Author: BBCo

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The Backbone of Literacy

 

Bones1

Bones2

 

Bones3

The ability to read and write is complex and involves the integration of numerous foundational skills. Learning to read and write, children must wade through the landscape of phonology (word sounds), orthography (word patterns), morphology (word classifications) and then tackle the more treacherous path through the land of syntax (word patterning) and semantics (grammar) to gather tools that enable them to practice the art of reading and writing. But that’s not all, not at all! We must not discount the child’s EQ when it comes to literacy. Soft skills such as emotional insight, curiosity, and attitude all contribute to motivation and motivation impacts learning. Exposing children to a vast array of language arts experiences in an environment that is brimming with opportunities to enact language from a young age cultivates natural curiosity  and promotes peaceful acquisition of skill over time. This is the magic of the tortoise versus the hare in action! And, just to complicate matters just a tiny bit more, literacy is much more than being able to read and write. True literacy is not just the ability to decode and encode language, true literacy occurs when the child moves from the foundational to the realm of creation, the realm of original communication.

Providing prepared opportunities for children to independently discover the tools of literacy across all domains of learning promotes the ability to enact language. It is vitally important that children not lose heart or become discouraged when mistakes occur. Self-correcting materials allow children to learn through their own errors to make the correct decision without having the teacher point it out to them. When encouraged to discover, children are simultaneously empowered to practice such complex skills as:

scrutinizing to make confident decisions

self-critiquing to assert thoughtful opinions

hypothesizing to draw informed conclusions

When Nelson chose the “Bones of the Body” work during our Discovery session, not only did he work through identifying the Latin names for a selection the election of the human skeleton, he was intrigued and invested in the work and, consequently, rewarded intrinsically. This child, while hard at work, was calm, confidently focused, and enthusiastic about learning. I have no doubt that this little exercise had less to do with learning the names of bones and more about strengthening the backbone of literacy. Discovery provides opportunities for children to, not only gather tools, but to encounter and practice the processes through which great ideas are conceived and forged.

—Kim

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The Metaphorical Beast

Beast 1

Beast 2
E. Nesbit, storyteller extraordinaire, weaves quite a yarn. The Book of Beasts is a favorite of my
three sons. Why? Not because the protagonist is a small boy, but because that
small boy becomes king! What boy doesn’t dream of being king at one point or
another during childhood? But the adventure for Lionel does not begin at the
coronation. No, the adventure begins in the library when Lionel dares to open a
book.

And so the lesson begins.

And while the lesson can easily be accomplished without E.
Nesbit’s book, it’s the spark for the lesson in the first place and highly
recommended.

To begin, I asked my writing apprentices to consider the
things that we struggle with as humans. While they were contemplating on paper,
I wrote Latin on the whiteboard without explanation:

HC SVNT DRACONES

We generated our list below the Latin——greed, laziness,
gossip, gluttony. After we were sufficiently steeped in considering the flaws
of our flesh, we began a discussion of what shape these “fleshly foes”
might take. We started with thumbnail metaphors. Each child began sketching his
or her mythical beast, animating its beastly qualities.

From here we began to write the Beast Tale. They were to
describe the character of their beast in detail, to create a situation in which
the beast might feed, and, of course, they were instructed to concoct a way to
slay the beast. All this in 500 words or less!

The writers eagerly worked to draft idea to paper. I was
amazed by the depth of engagement I witnessed as they crafted minute details
about beasts that they encounter in the real world.

As drafts were completed I saw pencils released and
re-reading begin. I saw little hands making red marks—scritch, scratch—then
more re-reading until the stage of polish began.

Sufficiently satisfied with the stories, each writer then
moved back to the visual realm and began animating their thumbnail beasts to a
form that was ready for canvas—light pencil traced with Sharpee was then hand
painted with fabric ink. Beasts were hand-stitched to felt and felt was machine
stitched to calico.

But there was one more piece of fabric to deal with once the
visual project was accomplished a few weeks later. And so I asked the
apprentices to read, once more, their polished Beast Tales. To their surprise,
they stumbled on little errors, or bumps in the story. Everyone found a little
something to refine, which proved to them without me lecturing, that writing
needs to incubate, that writing is a process.

And so, after this final polish, the tales were written by
hand on the remaining scrap of canvas. And the stories were machine stitched to
felt and the back was stitched to the front and the pillows were stuffed. And
that’s how the Beast Tales came to be.

When it comes to writing… show don’t tell.

So the next time any child grumbles or complains about
engaging in the art of writing simply remind them that writing is an adventure,
lift an imaginary sword and cry, “Beyond Here be Dragons,” and let the
adventure begin.

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Paint like Jasper Johns

Jasper
“Take an object. Do something to it. Do something else to it.”
– Jasper Johns

Find a word you like.

Take the word and write it on canvas.

Mix some colors you like.

Take your word and paint the colors you like into the shape of the word you like.

Paint Jasper Johns Words.

And soon you'll be thinking like Jasper Johns:

“I am just trying to find a way to make pictures.”

