and intact. The size ofthe paintbrush as well as the design also needsconsideration. For example, sponge brushes holdadditional paint and thus limit re-loading withpaint. Large brushes allow for covering larger


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areas and push students to use broad expressivestrokes.

Whenever possible, materials are chosenthat have the benet of texture to provide furthersensory connections with the students. Makingtexture rubbings over different materials such asscreens provided sound and created an image. Inanother project, students designed printing platesof found objects. Printmaking was particularlyrewarding as it provided the students with theopportunity to replicate an image. Clay methodsof pinch pots and push/pull animals were alsosuccessful. At one point, students workedtogether to create collaborative pieces usingfoam core and fabric.

It has also been important to identifytools and techniques that can be adapted for

these students. Using pyramid-shaped crayonshelps students get a variety of stroke widthswith the same tool. Adaptive scissors helpwith hand-over-hand instructional techniques.Sponge brushes are made with paint pads insidethe sponges to eliminate the step of relling thebrush. Flavors can be added to paint to providethe added sensory stimulus of smell.

The Results The pre-service art education studentsdevelop their teaching environment to meet the

needs of the targeted students. This results ineffective and meaningful teaching.

Independent decision making: The studentsregularly make independent decisions relatedto their choice of color, media, and the contentof their work, creating personal stories. In othersubjects, Kevin tends to copy his friends work.This behavior is not as evident during art classwhere Kevin creates independently. SometimesKevin copies the teachers demonstrations, but

with modied instruction he creates his ownwork of art.

Extended attention span and social skillsdevelopment: Students are more attentive duringart class than during other activities. Appropriatesocial skills and positive behavior are displayedthroughout each lesson. If the focus of the lessonis lost, the visual tools and media greatly assist thedistracted student, regaining his or her attention.

Demonstrated personal communication throughconnections to personal experiences: The studentsare clearly communicating through their art. Forexample, Martha was given a questionnaire totake home regarding a recent family vacation.Her parents returned it with information abouttheir New York City trip. The pre-service artteacher used this information as a focal point inthe lesson. Inspired by her memories, Marthaincluded a precise drawing of the BroadwayTheatre her family attended. She also includedat least ve other sites in NYC that the familyvisited. Today, Marthas drawing hangs in theclassroom, and on occasion she will admire herwork and initiate conversation about her NYCtrip with her family.

Breaking out of routines and rituals: Matt hasmany rituals in his daily routine. The pre-serviceart teachers have designed their instruction torequire Matt to make choices that are outsideof his routine. During art class, Matt will makechoices more readily and with less stress. Hesmiles frequently and has tried different kindsof media. He has grown in his willingness towork with messy, wet, or dirty materials. Aspart of his routine, Matt wears the same colorshirt everyday. To begin art class, he is requiredto put on a protective paint shirt. He will

cooperatively put the paint shirt over his dailyuniform shirt. This newfound exibility is quitean accomplishment.

Pacing and exibility in planning: Adam hasshown his pre-service art teachers that a lessoncan be divided into smaller segments withsuccess. His participation in art class is possiblebecause the pre-service teachers have recognizedhis need to take breaks while working on a piece.They understand his desire to return and nish

his project. The pre-service teachers have alsoencountered teaching days when Adam is notready to return after his break. They have beenrequired to make changes and adaptations whileteaching.

New opportunity for family and communityconnections:Parents enthusiastically endorse theprogram and comment about how happy theirchildren are on Wednesday morning because it


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22 FALL2008

is Art Day. Parents also attend a public display oftheir childrens work organized and presented bythe pre-service art teachers. The art show is attendedby extended family and the community as well.

The art class inuence extends into thehome as well. Inspired by her artwork, Annes

mother painted and decorated her room using fourpaintings that Anne completed as the focal point.

Importance of well-organized lesson plans,adaptive tools, and personal exibility: Oneof the most valuable lessons that the pre-service teachers have learned is the necessityof organization within their plans as well as thedevelopment of instructional tools that will beeffective in teaching their lessons. Taking thetime to cut out aspects of the artwork so that

students can focus on the key elements in thepiece, creating visual schedules for each daysteaching, and planning variations in instructionto meet the needs of each student are essential. Itis also important to maintain good humor whensituations in the classroom make these extraefforts ineffective.

