William ste. marie educational portfolio2

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Part 1 Ste. Marie 1

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Educational Portfolio

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Planning, Learning, Reflecting
William Ste. Marie

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Part 1 Ste. Marie 2

Table of Contents
1. Personal Statement
a. b. Reflection (English in the Classroom & Beyond
2. Knowledge of Community and Parental Outreach
3. Classroom Management Action Plan
4. Professional Development/ Reflections
a. Standard 9 (Professional Development/ Personal Metaphors)
5. Philosophy
a. Standard 1 (Constructivist Learning Theory, Problem Solving, and Transfer and
Understanding Student Differences)
b. Reflection (Reflecting on Foundations of Learning)
c. Standard 2 (Interdisciplinary unit plan)
6. Interdisciplinary Unit Plan
7. Non Fiction Forensics Unit Plan Teaching Project

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To whoever possesses this portfolio,

What you are holding is a body of work that was complied over my entire pedagogical education. These exhibits will

serve as a sort of time capsule and chronology that charts my progress as an up and coming teacher. The contents

herein are the foundations of my beliefs as a professional. I am dedicated to the cause of providing equal opportunities

for education that is both rigorous and engaging. I will do everything within my power to ensure that all students are

challenged to not only think critically, but to think metacognitivly. This will ensure that all students value their education

and garner real world skills from my instruction. I believe that self-efficacy is the gateway to success and that I must

facilitate an environment where students believe in their abilities as individuals. I know successful instruction is borne in

classrooms with positive environments and I will strive at all times to mirror these attributes in my classroom. I value

routines and structures as I know they are integral to student success and comfort in the classroom. Informed by my

educational coursework, I am bound to the belief that co-construction of information must be present in the classroom.

I will ensure that meaning is dispersed throughout the classroom and that all my students feel they are viable sources of

information. All students—including English as second learners and students with disabilities—must be provided a

quality education. It is my duty to assist these students in any way possible by collaborating with special education

teachers and paraprofessionals to implement their IEP’s. In short, I pledge to continually implement all elements of

successful practice held in this portfolio and adapt all instruction that feel short. Ultimately this portfolio exists as my

foundation for pedagogical knowledge, preferred practice and reflective dispositions.

Sincerely,

William Ste. Marie

Part 2 Ste. Marie 4

Knowledge of Community and Parental Outreach
INTASC 10: School/Community Involvement

Parent Coordinator: Mrs. Williams

So what is being done to establish family involvement in the school, does the school have any programs in
place?

Oh yes, all day. We are constantly communicating with parents. We have many academic pep rallies where we
invite parents to come and support their children as they receive awards for academic achievement. All the
events we do are geared towards parental participation. We invite parents to every event we do here. We have
our arts day where students hold performances for their parents and the larger community. We also have many
programs for home improvement and outreach. We want to make sure if the parents are having trouble
supporting for their child that we support the parents. We are constantly providing parents with resources. We
have a program to help f those formally incarcerated receive their GED. We have career workshops, and inform
parents of important government resources that may help them with their financial problems. We even have a
program for those who have little technology at home acquire computes. We assist parents with getting eye care
for their children as well. We have a company come and perform tests and administer eye glasses to the
students. It’s great, these glasses are great quality glasses, and what's really impressive is if they feel the student
needs to be further evaluated they'll refer the student to an eye doctor free of charge. We also help parents by
many parents express difficulty visiting and getting information on the high schools their students are interested
in. So we bring the schools to them by inviting representatives from different high schools to our school to
speak to the parents and students.

What about the larger community—what is being done to connect with and involve the outer community.

We do a lot of community outreach here. We have some of 7th and 8th graders help younger children to read in
many K-5 schools in our community. We also have healthy living Zumba classes that are open to the
community. We have many open house arts shows where we invite the outer community to watch our shows.
We have a big heritage day on thanksgiving where we give out food and celibate different heritages, we don't
call it thanksgiving but it happens on the day of Thanksgiving Day.

What are some barriers in communicating with parents? What is being done to address these obstacles?

The biggest thing about getting parents involved is for them to actually show up. A lot of the parents express
interest in their child's future and will speak on the phone, but when it comes time to actually attend a show, or a
PTA they may not show up. It use to be that food would be good enough incentive for the parents to show up
but now it doesn't always seem to work. It sounds funny, but you'd be surprised what a difference food makes.
Other barriers revolve around struggling parents. Many parents are afraid to admit that they have financial
problems and or trouble supporting their students and will avoid seeking help. We try to communicate that we

Part 2 Ste. Marie 5

have the resources; they just have to ask for it. We are not mind readers here. Some accommodations are made
for those parents who struggle financially and may be working too many jobs to show up as often as they may
like. Constant communication on the telephone and letters home help to keep them informed, but we still stress
that they need to show up whenever possible.

8th grade Lead ELA teacher: Mrs. de Melo

What do you do to foster communication with your student's parents?

In the beginning of the year I established a weekly letter home to students' parents keeping them informed of
what they learned, how they have been performing and what will be expected of them for the upcoming week.
This worked out great especially for quality review, because when I was asked how often I communicated with
students I could honestly say every week. A few of my students' parents are directly involved with the school.
One of my student's mothers has a program that honors high academic achievement in the school with cool
incentives. I keep in touch with the parents through En Grade as well. Students and parents can email me
questions through Engrade, but I haven't gotten many emails. I think it’s really important to have parents
involved, and caring about their child’s progress.

7th grade ELA teacher: Mr. Berry.


I think parental involvement is huge. Much of the order in my classroom has come with careful consideration of
individual students. I have worked hard to develop those individual relationships and winning the parents over
was a big part of that. I do a lot of positive phone calls home. I have fun with it sometimes and even have the
students script the phone call and I’ll recite whatever ridiculous praise they want. Sometimes it is difficult to
call home because many of the children at the school live in foster homes and may alternate guardians if moved.
I also worry at times that the students' parents may have a harsh reaction to negative phone calls home and
complicate the issue.

8th grade Math teacher: Mr. Lewis.


I'd say I have built a relationship with just about every parent of my students this year. It’s been a big part of
what I do. I usually don't go about solving a problem without including the parents in the situation. I find out a
lot about what's going on with my kids through the parents. Usually many things can be traced back to the home
or if not the parent has some sort of idea of what's happening in school that I don't. I think it’s important to keep
the parents on board so that you have a team. Especially with math—it takes a lot of positive reinforcement the
kids definitely someone close to them in their corner.

Parental Involvement Plan

Step One

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Is to establish communications. I would like to adopt the weekly letter home informing parents what their
student learned and how they performed. On this letter would also be a place for parents to leave comments. I
would also like to utilize some sort of online communication which would partially depend on what program
the school is using e.g., Pupalpath, Engrade. I will also give out my email for parents who struggle using the
software

Step Two

Is to establish positive relations with parents and make sure they know their involvement is necessary and
valued. This will include meeting or speaking with parents proactively to predict possible challenges students
may face when learning new material. This will also include cooperating together with parents create
individualized goals for each student. This will also include giving positive phone calls home and informing
parents when students are meeting the goals we have identified.

Step Three

Is to sustain these positive relations by routinely celebrating a student’s success as well as monitoring their
struggles. Opportunities will be made available for students to publish their work by performing it in front of
parents and displaying it in the class room and hallways. Parents will be encouraged to make suggestions or
leave comments in homework assignments

Part 3 Ste. Marie 8

Classroom Management Action Plan

I am Identifying Michael’s lack of respect towards other classmates as a classroom management problem

1. Michael’s lack of respect can be described as being very abrasive and rude to other students. Michael
refuses to work with many students and provides mostly negative feedback to his peers. He is quick to
point out other’s mistakes and becomes hostile when other students point out anything wrong he is
doing. Michael reacts very poorly to being chastised in any way by the teacher and his behavior must be
calmly addressed or he becomes enraged. Because of this, many students do not even want to sit
anywhere near Michael and have asked to move their seats.
Michael’s background is very troubled. He just recently came back from a lengthy suspension for
assaulting another classmate. Much of the school’s staff has reason to believe that he is gang affiliated
and his parents have been in and out of work. In order to devise a management strategy the
circumstantial evidence of gang relations and family problems must be validated by contacting parents
and perhaps obtaining police reports. It may also be beneficial to look up his academic performance in
ARIS to confirm whether his behavioral problems are linked to failures in school. It is also important to
collect records of his attendance to see how often he is at risk of being unsupervised or on the streets.
Many people will have to be involved to help create an effective intervention plan. The guidance
councilor can help provide Michael with some of the resources that he may need to deal with the
emotions that may lead him to his behavioral problems. The councilor may also collaborate with his
parents to figure out if his parents need help finding work or supervising Michael. The police may also
have to be involved. They may be able to provide Michael with programs that feature ex criminals
speaking out against crime.
2. In examining Michael’s behavioral problems, his issue falls under, “Domain 2, Component 2a: Creating an
Environment of Respect and Rapport” of Danielson’s Framework for Teaching rubric.” Michaels behavior
is particularly damaging to the classroom environment, as the rubric recognizes that, “as important as a
teacher’s treatment of students is, how students are treated by their classmates is arguably even more
important to students.” The rest of the class’s unwillingness to sit near Michael demonstrates the rubric’s
idea that, “poor treatment causes students to feel rejected by their peers.” Michael’s harsh feedback and
comments has resulted in a mutual rejection between him and his classmates. This is exactly in line with the
rubric’s identifying, “Some students refusing to work with other students,” as an example classroom
environment issue of Creating an Environment of Respect and Rapport. The rubric rates the way I am
addressing the situation as “basic,” because, as a teacher I, “respond to disrespectful behavior among
students with uneven results.” And because my attempts to address Michael’s behavior can be described as,
“attempts to make connections with individual students, but student reactions indicate that the efforts are not
completely successful or are unusual.”

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What When Result
1. Identify at least one First period on 3/7/2012 Michael made some
student who shows inappropriate comments, but
willingness to work the student didn’t react, most of
with Michael in group the group work was done.
work and pair them
together. Observe
Michael’s progress
working with partner
for at least 3 to 4 days.

2. Invite Michael to a
group advisory session
on providing effective
feedback and dealing
with, “bad attitudes”
Call Michaels parents
explaining the Michael was abrasive to the
importance of him group, but agreed with some of
attending the advisory 6th period during an advisory the methods of dealing with
session.
3/9/2012 “bad attitudes.”
3. If Michael shows
progress working with
partner, indentify a
handful of students
who are willing to
work with Michael.
Include Michael in
larger group setting.
Make positive phone
call home if Michael
does well.

4. If Michael handles
group work well, move TBD
Michael’s seat next to
other students. Monitor
if he can handle being
around other students. First period 3/14/12
If Michael misbehaves,
hold an after class
discussion and explain
to Michael that you
would like him to sit
next to students, but

Part 3 Ste. Marie 10

will have to move him
back, and will consider
seating him next to
students if his behavior
improves. Make
positive phone call
home if Michael does
well.

5. Arrange for a Criminal
intervention workshop
to be held at the
school, assign class
with a written TBD
reflection assignment
on the program. 3/20/12
Communicate to
Michael’s parents the
importance of every
student attending
school on that day.

TBD


TBD

*TBD-To be determined.

5. The main adjustments that I made to my routines in the classroom involved the paring of students.
Normally turn and talks involved students talking to the student next to them ,but because of Michael’s
isolation, I had to pick students who were willing to travel to work with him. I would normally, prefer
students have different partners with each activity, but I made an exception with Michael when he first
started working with a partner, as I wanted to build off of the positive interacts he had with his partner in
order to make sure he was ready to work with additional students. Because of Michael’s large impact on
the classroom environment, the advisory session was also specifically geared towards Michaels needs as
opposed to general advice towards the students.
Many interventions were made towards Michael and the rest of the class. I had to change the culture
of the class being afraid to work with Michael by slowing integrating him into classroom activities. The
positive phone calls home helped give positive reinforcement towards Michael’s progress. The
interventions addressed Michael’s withdrawal from classroom activities by slowing bringing him back
into the activities. Michael’s issue of providing mostly negative comments and feedback was addressed
by the advisory session on Peer feedback. Hopefully the workshop on crime helps Michael with his gang
involvement as he will see the grimmer side of crime. Although many of the interventions appear to
have been successful, some of the steps are yet to be implemented, and I will not truly know if he has
improved until he is seated next to other students.


Using Data Driven Instruction/Data Tracking
Endpoint Student Achievement Plan and Rubric: Working with a Small Group

Apprentice Name: Session Leader Name:

Part One:
 First Week and Current Level of Engagement: Record each student’s name, their first week level of engagement (copy from the Midpoint Student
Achievement Plan or from your data tracker) and their current level of engagement in class.
1 = These students show the least amount of engagement and effort. They are disengaged for parts of the lesson or are disruptive.
2 = These students are engaged for at least 80% of the lesson, but they may show off-task behavior a few (2-3) times during class.
3 = These students are engaged for almost the entire lesson. They show off-task behavior less than one time and are never disruptive. They are able to focus despite distractions and
demonstrate an eagerness for learning.
 Academic Indicator: What percentage of your whole class and small group objectives has this student mastered (mastery = 80% or higher)? Indicate
the number of objectives assessed versus the number of objectives mastered to calculate the percentage (e.g. 10 objectives mastered/15 objectives
assessed = 67% mastery of objectives).
 Summary: Summarize each student’s progress from week one until now (4-5 sentences per student). Address both academic and behavioral
progress in your summaries.
Student Name First Current Academic Indicator Student Progress Summary
Week Level
Level

Foli, Christopher 2 3 62% Christopher was a high energy student from day one. In the first weeks he had a wealth of
misplaced energy. In the following weeks, I engaged him in the lesson by giving him classroom
responsibilities such as being my scribe. Weeks later, Christopher often helps assist passing out
papers and with calls to attention. Academically, I have given Christopher the opportunity for
some “Vegas” by having him earn credit for performing in activities. This differentiation has
helped Christopher to express himself while earning extra credit

Bookman, 2 3 62% When I first arrived, Marques was disinterested, absent, and had a pending court case on his
Marques mind. Marque’s attendance has since improved dramatically, and when he tries, he has earned
many 100’s in class. Improved. Because of his vast potential and general background
knowledge (he has read nearly almost every independent reading book in the class) I have
involved Marques as much as possible in the class. discussion I have had success using
techniques like “Cold Call” to elicit responses from him. Marques has also shined throughout
with the “Vegas” technique, in fact he just recently came in second place in a jeopardy review
activity. Using the “what to do,” technique has made his behavior less aggressive, but he still
struggles focusing and will sometimes disappear from class.


Smith, Roget 1 3 25% Over the course of my time with him, Roget went from being hostile and hardly getting any
work done to finishing most of his assignments and joking lightheartedly with me. Using the “J
factor,” has made a big difference in our rapport. Although some of his questions become a
little too personal, he seems interested in building a positive relationship. His classwork has
shown the vast improvement. Overall, Roget has had a lot of success due to the “challenge
technique. By prodding him to think deeper, Roget has been more activity involved in class.

Adams, Tishelle 2 3 37% My first experience with Tishelle involved her ripping her papers up and refusing to do work.
While she still fights doing work, I was recently pleasantly surprised that she wrote me a letter
explaining why she didn’t want to do the forensic science unit. Her maturity in expressing
herself in general has developed leaps and bounds. Our rapport has vastly improved, after
using the “J Factor” she often says “what’s popin’” and laughs when I fail to say it cool like her.
Her engagement and completion of classwork has improved overall, but she still needs to work
on not completely tuning out when she doesn’t like the subject matter.