Power of professional dialogue: Both the pre-service art teachers and the high school teacher

benet from this collaboration. By workingdirectly with the classroom teacher, the pre-

service art teachers gain immediate feedbackto improve their instruction. The new ideaspresented by the pre-service art teachers help toinvigorate the more experienced educators.

ConclusionAt the beginning of each semester a new group ofpre-service art teachers is assigned to develop artlessons for this class of very special students. Theybegin this assignment with trepidation, concernedthat they do not have enough experience and are

unprepared. After their teaching assignment isnished, their most common reection is howthis was the most rewarding teaching experiencethey have had to date. Educators can never fully grasp all thereis to know about teaching, but they can alwaysbe open to learn. It is the responsibility of artteachers to teach all students. To do this, they needto have condence that they are able to createand teach meaningful art lessons that support the

learning outcomes for each student. Through thiscollaborative effort these pre-service art teachersgain the condence and skills needed to reectand grow in their teaching. With the experiencesthis program provides, they are prepared towelcome all students into their classrooms.

References

Delacruz, E. (1997).Design for inquiry: Instructional theory, research and

practice in art education. Reston, VA: National Art Education

Association.

Hurwitz A. & Day, M. (2007). Children and their art. Belmont, CA:

Thomson Higher Education.

Yenawine, P. (2002). Jump starting visual literacy.Art Education, 56(1), 6-12.

THEAUT

HORS

Ellen K. Pochedley is a member of Theta Chapterin Ohio and is an intervention specialist/Autismfor Theodore Roosevelt High School. She received

her National Board Certication as an ExceptionalNeeds Specialist in 2000. Juliann B. Dorff is aninstructor at Kent State University and a memberof the National Art Education Associations Special

Needs Group and Womens Caucus.

Potter a place in the minds of naturalists andin the hearts of children in many countries.Biographer Linda Lear inBeatrix Potter: A Lifein Natureuses ordinary experiences to depict theextraordinary life of a naturalist, writer, illustrator,entrepreneur, farmer and environmentalist. Shealso revealed the heart-rending story of true lovecut short on the eve of a wedding. Lear leadsthe reader through emotional peaks and valleysrevealing epic contributions of Beatrix Potterwhose success as wise businesswoman in amasculine world is juxtaposed with her creativespark as storyteller who created a new fablewhere animals behave always as real animals,

with true animal instincts accurately drawn bya scientic illustrator (p. 153). Peter Rabbitscreator embarked on a challenging new careerand found a lasting new love after the age of 50.The work of epic proportions reaches worldsbeyond the expected. Through Potters legacy ofperseverance through gender bias and personalloss, Lear brings the power of a brilliant artist,scientist, and conservationist to the forefront ofeducational literature.

2008 Educators AwardContinued from page 6


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Iwork at the university level teachingundergraduate students who are preparing tobecome teachers (pre-service teachers). I need

to make sure that my students are learning theconcepts being taught, but I do not always liketo give tests. Therefore, I use poetry writing asan after-strategy so my students can thoughtfullythink about what they have learned about variousconcepts and strategies for teaching readingeffectively in the classroom. In addition, I will review some of the

literature that discusses the importance ofintegrating writing and content information.I will also explain how poetry can be used todifferentiate instruction for all students. Next,I explain the procedure for implementing thisactivity with my pre-service teachers includingseveral of their examples. Finally, I will reecton the benets that poetry writing provides topre-service teachers and to their future K-12students.

Poetry writing can be both fun and unintimidating, especially when poetry provides so many choices thatappeal to a large variety of learning styles. Not only are there many types of poetry, such as inspirationalpoems, humorous poems, friendship poems, science poems, and reading poems, but there are also manypoetry patterns such as haiku, tanka, shape, and list. Thus, poetry writing appears to be an effectivelearning tool as it uses creative writing and reective thinking about the literacy vocabulary and contentinformation that pre-service teachers are learning while at the same time providing differentiatedlearning.