Ramirez, Sabrina 3 3 62% Overall, Sabrina’s improvements have fluctuated. She was trending more towards a four, but
has recently dropped back down again. Despite the dips in her performance and engagement,
she is on an upward path. Again, like many other students the “J factor” has made huge
improvements in our rapport. We have an inside joke about ice cream, and it has become our
standby to signal that she is off task. The “what to do,” technique has also had a lasting impact
on Sabrina. She was very quick to argue and engage in the past, and now although she may
look frustrated when corrected, she does not challenge me. Her grades are sporadic and she
often needs to be reminded to finish assignments, but she has consistently given her work a
second effort.

Part Two:
 Analyze the data above and your Small Group Data Tracker. Reflect and respond to the guiding questions below (~500 words) to create an action
plan for your ongoing development into a highly-effective middle school teacher.
o Positive Impact: Based on your analysis, what do you feel was the greatest positive effect that you had overall on your small group? What
was the greatest positive effect that you had on an individual student? What student achievement data can you use to support your
responses? What specific actions did you and your students take that enabled you to achieve these results? Describe how certain
techniques you used were effective specifically in a middle school setting, and explain why you think these techniques are effective when


working with middle school students.
o Greatest Disparity: Based on your analysis, what student or students struggle the most to make gains in achievement? Why? What specific
actions could you have taken or would you like to take to better support these students in accomplishing their goals?
o Development Areas: Based on the data that you have collected and the greatest disparity that you have identified, what do you see as your
greatest development areas in moving and motivating all middle school students to reach higher achievement levels? What specific next
steps will you take to gain the knowledge, skills, resources, or habits of mind that you need to improve within your identified development
areas? What is your timeline for your next steps?

Throughout my experience two things have really stood out: establishing a classroom culture that is positive, and individualizing behavioral and academic
strategies. I am most proud of my contributions in establishing a positive rapport in both whole group and individual settings. Despite the struggles I have
had developing effective discussions with the small group, I believe I have ingrained a sense of value to student’s opinions. Through a class participation
points system and positive reinforcement , many students who were previously introverted have fought to have their voice heard . All of a sudden I am now
hearing comments like, “why didn’t I get 5 points today? I answered some questions.” and, “Student X was distracting me, that’s why I couldn’t participate.”
Tishelle’s progress from ripping up papers—to writing letters to express herself—speaks to empowerment students gain from instruction that values their
voice.
Getting to this point involved utilizing student evaluations of discussion techniques, as well as many strategies such as the “popcorn” technique and the
“Pepper” technique. These strategies were vital in building students’ respect for one another, as the increased pace and tighter nit structure cut down on
opportunities for heckling. This improvement was evident as many of the objectives students’ mastered in the data tracker are tied to the students success
in respecting their own voice as well as others.
Because off their sporadic performance, It is difficult to determine the longevity of the impact of these strategies on students like Marques and Sabrina.
Although techniques like the “J factor” and “Vegas” were at times effective, I have learned that boundary issues come attached. Too much joking around
may curtail your leadership role as a teacher and appear as double standards to those students who respond to strict techniques like “No Warnings.” In the
future, It would be helpful to set more strict and consistent expectations and boundaries associated with those techniques on the warmer side of things. I
have also observed the necessity to build on success and to catch students from regressing into old habits. Thinking back, if I were more diligent in
celebrating Sabrina and Marques’s progress they may not have had such sporadic academic and behavioral progress. Perhaps involving students in their
behavior and academic plans would allow students to more effectively and tangibly track their progress.
As a whole, I find that I need to make many of the techniques I have recorded my own. I feel that my current application of some of the techniques squash
my personality rather than highlighting it. Despite some of the success I have experienced with techniques like “ what to do” and the “no warnings,” I find
myself feeling unnaturally robotic. I agree with the sentiment behind positive framing of telling students what they should be doing rather than what they
shouldn’t, but I need to implement it in a way that feels more personable to me. I believe this internal debate I am having has resulted in the boundary
issues I have had with Sabrina and Marques . Finding the balance between warm and strict is a key area that I need to advance in. While I have had success
with both sides of the technique, knowing when to feature each side is the next step. Continuing to be aware of what I buy into as a teacher will allow me to
approach the techniques more effectively and in way that feels natural. I think role playing, video demonstrations, workshops, and observations will help to
exemplify how these techniques can be personalized.


Reflections/Philosophy

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Educational Portfolio
Planning, Learning, Reflecting
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William Ste. Marie

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These three reflections on the theatrical concepts of Constructivist Learning Theory, Problem Solving, and Transfer

and Understanding Student Differences, are at the heart of my knowledge of learners and human development. Not

only do they demonstrate the theoretical foundations behind the developmental stages and differences of learners, but

they also highlight my real world experience witnessing these concepts. Through the field work observation component

of this assignment exists a candid and valuable assessment of how this knowledge of development and learning styles is

addressed in the classrooms I have witnessed. The assignment’s task to assess, evaluate, and provide meaningful

answers to these developmental questions allowed me to synthesize my knowledge of these theories and begin my

future as a reflective Practioner.

The completion of this assignment essentially requested that I shed the theatrical fog that had often clouded my view

of these theories in favor of a real world revelation. Upon reflecting on Constructivist Learning Theory, Problem Solving,

and Transfer I was shocked at the lack of emphasis on meaningful connections in school. I was truly disturbed when I

observed a teacher dismiss a student’s comparison of Lenny from Of Mice and Men to its Warner Brother’s cartoon

representation. This exchange, among many others, impressed upon me the importance of valuing student’s prior

knowledge and experience. On the lighter side of things, the assignment also confirmed my studies on the importance of

constructivist learning, as I witnessed the wonderful transformation a class had when it moved from teacher as

facilitator to student centered learning. My observation of the effectiveness of ill-formed (open ended) questions

enriched my appreciation for classrooms with high cognitive demands and rigor.

The creation of my reflection on “Theories of Psychosocial and Cognitive Development” fostered my awareness of

development processes. Concepts like “Indentify vs role” became more three dimensional as I was able to contextualize

them in common culture. This has since sparked my interest in determining the effect of social and gender roles on

instruction. My observation of a student writing in class that, “he hopes a sports jock and a sped cartoonist” can get

along still informs my belief that many students are well aware of their role in the classroom. The assignment also

allowed me to witness how student’s schemas can be accessed more efficiently by certain teaching methods such as


chunking or active reading. This also engendered the importance of allowing students assimilate knowledge to their

schemas by providing them opportunities to build on prior knowledge and make connections to new information. The

value of student’s co constructing knowledge was all made very apparent to me, as I witnessed the positive effects

students gained from not having to feel chastised by their peers or teacher for arriving at a wrong answer.

My piece on “Understanding Student Differences” revealed many equity issues in a classroom. I was deeply affected

by struggling students that were failed by strictly direct instruction based classrooms. Whereas witnessing the success

students had when they were in environment of differentiated instruction left a positive impression on me to search and

exploit students’ learning styles. As a result theories such as “Gardner’s multiple intelligences,” were forever engrained

in my repertoire of tools to engaging students.

Ultimately these three reflective pieces mark the transition from theory to application in my development as a

teacher. Looking back, I cannot imagine stepping into a classroom without considering the most important resource

available in the room—the students. Completing this activity has instilled my core belief that it is absolutely necessary to

know my students and to artfully plan and teach based on student differences, and developmental processes. Seeing

Gardner’s theory Multiple intelligences in action has had a direct effect in my teaching as I plan to continue

administering learning style surveys. And my observation use of “open ended” questions and constructivist learning has

inspired me to resist the temptation to rely solely on direct instruction in the future.


Standard 1: Knowledge of Subject Matter
Goal 1, Objective A: Knowledge of Subject Matter

William Ste. Marie


This unit embodies my understanding of my major, English Writing, as it builds on the knowledge I have of the writing

process and literary interpretation to effectively teach students. Because of its focus on the Harlem Renaissance, this

unit specifically showcases my expertise in poetry. The topic of Harlem Renaissance highlights my awareness of how

artistic movements affect genre and style of writing. The research portion of the unit highlights my experience

conducting and facilitating literary research. The unit’s emphasis on connecting writing to the real world, demonstrates

my ability to speak to the importance of literary and artistic expression in everyday life. Its interdisciplinary aspect shows

my capability to connect literary content to the larger context of historical and social movements.