Patterned Poetry WritingHelps Preservice TeachersSummarize Content Learning

Integrating Writing into ContentLiterature sources conrm that teachers in

various content areas have used poetry for manyyears to enrich curricula and to help students learncontent concepts (Calkins, 2004; Kane & Rule,2004; Maxim, 1998; Robertson, 1997; Rodgers& Zolbrod, 1986; Spatz, 1982). In addition,Moore, Moore, Cunningham, and Cunningham(2006, p. 2), state that there are three compellingreasons to teach writing and reading in content-area classrooms:

1. Reading and writing are tools for learning. 2. Literacy requirements continually increasein school and society.

BYSUSANSZABO

THEAUTHOR

Susan Szabo, Ed.D., is professor in the Curriculumand Instruction Department at Texas A &MCommerce and is a member of Beta LambdaChapter in Texas. She teaches reading to bothgraduate and undergraduate students and is amember of the International Reading Associationand College Reading Association.


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3. Content-area teachers can teach content-area reading and writing best. However, teachers often feel thatdevoting time to writing instruction is difcultgiven the amount of content information thatmust be covered in the typical curriculum (Troia& Maddox, 2004). This is supported by data fromthe 2002 National Assessment of EducationalProgress (NAEP) that reported only 28% offourth graders, 31% of eighth graders, and24% of twelfth graders performed at or above a

procient level in writing achievement (Persky,Daane, & Jin, 2003). There are many reasonswhy students nd writing challenging, such aschanging student demographics, the nature ofwriting, time constraints, quality of instructionin the classroom (Graham & Harris, 2002), and

individual student characteristics (Troia andGraham, 2003).

Differentiated InstructionUsing differentiated instruction allows each

student to use his or her strengths and intereststo enhance the learning experience. There arethree ways that classroom teachers can modifytheir lessons in order to provide differentiatedinstruction (Berger, 2000; Heacox, 2002;Tomlinson, 1999). They are (a) differentiating thecontent or topic, (b) differentiating the process or

activities, and (c) differentiating the product.According to Heacox (2002), a teacher

can differentiate the content or what is beingtaught in several ways:

The teacher can differentiate the content byproviding students with the opportunity to read,examine, explore, and learn about differentsubtopics within a main topic. This allowsthe students to explore something of interestto them in more detail and then share theirlearning with the class.

The teacher can provide students with various

materials and resources that match their readinglevel. Thus, teachers need to have access to alarge variety of multi-leveled books aboutvarious content topics. Both the school libraryand the public library are valuable resourcesfor books.

For my university classroom, I differentiated thecontent for each of the reading topics we studiedas my students were given various sources of

material to read. Some read from the text; someread from peer-reviewed articles; and someexplored and read about the various readingtopics on the Internet. They were directed towardseveral specic websites, such ashttp://searchlight.utexas.org/http://www.texasreading.org/utcrla/ The second way to differentiate a lessonis to provide choice during the process. Teachersneed to integrate various learning activitiesand strategies into their planned lesson so thatstudents can make sense of what is being taught(Tomlinson, 1999). Thus, the teacher needsto provide various activities and strategies tohelp students to organize and reect on theinformation that is being learned. Activitiesthat can be used are centers, interactive bulletin

boards, and literature circles. Strategies that canbe used are graphic organizers such as the Whatdo you Know, What do you Want to know, andwhat have you Learned (KLW) created by Ogle,1986, and the what do you already Know, whatdo you Want to know, what Hard words haveconfused you, what Heart wordor emotionalworddoes the reading trigger for you, whathave you Learned (KWHHL) created by Szabo,2006, which promote higher-order thinking andwork with vocabulary words. However, teachersneed to encourage their students to choose the

activity or strategy that best ts their learningstyle (Sprenger, 2003). Poetry itself providesfor differentiating of the process as there are avariety of poetry patterns that can be chosen bythe author to use while writing.

Finally, differentiating the productencourages students to show off what they havelearned in a meaningful way that interests them.Students self-select a method that will allow themto be successful at showing they have learned thematerial that was taught (Bailey & Williams-Black,

2008). Thus, my students poetry products varied asthe students were allowed to pick both their contenttopic and their poetry pattern to share in class.

Procedure: Creating Reading Content Poetryby Pre-service Teachers

Step 1: As a whole class, we rst created anacrostic poem as it is normally the poem that isknown by most students. I put the letters READvertically down the board, and as a whole class


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we developed sentences that started with theletter to describe our topic.