The creation of this unit allowed me to envision what generative writing might look like in an everyday classroom.

This provided me with the opportunity to apply many of the theories I studied about the writing process to lesson

planning. My struggle at times facilitating meaningful writing exercises allowed me to navigate the challenge of

integrating activities and content successfully. Creating this unit was invaluable practice implementing material that is

engaging and connected to the students’ experience. Through its many engaging activities, I was also able to implement

my knowledge of writing and literary analysis. My exploration of the essential question, “How can we develop a voice

through culture?” contextualized massive concepts like multiculturalism and student experience. Out of this, simple

ideas like students writing about their neighborhood, and the history of New York were born. This experience has

provided me with an essential touchstone for how to engage students through personal and cultural avenues.

Because of the limited time frame of ten classes, I was truly challenged to do more with less content. This instilled an

appreciation for close readings of texts in order to allow students to have a thorough rather than cursory understanding

of content. The amount of skill-based and interconnected teaching objectives that I was able to fit in such a short

amount of time was truly inspiring. This has laid the foundation for my appreciation for the value of instructional time.

After carefully planning the unit, I witnessed the value of eliminating unnecessary activities and implementing

timesavers such as student monitors for passing out papers and having materials and groups already out and organized.

The interdisciplinary aspect of the unit revealed the necessity to bridge what students are learning in different

subjects. I was surprised to discover all the ways Art, History, and English could be interwoven to scaffold students’

learning. This, by design, provided students with differentiation even at the curriculum level. Students often tune out if


the unit’s topic is not of interest, but approaching it from different disciplines increased the propensity for student self-

efficacy. Perhaps the student who would normally shut down because they are low performing in English would be

uplifted by the aspects of History in the unit and vice versa. The variety of an interdisciplinary focus made the unit more

pliable and provided opportunities for text to world, self, and text connections.

After assessing the effectiveness of this unit plan and reflecting on the feedback I received, the main thing I will take

away is the necessity of modeling activities. As ambitious as this unit is, if I were to plan it in the future I may cut down

on some of the activities in favor of a more consistent routine. With the sheer amount of different activities that I was

implementing in this unit, I am not sure I would have had the proper amount of time to successfully model how each

should be completed. Much like how the creation of the unit taught me that you can do more with less content, I believe

you can do more with fewer activities. The importance of becoming efficient and comfortable with different procedures

and activities is essential to students’ learning of material. In the same vein, students’ journals and double columned

response logs needed to be implemented more predictably and consistently, this would allow for a smoother and more

organic experience with generative writing. Although—after spending more time in front of the classroom—I have

gravitated more towards direct instruction, and reading this unit plan has refreshed my knowledge of student generated

discussions and discovery learning. In the future, my instruction needs to meet in the middle of these two styles,

perhaps more modeling, but less teacher-led discussions.

On the other hand, this unit has also blazed the trail for continuing to use my specific knowledge or poetry and

writing to design engaging and effective unit plans. Although the different amount of activities may have been

unrealistic, it demonstrates the variety of ways I can implement my knowledge of literature and poetry into the

classroom. Writing prompts and group poems are very connected to what I have studied as English major, and my first

hand experience learning through these tools will give me insight into teaching students.


Planning: Interdisciplinary Unit Plan

Topic/Title: Birth of a Voice: The Harlem Renaissance

Grade Level and Demographic Information:

 10th grade

 New Dorp School is a high school with 2323 students from grade 9 through grade 12.

The school population comprises 19% Black, 20% Hispanic, 54% White, and 7% Asian

students. The student body includes 6% English language learners and 10% special

education students. Boys account for 51% of the students enrolled and girls account for

49%. The average attendance rate for the school year 2006-2007 was 91.6%. The

school is in receipt of Title 1 funding with 38% eligibility.

The school was redesigned in September 2006 into eight small learning communities.

Lesson Timeframe: Ten 45-minute periods.

Context:


Students have previously engaged in many writing activities aimed at integrating common figurative techniques

specifically mood, tone, irony and metaphor. The unit prior engaged students in many generative, informal writing

exercises. Some of the featured activities were a, “Then and Now” memory activity about their house 6 years ago and

now, as well as a “listening to a place activity,” where students went to favorite neighborhood spot and recorded

conversations and sensory details. Students have also engaged in generative writing geared towards tuning and

developing their voice. One of the featured activities was, “Who Owns the voice?” where students wrote a brief

character piece in the voice of someone known to the whole class. Students also engaged in the activity of, “Trying on

Other Voices,” as they all imitated a long time favorite author, or an author that they have read previously in class. The

teacher has modeled how to properly keep a double-columned response log and students respond in it regularly as well

as in their less formal writing journals.

The unit Birth of a Voice: The Harlem Renaissance builds on the previous unit’s introduction to voice by providing the

students with a unique and culturally relevant avenue to foster their voice. Students will be inspired by both their local

surrounds and history to become a New York writer much as the artists of the Harlem Renaissance were. Manhattan’s

particularly artistic roots will provide relevant and accurate examples of texts written with a distinct artistic voice. The

unit will use History and Art as interdisciplinary scaffolds to show the varied ways in which voice is connected to culture.

The unit will prepare students for the type of personal voice necessary for the next portion of the class which will focus

on students’ creating a nonfiction memoir as well as longer creative works.

Rationale:

It is vital for students to feel what they’re saying is valid. Otherwise students are not emotionally or intellectually

engaged in their work. Developing a voice is central in a student’s engagement in any form of writing. Students

frequently have difficulty relating to school subject matter. Often, especially in culturally diverse classrooms, they may

feel as though their particular background or life experience is unworthy for academia. The Harlem Renaissance provides

a unique opportunity to illustrate the value of both voice, and culture. By studying an artistic movement born out of


culture and background, students are encouraged to see the value of their own life experiences. The movement’s roots

in New York City specifically appeal to student’s specific local culture.

At the same time, the movement will provide students with an opportunity to learn about a culture different from

their own. Because of the local connection students have the unique opportunity to see a close connection between

past and present. Students can further understand the world around them through past depictions of it. They can also

learn about the past through their knowledge of present day New York City. The history and themes of the Harlem

Renaissance demonstrate the importance of finding an artistic voice. The social acceptance garnered by African

Americans as a result of the “new image” they created through their art is an empowering example of real life

importance of artistic expression. Because of the range of prominent artwork, students can develop their analytical skills

as they form connections between the various forms of art. The lack of a clear cut, easily defined genre during the

Harlem Renaissance will offer the students a chance for exploratory learning, as they attempt to navigate the period.

Key Concepts and Learning Goals for Students:

 How can we develop a voice through culture?

 How can we learn about the past through the present and vice versa

 How can the same genre manifest in different artistic forms?

Standards Addressed:

Standard 5 is addressed as students will participate in workshops as well as revising their own work.
Opportunities for revision are given during, “Being the Thing activity,” and with the culminating, “My New York”
Text as student response partners provide feedback.


Standard 7 of the ELA Writing standard “Research to Build and Present Knowledge,” is addressed as students are
instructed to pose a self generated question about a local destination or landmark of their choice and research
it.

Standard 9 is addressed through the in class activity of, “Creating a Political Motto.” Students analyze and
evaluate the validity of the political message in Claude McKay’s “If We Must Die,” as well as Langston Hughes’s
“Harlem.”

Standard 1 of the Common Core ELA “Speaking and Listening Standards,” is addressed in the Unit plan
particularly parts A, B, and C. In the “Being the Thing activity,” Part A is addressed as the response partners are
to have already done the work and research necessary to create a short poem based on an object in their
neighborhood. The teacher modeled guidelines for effective response groups prior to the activity addresses Part
B of the standard. Part C is fulfilled as the teacher requests students to prepare questions about their piece in


advance to be discussed by their response partner. The standard and the parts specified prior are also adhered
by the Response pair activity for the culminating assessment of the student created, “My New York Text”

Standard 2 is also addressed by the response partners during the, “Being the Thing activity,” as well “My New
York Text”, as students will be assessing and discussing a variety of different texts e.g., poems, visual
representations , paintings.

Standard 4 is addressed during the activity, “Clippings of The Rider of Dreams,” as students must use context
clues Sterling Brown’s “Slim Greer in Hell,” to interpret the slang in the poem.

Standard 5 is addressed in the activity, “Creative Dialog ,” as the students must grasp the figurative concept of
characterization found in Sterling Brown’s “Slim Greer in Hell,” and provide examples of slang words with
similar connotations in their nuanced translations.


History Standards
Standard 4 is addressed by the activity , “Create a Political Motto,” as students’ will analize and evaluate the
politically charged poems “Harleem” by Langston Hughes, and “If We Must Die” by Claude McKay.

Standard 6 is adressed throughout the unit as a whole as students look at the period of the Harlem
Renaissance through different perspectives and art forms.

Standard 10 is addressed throughout the unit. Students have the opportunity to write over an extended period
of time as they will revise and edit their, “My New York” text in response to the Harlem Renaissance. Students
will also engage in a variety of short in class writing activities that cover a variety of tasks.


Resources:

Poems

 Slim Greer in Hell, Sterling Brown

 Juke Box Love Song, Langston Hughes

 Harlem, Langston Hughes.

 If We Must Die, Claude McKay

 Dawn in New York, Claude McKay

 On Broadway, Claude McKay

 Broadway, James Papastamos

 Broadway, Kira Ulch

 Silence (over Manhattan) by Paula Bardell

 Howard Horowitz’s “Wordmap 1997.

Short Play (clippings)

 The Rider of Dreams, Ridgely Torrence

Art

 Palmer Hayden, Jeunesse.

 Archibald J. Motley, Nightlife.

 Aaron Douglas, Aspects of Negro Life #62: Song of the Towers.

 Aaron Douglas, Crucifixion, 1927, oil on canvas.

 Aaron Douglas, Study for Aspects of Negro Life: The Negro in an African Setting .


 James Lescesne Wells, Negro Worker.

 Where'd You Git Them High Top Shoes?, Palmer Hayden.

 Lapeyrouse Wall 2004, Peter Doig (British, born 1959).

 Jenny Beorkrem’s “Manhattan” 2003.

 Here is New York (Selected Photographs from the gallery).

Detailed Instructional Plan:

Week One

Day One (Monday)

SAMPLE LESSON PLAN

Prep: Before class teacher displays 5 copies on a desk of the poems “Juke Box Love Song” by Langston Hughes, Langston

Hughes’s Harlem , Claude McKay’s, “If We Must Die,” Claude McKay’s, “Dawn in New York,” and Claude McKay’s, “On

Broadway,” on a group of desks for the “Shopping for Poetry activity.”)

Learning Goals

Students will interpret and interact with five main poems of the unit.

Students will demonstrate one example of how they experienced the history of the Harlem Renaissance through the

poems.

Aim: What does the Harlem Renaissance have to do with New York pride?

 Housekeeping – attendance, students copy Aim off board. (2 minutes)

 Teacher shows slides of selected 911 photographs from the Here is New York exhibit. (5 minutes)


- Teacher asks, "how many of you remember 911?” Teacher then states, “It’s hard not to talk about what

happened on the day of 911, where you were ect., But I want you to do just that; I want you to talk

about the coming weeks after 911. What are some of the images you saw? What were some of the

things you heard? How did the people of Manhattan react?” Teacher calls on some volunteers.

Teacher then asks, “who here had heard about how all the different people of all ethnic backgrounds

bound together?”

 Teacher then switches gears, “it wasn’t always like that, many immigrants weren’t accepted.” Teacher then

asks, “How many students have heard about the Harlem Renaissance ?” (3 minutes)

- Teacher takes student volunteers. Teacher speaks about how many African Americans gained their

political and social voice as a result of the acceptance garnered through their artistic voice.

Activity “Shopping for Poetry” (2 minutes)

- Students select a poem from the poems that are laid out on a desk in the far side of the classroom.

 Teacher organizes groups based on numbers one through which poem the students pick. Students do a

“Jig Saw” activity. (10 minutes)

- Students meet with their expert groups and discuss some of the important elements of their

particular poem. Some of the questions students will be addressing are, “What literary techniques

is the poem using? What can you infer about Manhattan culture at the time of the Harlem

Renaissance based on the poem?”

 Teacher gives students numbers assigns students numbers 1 through 5 in each expert group and directs

students to disband from their expert groups and to the group with their number. (10 minutes)

- Students discuss the different poems they have analyzed in their expert groups with the home

group. Teacher asks them to address the questions, “What is different about the poems? What is

alike? Are there any common themes in the poems? What common literary techniques are

employed in the poems?”


 Teacher asks each group to report their findings to the class adding that each person from each group

should speak. (15 Minutes)

- After each group responds, the teacher uses remaining time to have a whole class discussion.

Some of the points of discussion are the political themes of the poems and Manhattan as a setting

in the poems. The topic of characterization of urban slang is also discussed.

HW: Pick three quotes from the poems you have read today respond to them in your double- column response log. Ask

questions. What do you want to know more about? Respond emotionally. Can you think of something you’ve seen or

felt that’s similar?

Week One

Day Two (Tuesday)

Aim: A voice in the neighborhood: How is urban slang a part of characterization?

 Teacher collects response logs.

 Teacher hands out copies of, “Slim Greer in Hell” and reads it with the class, asking students to pick out

words that they don’t know.

 Teacher calls on student volunteers to translate the slang in the poem. Teacher then asks the students if

they can think of how their friends might say the same thing.

Activity “Intro Clippings”

 Teacher asks students to pick from numbered clippings of Ridgely Torrence’s The Rider of Dreams,

teacher then puts students into groups based on the number on the clipping. Students must interpret the

Clipping from Rider of dreams and translate it to both modern day standard English and modern day


slang. The teacher asks students to keep in mind how the slang in the play helps to characterize African

Americans. “How the modern day is similar how is it different from the slang in the clipping?”

 Students share their findings with the class; class discusses Urban slang and its affect on the Harlem

Renaissance as well as how local culture informs characterization in general.

Activity “Short Creative Dialog”

 Students return to working with their groups to create a short creative dialog of a page of two current

day characters speaking in slang that is indicative of their local culture.

 Students share their creative dialog with the class, Teacher collects .

Week One

Day Three (Wednesday)

Aim: How can we develop a voice through politics?

 Teacher hands out “Harlem” by Langston Hughes. Teacher asks students to record any morals, themes, or

political stances they feel is present in the poem in their writing journals.

 Teacher takes student volunteers; students share their notes. Class discussion develops based off student

reactions.

 Teacher puts students into groups based on numbers 1 to 5.

 Students analyze the political message of, “If We Must Die” in their groups. Some questions they will

address are: “How does the Harlem Renaissance work as a political tool for activists. How is this done

today? Do you agree with this message?”

 Groups report their findings.

 Whole class discussion on how the seeds of Blacks developing a political voice were planted in their

politically charged poems.

Activity “Create a political Motto.”


 Students return to working with their groups. Teacher ask students to find a current political issue that

they believe affects their particular local culture and come up with an inspiring motto, much like in “ If

We Must Die.”

Week One

Day Four (Thursday)

Aim: How to get more connected to art through research?

 Teacher asks students to take out their double-column response logs that they responded in for

homework on Monday’s class.

 Teacher asks students to volunteer some of the questions they asked about the poems, in the, “I want to

know more,” portion of their homework.

 Class tries to answer some of the individually volunteered questions as a group.

Activity “Newspaper interview”

 Teacher selects interview partners. Students imagine that they are news reporters from the time of the

Harlem Renaissance, they must interview one of the authors and ask questions about the meaning of his

work and why they wrote it.