Step 2: Next, as a whole class, we createda reading list poem. This was done by rstasking each group to create a sentence that tellssomething about reading that they have learnedthus far. I further explain that Reading had to

be the rst word in the sentence. After about 3minutes of brainstorming and talking within thegroup, each group shared its sentence. While theyshared, I wrote these sentences on the board. Ithen explained that they had created a list poem.

Step 3: We next used our various resourcesand materials to talk about numerous poetrypatterns. Then each group of 3 to 4 studentspicked a poetry pattern and a reading topic aboutwhich to write. After 15 minutes, the poetry was

shared with the class. A class discussion followedto determine if the information presented wasimportant information about the topic. Second,the class determined if the poem was well-written and used the correct pattern for the poem.This had my students counting words, syllables,adjectives, and nouns as well as reading theirtext to provide pertinent information. Severalexamples of their poetry follow:

The List PoemReading

Reading helps us to explore and comprehend life.Reading is a transaction between the reader and

the author of the text.Reading is decoding.Reading is a form of communication.Reading is talk written down.Reading is saying the words correctly.Reading is key to academic success.

The Acrostic PoemREAD

Reading has many purposes.Efferent reading is for information.Aesthetic reading is for fun and enjoyment.Discussions help to summarize the material better.

The Repetitive PoemBooks

Some books are patterned. Some are not.Some books are predictable. Some are not.Some books are fairy tales. Some are not.

Some books are narratives. Some are not.Some books are humorous. Some are not.Some books are read aesthetically. Some are not.Some books are well illustrated. Some are not.Some books are informative. Some are not.Some books are read aloud. Some are not.Some books are chapter books. Some are not.Some books are read efferently. Some are not.Some books are sequenced. Some are not.

The Diamante PoemListen and Talk

ListenReceptive, Attentive

Critically, creatively, SimplyHear, Ear, Speak, Mouth

Gossiping, chatting, chattering

Expressive, animatedTalk

The Limerick PoemThe Boy

The little boy wanted to read a book.But, he was afraid to take a look.

So, every single dayHe went outside to play

And never learned how to read a book.

Reection on the Poetry Writing Project

The ability to gain knowledge from text isa critical one. Being able not only to understandthe information read but also to evaluate theinformation is essential. Watts (2001) andAbisdris and Casuaga (2001) showed thatpoetry writing enhances students understandingand poems can often be the source of ahamoments, or Now I get it (Walders, 2000,p. 2). For my students, using poetry writing asan after-summarizing strategy provided themwith a unique and genuine opportunity to create

meaning while improving their understandingof the concepts being learned. In addition, usingpoetry provided my students with opportunitiesto integrate creative writing and content, toexperience differentiated instruction, and to learnthe power of taking time to use writing in theclassroom to enhance learning. Incorporating patterned poetry writinginto content area teaching has many benets:

Poetry writing makes concepts come alive as


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26 FALL2008

the writer uses patterned poetry.Patterned poetry writing not only expandsthe students understanding of the vocabularywords but provides a creative way for themto show off their understanding of the wordsin conjunction with the content.Students have the structured patterns of apoem to follow, which provide scaffoldingto them while they are writing, but they arealso free to use any words to ll in the pattern(Sampson, Rasinski, Sampson, 2003).Students take apart and look more deeplyat the overall meaning of the content, whichallows them to gain a deeper understandingabout reading and the teaching of readingas they are writing using various poetrypatterns.

Listening critically to their classmates poetry

helps students with the metacognitive processas they talk about and think reectivelyabout each of the poems. Poetry reading alsoprovides for conversations to occur, whichaids in the comprehension process (Ketch,2005).As the students are pre-service teachers,instructors hope that they learn a variety ofpoetry patterns so that they feel comfortablehaving their K-12 students write poetry intheir classrooms when they are the classroom

teachers of record. Writing engages thestudents in learning the content materialrather than memorizing it.Poetry writing demonstrates to preserviceteachers (and their future students) that notall poems rhyme, and it is an authentic way toshow what they have learned in their readingclass.Poetry writing exposes students to preciselanguage, and it gives them syntax knowledge(Heitman, 2005).

Poetry writing allows students to create word

pictures as they express concepts and topicsthrough original means (Maxim, 1998).