HW: Answer the questions you have posed in your group interviews individually through research at home.

Week One

Day Five (Friday)

(Prep: Teacher puts print outs of all the poems read previously in stacks on a desk in the far side of the class room.)


Aim: How can we express our voice in different genres?

 Teacher asks students to present some facts about the poem and or author they researched.

 Teacher shows slides of Palmer Hayden, Jeunesse Archibald J. Motley’s, Nightlife Aaron

Douglas, Aspects of Negro Life #62: Song of the Towers Aaron Douglas’s, Crucifixion,

1927, oil on canvas. Aaron Douglas’s, Study for Aspects of Negro Life: The Negro in an African Setting,

and Palmer Hayden’s Where'd You Git Them High Top Shoes?, Palmer Hayden

Activity “Paring Genres.”

 Students are to work in pairs of two and select one poem and one painting that they feel are similar in

some way. Students will answer questions: “What aspects of the painting characterize it as a Harlem

Renaissance piece? How might the painting be changed to more accurately reflect the poem or vice

versa?”

 Teacher puts the categories, cultural characterization, political overtones, and sound (particularly jazz

music) on the board, and explains that, “these are guides and we will add categories as we discuss your

groups findings.”

 Students will report their findings to the class. Class will discuss the common aspects of the poems and

paintings. Class will discuss how each poem and painting fits into the categories on the board, adding

whatever categories come up in discussion.

 Class is asked to split from their group. Students select a painting that they do not believe is related to

any of the poems and will create their own short poem based on it. Students are asked to include at least

one of the common traits of Harlem Renaissance: cultural characterization, political overtones, sound, or

any others included from the class discussion.

 Teacher collects poems.


HW Using one of the Harlem Renaissance paintings, modernize the location so that it looks more how it would today.

What’s changed? What’s the same? In what ways did the original painting influence people’s perception of New York

Culture? Create a modern club, or redo Broadway. At this portion of the class we will be creating a working portfolio,

please bring in an empty folder tomorrow and I tell you which pieces to include in your portfolio as we get to them.

Week Two

Day Six (Monday)

SAMPLE LESSON PLAN

Aim: How can my neighborhood inform my voice?

Learning Goals

Students will demonstrate their knowledge of how local culture informs voice through the creation of a text that reflects
their local neighborhood artistically.

Students will make at least one connection in their journal as to how location can act as a symbol or theme.

 Housekeeping – attendance, students copy Aim off board. (2 minutes)

 Students present their modern day representations of the locations they read about from the Harlem

Renaissance as well as their portfolio folders. (3 minutes)

 Teacher hands out modern day versions of poems about Broadway, as well as other Manhattan inspired

poetry. Pieces include: “Broadway” by James Papastamos, “Broadway,” by Kira Ulch, and, “Silence

(over Manhattan),” by Paula Bardell

- Teacher asks for student volunteers to read each poem. (2 minutes)

 Teacher instructs students to reflect in their writing journals if their more modern artistic depictions of

Manhattan relate to the modern poems about Manhattan in the same way they did in the “Pair Genre”

activity from the previous class. (5 minutes)


- Students will answer questions: “How is your picture similar to the modern poems we read?

How is it different? Are there any common themes or symbols present in both artistic

representations? In what ways is your view on the location unique?” Students will also reflect on

how both their representation and the modern poems are similar and different from those of the

Harlem Renaissance.

 Students report their findings. Building off students’ answers to the question, “In what ways is your

view on the location unique?” The discussion will focus on how artists develop a unique voice by their

interpretation of their local culture including their neighborhood. Students’ responses to the question,

“Are there any common themes or symbols present in both artistic representations?” Will also focus the

discussion towards location as a symbol. (4 minutes)

- The teacher states that, “Where you come from, even what neighborhood, can become a huge

part of your voice as a writer. Some artists have used their neighborhood as a symbol of who

they are. Not only can it inform the language you use as we’ve seen in, “Slim Greer in Hell,” and

in your Creative dialogs, but where you come from can also serve as the setting of your poem,

and in some cases it can be the poem itself. (2 minutes)

 Teacher hands out Howard Horowitz’s “Wordmap,” and Jenny Beorkrem’s “Manhattan.”

 Teacher explains how “Word Map” is actually in the shape of Manhattan (if the students haven’t

noticed). Teacher explains that also the location of the words actually reflects the real life location in

Manhattan. For example, when Horowitz is talking about Battery Park in the poem, the words Battery

Park in the poem are located where Battery Park would be on a map. (2 minutes)

- Teacher reads part of “Word Map” and asks students to follow along with the poem making

note of any locations they recognize within the poem. ( 2 minutes)

 Students report their findings; class discusses some of their favorite places from their neighborhood. (2

minutes)


 Teacher then asks students to look at Jenny Beorkrem’s “Manhattan.”

- Teacher asks, “It is a bit more straight forward, but how is this also using Manhattan as a means

of expressing the author’s voice? In what ways is the artist using Manhattan as a symbol? How

does New York City culture inspire both pieces?” Class discusses these questions. Teacher then

asks the class, “How is this similar to the works during the Harlem Renaissance? How is it

different?” (3 minutes)

Activity “Graphical Representation”

 Teacher asks the students to create their own graphical representation of their neighborhood,

- Students are organized by borough (if student lives somewhere out of state they have a choice of

going into a group of their choice to learn more about the borough, or working individually to

create their own neighborhood graphical representation). They must include specific locations of

spots that interest them. Students are encouraged to have the visualization of the map reflect the

places they chose. Teacher states, “ if it’s a sketchy place, make it look dangerous, put some

spooky handwriting, or draw something intimidating. If it’s a place that you think is really

beautiful, make it look beautiful give it some style on your map.”

(10 minutes)

 Students present their graphical representations to the class, each student will pick one location that

they contributed and explain why it’s significant. (10 minutes)

 Teacher instructs to put both the graphical representation piece as well as their modernized location

piece in their working portfolio.

HW Pick a place either from the texts in class, or one of the prominent places in your neighborhood that you listed in

your graphic organizer. Make perditions on why it is what it is today. What might it have been previously? Record

notes in your writing journal


Week Two

Day Seven (Tuesday)

Aim: How can we incorporate figurative language in our local voice?

 Teacher asks students to refer to the poem “Dawn in New York,” by Claude McKay that they have

previously read.

 Teacher explains to the class that, “we will be creating our own sort of “Dawn in new York” poem as a

class.

Activity “Class poem”

 Students will create a class poem In response to dawn in New York, it must be set in New York, each

line will start with, “today in the big city,” students will each individually create one line in their

writing journals the

 Teacher calls on volunteers to and writes the first 10 lines on the board.

 The teacher calls on volunteers to finish the next 10 on the spot.

Activity “Being the Thing”

 Teacher asks students to individually start a poem pretending they are something in their neighborhood.

Teacher instructs students that each line must start with “if I were.” Teacher suggests that students may

want to write a poem on whatever location or thing they wrote about in their journals for homework the

previous night.

 Teacher hands the “My New York” and reflection assignment and introduces it explaining that, “Revise

a work of art from their working portfolio (either your Being the Thing poem, Modern Image piece or

your Graphical Representation of Manhattan. You will also write a one page reflection on how your


piece is similar or different to the works of the Harlem Renaissance, you must make at least two

connections to two specific pieces of the Harlem renaissance, one of the sources must be visual one

must be literary. Things you want to start thinking about are literary devices such as characterization,

political overtones, and Manhattan (or whatever location) as a symbol.

 Teacher instructs the students to put the “Being the Thing” poem in their working portfolio.

HW: Think about what artwork you want to revise, and its possible connections to the Harlem Renaissance. Be prepared

to discuss your choice tomorrow. Bring in your, “Being the thing” poem tomorrow along with some questions you

would like to ask about your poem e.g., “Does this make sense? How else could I say this more creatively?”