References

Abisdris, G., & Casuga, A. (2001). Atomic poetry: Using poetry to teach

Rutherfords discovery of the nucleus.The Science Teacher, 68, 5862.

Bailey, J. & Williams-Black, T. (2008). Differentiated Instruction: Three

Teachers' perspectives. College reading association yearbook

(in press).

Berger, E. H. (2000).Parents as partners in education: Families and schools

working together (5th ed.). New Jersey: Merrill.

Calkins, L. M. (1994). The art of teaching writing. Portsmouth, NH:

Heinemann.

Graham, S., & Harris, K. R. (2002). Prevention and intervention for

struggling writers. In M. Shinn, H. Walker, & G. Stoner

(Eds.),Interventions for academic and behavior problems II:

Preventive and remedial techniques(pp. 589610). Washington,

DC: The National Association of School Psychologists.

Heacox, D. (2002).Differentiating instruction in the regular classroom:

How to reach and teach all learners, grades 3-12. Minneapolis:

Free Spirit Publishing.

Heitman, J. (2005). Poetry and literacy from atoyea!Library Media

Connection, 23, 40-42.

Kane, S., & Rule, A.C. (2004). Poetry connections can enhance content area

learning.Journal of Adolescent & Adult Literacy, 47, 658669.

Ketch, A. (2005). Conversation: The comprehension connection. The

Reading Teacher, 59 (1), 8-13.

Maxim, G. (1998). Writing poetry in the elementary social studies classroom.

Social Education, 64, 207-211.

Moore, D. W., Moore, S. A., Cunningham, P. M., & Cunningham, J. W.

(2006).Developing readers and writers in the content areas K-12

(5th ed.). Boston: Allyn & Bacon.

Ogle, D. (1986). KWL: A teaching model that develops active reading of

expository text. The Reading Teacher, 39, 564-570.

Persky, H. R., Daane, M. C., & Jin, Y. (2003). The nations report card:

Writing 2002. Washington, DC: U.S. Department of Education,

National Center for Education Statistics.

Robertson, J. (1997). Poetry in science. Voices from the Middle, 4, 7-10.

Rodgers, G. & Zolbrod, P. (1986). Images of creation in science and poetry.

Journal of College Science Teaching, 15, 530-534.

Sampson, M.B., Rasinski, T., & Sampson, M. (2003). Total literacy:

Reading, writing and learning (3rd ed.). Belmont, CA:

Wadsworth Publishing.

Spatz, L. (1982). Six women: A demonstration of the use of poetry in health

science curriculum. College English, 44, 674-684.

Sprenger, M. (2003).Differentiation through learning styles and memory.

Thousand Oaks, CA: Corwin Press.

Szabo, S. (2006). KWHHL: A student-driven evolution of the KWL.

American Secondary Education, 34,57-67.

Tomlinson, C. (1999). The differentiated classroom: Responding to the needs

of all learners. Alexandria, VA: Association for Supervision and

Curriculum Development.

Troia, G. A., & Graham, S. (2003). Effective writing instruction across

the grades: What every educational consultant should know.

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voice their concerns.Exceptionality, 12, 1937.

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23, 197208.


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The Culmination of ProjectWINGS in Arizona

W

ith pride, Arizona announces theculmination of Project WINGS. WINGS,an acronym for Wise Investment in

the Next Generation of Students, was a projectconceived more than 20 years ago by six membersof Alpha Epsilon Chapter in Arizona. In 1984, Phyllis Steinmann, one of the six,had a vision of a plan to give students and theirparents a goal to aim toward a college education.The plan involved reaching students in homeswhere college was not thought to be a possibilityand helping the parents of these students becomeinvolved in their childs education. Phyllis invitedve membersDonna Reynolds, Mary Garbagnati,

Lois Cullipher, Kathryn Kutis, and Pam Snowallof Alpha Epsilon Chapter to join her in the WhiteMountains for a weekend to participate in a ThinkTank. Throughout the course of that year, therewere more Think Tank opportunities needed torene ideas and to substantiate the plan with thelegalities needed. Alpha Epsilon ofcially adoptedthe project in 1986. The plan was

natural dyes a traditional craft experiencing new attention

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