Week Two

Day Eight (Wednesday)

Aim: Collaborative revision.

 Teacher goes over guidelines to feedback and hands. Some of the guidelines include: reframing from

harsh and or judgmental remarks, focusing on the piece and not the writer, and responding to the piece

as a whole first before analyzing it. Students are also encouraged to make suggestions for additions and

or improvements in the piece.

Activity “Response Partners”

 Students are grouped in teacher selected pairs.

- Teacher asks the class to give their partner a chance to make any comments about their poem

before the partner reads it.

- The teacher then directs the groups to switch poems.

- Teacher directs the class to read their partner’s poem and provide written feedback both in the

margins and on the bottom of the poem.


- Teacher directs class to ask their questions about their piece that they did for homework to their

partner.

- Teacher directs class to switch feedback. And instructs students to ask questions about their

partner’s feedback.

 Teacher calls on students to have conferences on their “My New York" piece. Students bring their

portfolio (including their “ Being the Thing piece) with them and discuss which piece they’d like to

revise and how it connects to the Harlem Renaissance

- Teacher instructs students who are not being conference to select another piece from their

portfolio that they’d like their partner to provide feedback on. Teacher says, “ if you are done

providing feedback, start working on your reflection”

HW: Start working on your revisions that we have talked about in our conferences, as well as your reflection. Bring in 2

copies of your rough draft of your reflection for tomorrow’s class make sure you have a copy at home as I will be

collecting the reflection as well as the “My New York” piece.

Week Two

Aim: How does “My New York” piece connect to the Harlem Renaissance?

Day Nine

 Teacher instructs students to note in their writing journal some of the best connections they made in

their reflection of how their artistic piece connects to the Harlem Renaissance.

 Teacher calls on student volunteers asking students to please tell us about their piece, (hold it up if it’s

artwork) and to explain how it reflects their local culture as well as some of their examples of how their

piece connects to the Harlem Renaissance.


 The teacher asks the class if they’d like to volunteer any advice or ideas about each student's piece.

 Teacher asks students to find their response partner from last class and explains that they will workshop

both their reflection and their “My New York,” in the same way they did their response partners for

the “Being the thing activity .

Activity “Response Partners”

- Teacher asks the class to give their partner a chance to make any comments about their piece

before the partner reads it.

- The teacher then directs the groups to switch reflections.

- Teacher directs the class to read their partner’s reflection and provide written feedback both in

the margins and on the bottom of the reflections.

- Teacher directs class to ask their questions about their piece that they did for home work to their

partner.

- Teacher directs class to switch feedback. And instructs students to ask questions about their

partner’s feedback.

- Teacher walks around the room checking in on the progress of feedback.

- Students repeat process with their “My New York” pieces.

 Teacher collects Students copy of their reflections and “My New York” pieces

HW: Review your feedback for your “My New York” piece. Make a second rough draft incorporating the feedback. Come

ready to workshop more tomorrow.

Week Two

Day Ten (Friday)

Aim: Finishing up!


 Teacher hands back first rough draft with feedback.

Activity “Response Partners” (with some variation)

 Teacher instructs students to meet again with their response partners with a slight variation of the

feedback procedure.

 Teacher instructs students to immediately switch papers.

 Each feedback partner is to respond to the teacher’s feedback by answering the questions: “in what

ways could your partner address my feedback if they haven’t already in their second draft? Do you

have any questions about the feedback that might help with your own My New York piece?

 While students are working with their response partners, the teacher calls up students for final

conferences on their, “My New York Piece” and their reflection.

 At the end of class, the teacher requests students to ask any questions about the feedback that they

discovered while working with their response partner if they were not addressed in their conference.

HW: Reflection and “My New York” piece due on Monday. Also note that these will be published in the classroom so if

you want to add any decorative parts go right ahead.

Assessment Plan:

 Informal

- Students are assessed informally through their double-columned response logs. Teacher encourages

students to ask questions about the material which allows the teacher to gauge which content needs

more explaining. Students are also assessed based on the student generated discussions that develop

from their writing journals. Two conferences are held to assess students’ progress in their culminating


“My New York” piece. Teacher will also assess student progress during their response partner activities,

as the teacher will check in with groups.

 Formal

 Students are assessed formally throughout the unit as they will compile a portfolio of works that reflect

their understanding of the concepts of the unit. Various student generated texts will be included into the

portfolio including: a Graphic representation of Manhattan, a “Being the Thing,” poem, and a “Modern

visualization of an old place” to assess their progress in the key concepts, “How can we develop a voice

through culture?” How can the same genre manifest in different artistic forms? How can we learn about

the past through the present and vice versa? The culminating “My New York” piece and reflection piece

assess student understanding of all of the key concepts of the unit. The “My New York” piece tests

students’ grasp of how they can use local culture to develop their voice, as their piece must reflect their

local culture. The reflection piece also tests students understanding of how history informs the present

and vice versa, as students must explain how their “My New York” connects to the Harlem Renaissance.

The reflection piece also tests students’ understanding of the different types of genres as students are

required to connect their “My New York” piece to both a non-print and print source. Students will also

be assessed on some of the day by day learning goals as many of the activities they complete will be

collected. Students will also be assessed on their grasp of Characterization as their “creative dialogs”

will be collected and reviewed. Students will be assessed on their grasp of the political overtones of the

Harlem Renaissance, as their “Political Mottos” will be collected and reviewed. Student’s work in their

response groups will also be assessed as their feedback will be submitted through emails.

From Theory to Practice:


The unit’s main topic, the Harlem Renaissance involves students learning about local culture, “in order to establish a

sense of pride” (Smagorinksky 141).

The unit’s design of connecting the texts and concepts to the student life also makes the unit, “relevant to the student

interests and personal situations” (Smagorinksky 145). The unit’s goal of fostering the development of the students’

voice also prepares students for their future schooling as well as their self expression throughout life. (Smagorinksky

145).

The general process used throughout the unit of the teacher leading the discussion to the students working in big groups

then moving to smaller groups to eventually independent work is recommended by Smagorinsky in Teaching English by

Design in his chapter Providing Scaffolds for Student Learning. This model of learning can be seen most specifically in his

modeling of instructional scaffolding (Smagorinsky 23). The double-column response log used throughout the unit is also

recommended as an instructional scaffold (Smagorinsky 23). The frequent opportunities for students to write are

inspired by the idea of providing opportunities for students to develop “fluency” (Inside Out 16). The unit also plans for

students to have their work published upon completion (Inside Out 22). Many of the activities in the unit are directly

adopted from inside out. The activity where students created a poem as a class based off of their response to “Dawn in

New York is an example of “Class Poetry” (Inside Out 163). The activity where students write a poem pretending to be

something from their neighborhood is directly from the “Being the Thing,” exercise (Inside Out 164.) The unit’s

“response partners” activity and the guidelines for feedback are also directly inspired from Inside Out’s, “Developing

Effective Response Groups” (111). The, “shopping for poetry” activity and the, “interview an author activity” are also

suggested in Inside Out (Inside Out 182). Many of the activities throughout the unit are applications of Smagorinsky’s

ideas of Alternatives to Teacher Led Discussions. The student-led discussion based on students’ written response to what

morals they find in Langston Hughes’s Harlem demonstrates “informal writing as the basis for discussion” (Smagorinsky

34). The activity based on creating a Graphical representation of Manhattan , and the activity where students create a

modernized location from the Harlem Renaissance relate to Gardner’s theory of multiple intelligences, specifically

spatial intelligence, as students create an image (Smagorinsky 16). The activities “A Creative dialog,” and “Being the


Thing,” also encourage the students to use their linguistic intelligence (Smagorinsky 16). The unit also incorporates

Bloom’s taxonomy (Pohl 7). The students’ production of, “creative dialogs” and a, “Being the Thing” poem involves the

“creating” stage of Bloom’s taxonomy (Pohl 7). Students are also “evaluating” in the, “Make a political Motto” activity

as they consider whether the political statements of the poets are valid (Pohl 8). Students are also “applying” what they

know about the techniques of the Harlem Renaissance artists as they create their “My New York” piece that must

incorporate techniques that students have studied from the Harlem renaissance (Pohl 7). The creation of the double-

column response log also prompts students to use the comprehension strategy of making inferences while reading

(Harvey, Goudvis 19). The unit’s focus on New York culture in general and in students’ own local neighborhood in

particular in the “My New York” and “Being the Thing activities employs the theory of text to self (Harvey, Goudvis 19).

The unit also incorporates, “entering-text activities that inspire curiosity and create a climate of inquiry,” during the

presentation of Here is New York slides, of photography from 911 (Landay 46).

Reflection:

The main challenge of teaching the unit plan is the freedom students have in choosing what their “My New York”

piece is. While this provides the opportunity for the students to navigate the different works they have completed in

their portfolio, it may also create some confusion for the students. The conferences are vital in guiding the students in

their creation of their piece. As with any collaborative work, there is a risk of a slight bit of chaos, as such the guidelines

for feedback and the teacher’s mediating of the different parts of the feedback are key. I also recognize that the unit’s

local foundation may present challenges when teaching students who live out of state. It is important that the texts from

the Harlem Renaissance and the student produced texts provide enough information about New York to scaffold the out

of state students. Extra attention must be given to these students to communicate that some of the concepts of local

culture in the unit are universal and can be applied to their hometown as well. I also feel that it may be challenging for

students to grasp the concept of the two way nature of present and past, as such I feel this concept needs careful

attention.


Creating a unit plan is always a learning experience. After I crafting my unit I am reminded that teaching is in fact a

job. Unit plans always feel like some hodge-podge creation of both art and science. Adhering to all of the different

requirements, be it, state, theoretical, and even a touch magical, is the epitome of the fine line we sometimes walk as

teachers. I will come away from this experience thinking about this balance between art and science. I have certainly

learned in creating this unit that I must truly be passionate about the unique choices I make in my unit plan, because for

every step you take out of the box, their is more explaining to do. I have learned that if an activity or task sounds a bit

strange, people will be skeptical, and I owe it to my audience to explain why in fact I am taking their students on this

wild ride that is the unit plan.

Appendices:

Handouts

My New York Piece and Reflection

Revise a work of art from their working portfolio (either your Being the Thing poem, Modern Image

piece or your Graphical Representation of Manhattan. In revising, pay careful attention to your piece’s

connection to your local culture as well as the techniques used during the Harlem Renaissance. You will

also write a one page reflection on how your piece is similar or different to the works of the Harlem

Renaissance, you must make at least two connections to two specific pieces of the Harlem renaissance,

one of the sources must be visual one must be literary.

Things to consider are literary devices such as characterization, political overtones, and Manhattan (or

whatever location) as a symbol.


Rubric:

Criteria 4 3 2 1

Student creatively Student makes Student makes few Student does little
and effectively many supporting supporting to demonstrate
Connection provides many statements to statement as to connection of how
statements and explain how their why his piece is his piece connects
to
examples of how piece is connected connected to the to Harlem
their piece is to the Harlem Harlem renaissance
Harlem connected to the Renaissance. Renaissance
Renaissance Harlem Renaissance

Student provides Student provides Student provides Student makes
convincing and clear many clear details some vague details little mention of
examples and details and examples of as to how their how their piece is
of how their piece is how their piece is piece is connected connected to their
connected to their connected to their to their local local culture.
Incorporation local culture. local culture. Some culture.
may be irrelevant.
of local
culture.
Student connects Student connects Student provides Student provides
the theme or the theme or one example of a little to no
techniques used in techniques used in technique or evidence of use of
their piece to one their piece to two theme in their any of the
print and one non texts associated piece from either techniques or
Technique print text associated with the Harlem print or non print themes associated
with the Harlem Renaissance but that is associated with the Harlem
and theme. Renaissance both texts are with the Harlem Renaissance
either are non Renaissance
print or print


Personal Student provides Student provides Student provides Student provides
clear examples of clear examples of some examples of little to no
connection how the piece as well how the piece why the piece examples of how
as how local culture relates to them. relates to them, the piece relates to
at large relates to but only gives them personally
them vague cultural
reasons.


Keeping in mind the artistic style of both Horowitz and Beorkrem, design a graphical
representation of Manhattan. Fill in Your own favorite or notable locations into the blank
map, or create your own completely different representation.


ART

Palmer Hayden, Jeunesse


Where'd You Git Them High Top Shoes?, Palmer Hayden


1 Archibald J. Motley, Nightlife


Aaron Douglas, Aspects of Negro Life #62: Song of the Towers.


Aaron Douglas: Study for Aspects of Negro Life: The Negro in an African Setting


Aaron Douglas, Crucifixion, 1927, oil on canvas.


Lapeyrouse Wall
Peter Doig (British, born 1959)


Graphical Representations


On the left, Howard Horowitz’s “wordmap” 1997, on the right Jenny Beorkrem’s “Manhattan”


Photographs from Here is New York Gallery


Poems

Slim Greer in Hell, Sterling Brown

Slim Greer went to heaven;
St. Peter said, "Slim,
You been a right good boy."
An' he winked at him.

"You been travelin' rascal
In yo'day.
You kin roam once mo';
Den you come to stay.

"Put dese wings on yo' shoulders,
An' save yo' feet."
Slim grin, and he speak up,
"Thankye, Pete."

Den Peter say, "Go
To Hell an' see,
All dat is doing, and
Report to me.

"Be sure to remember


How everything go."
Slim say, "I be seein' yuh
On de late watch, bo."

Slim got to cavortin'
Swell as you choose,
Like Lindy in de Spirit
Of St. Louis Blues.

He flew an' he flew,
Till at last he hit
A hangar wid de sign readin'
DIS IS IT.

Den he parked his wings,
An' strolled aroun',
Gittin' used to his feet
On de solid ground.

Sterling A. Brown

Juke Box Love Song, Langston Hughes

I could take the Harlem night
and wrap around you,
Take the neon lights and make a crown,
Take the Lenox Avenue busses,
Taxis, subways,
And for your love song tone their rumble down.
Take Harlem's heartbeat,
Make a drumbeat,
Put it on a record, let it whirl,
And while we listen to it play,
Dance with you till day--
Dance with you, my sweet brown Harlem girl.

Langston Hughes

Harlem


BY LANGSTON HUGHES

What happens to a dream deferred?

Does it dry up

like a raisin in the sun?

Or fester like a sore—

And then run?

Does it stink like rotten meat?

Or crust and sugar over—

like a syrupy sweet?

Maybe it just sags

like a heavy load.

Or does it explode?

If We Must Die

by Claude McKay

If we must die—let it not be like hogs
Hunted and penned in an inglorious spot,
While round us bark the mad and hungry dogs,
Making their mock at our accursed lot.
If we must die—oh, let us nobly die,
So that our precious blood may not be shed
In vain; then even the monsters we defy
Shall be constrained to honor us though dead!
Oh, Kinsmen! We must meet the common foe;
Though far outnumbered, let us show us brave,
And for their thousand blows deal one deathblow!
What though before us lies the open grave?
Like men we'll face the murderous, cowardly pack,
Pressed to the wall, dying, but fighting back!


Dawn in New York

The Dawn! The Dawn! The crimson-tinted, comes

Out of the low still skies, over the hills,

Manhattan's roofs and spires and cheerless domes!

The Dawn! My spirit to its spirit thrills.

Almost the mighty city is asleep,

No pushing crowd, no tramping, tramping feet.

But here and there a few cars groaning creep

Along, above, and underneath the street,

Bearing their strangely-ghostly burdens by,

The women and the men of garish nights,

Their eyes wine-weakened and their clothes awry,

Grotesques beneath the strong electric lights.

The shadows wane. The Dawn comes to New York.

And I go darkly-rebel to my work.

-Claude McKay

On Broadway

About me young careless feet

Linger along the garish street;

Above, a hundred shouting signs

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