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How to Read a Great Character and Become One

Jaberwoky
Characters do things. They feel things. They hear things.
They say things. They think things. They go places. They can walk, run, leap,
and jump. They may sit and rock in a rocking chair. They may just lie in bed,
sleep, and dream. But the important thing is that characters act. And it is
precisely these actions that show us just what kind of imaginary people characters
are—friendly, sad, nosey, happy, confused, angry, or inventive. And we need to
know because something always happens in great stories. Character determines
the outcome.

Earlier this month, my son Søren sat on the couch chuckling
to himself, turning the pages of an old favorite. It’s Lewis Carroll
re-imagined. Christopher Myers keeps the text the same but re-imagines the
beast as a basketball-playing-Jabberwocky. And the protagonist? Well, he
becomes a small boy with basketball-shaped-stars in his eyes.

What fascinated me about the scene was what happened when
the book was closed. My son smiled, got off the couch to rummage around the art
cabinet for paper, scissors, and tape. Silently he concentrated, cutting shapes
and connecting them until the characters emerged. Then he swept up the scraps,
set his characters to hold the gesture, and walked away from the table without
a word.

I know what he was up to. This was literary analysis at its
best. Carroll’s Jabberwocky is a larger than life, but there is no doubt that the
storm of neologism and nonsense qualifies it as a very difficult read. To most,
Søren’s hive of post reading activity might be deemed at best a responsive
craft. But Søren was actually deep in thought. This post-reading activity was
uniquely contemplative, was Søren’s way of unpacking Lewis Carroll’s poem and
the consequent reimagining of Christopher Myer.

And I know where Søren’s pondering will lead. It will lead
to an idea. Sometimes we begin with a study of someone else’s idea to incubate
an original idea of our own. So it might not be this week, maybe not even next,
but I’m sure Lewis Carroll and Christopher Meyer offered fodder that has been
sufficiently tucked away in the mind of my son.

–Kim 

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Linda’s Little Earlybird

Linda has two little boys, has always dreamed of
homeschooling but she’s brand new to the Guild Method. So she flew to
California this summer so that Sara and I could help her shape her the lessons.
Her oldest son, Zach, was ripe for Kindergarten and so was she!

Back home, when school days arrived, she was ready and so
pictures of little boys water coloring apple trees, little fingers writing
words in salt, little paint brushes encoding CVC words in tempera on butcher
paper in the bright sunshine, and little minds constructing giant floor puzzles
delighted my email inbox. SO cute! Linda's BoysSure, there were tiny kinks to adjust here and there, but
the transition to school days was a beautiful thing in Linda’s little Ohio Guild.

But we all know what’s coming, right? The very first one of those
best-laid-plans days. So here we are,
nearing October. And a different kind of email was grimacing in my inbox, “…it
turned out to be a super frustrating experience…Grrr.” It seems Zach recognized
that he was face-to-face with a pencil-to-paper challenge and he took an about
face.

I smiled, “There it is…!”

 Linda was super excited to begin our Fall Discovery Guide with her son. I still am. I am super excited for
her rocky beginning because it tells her precisely where Zach is strong and
where Zach is weak. Now the trick is to slowly strengthen him so he sees the
uphill climb as an adventure.

Our Earlybird Discovery Guides are recommended for a range
of Kindergarten and lower level primary (grades 1 and 2) children who are in
the process of acquiring foundational decoding and encoding skills, but not yet
reading and writing independently. What this means is that the material must be
approached with the child’s ability in mind. The important thing at this stage
of academic development is to challenge the child to press into work that
requires discipline without crushing the marvelous innate passion for learning.

Here are the tips I
offered Linda—Easy as 1, 2, 3:

1. Pace important work over 5 days.

Tackle the writing in
15-minute increments. Shrink some of the responsibility for writing, but not
the problem solving and idea making.

Monday

Read the story.

Have Zach draw the characters and to describe their
personality traits—how they think, act, feel. Capture three “trait” words from
his stream of communication and write them out so he can copy them into his
guide. Give him 15 minutes to do the copy work. 

Tuesday

Work on the vocabulary matching exercises together. Then,
read the sentences with the missing words and have Zach choose between two of
the vocabulary words to complete the sentences. Write the words that complete
each sentence for Zach to copy during his 15-minute “Important Work” time.

Wednesday

Read the story again, this time stopping periodically for
Zach to tell you what is about to happen.

Work with Zach to complete the comprehension sentences from
the Word Bank. Write the words that complete each sentence for Zach to copy
during his 15-minute “Important Work” time. 

Thursday

No reading today… unless, that is, Zach asks you to read the
story again!

Today, for the sentences in the Comprehension section that
are to be completed with original phrases—dependent clauses—let Zach dictate
while you inscribe. That’s right, NO writing for Zach! As you complete each
sentence, write slowly, and say each word aloud as if you are sounding out
letter that forms the word. In doing so you will be modeling the art of
encoding language.

Friday

Have Zach re-tell the story in his own words. Then, read the
creative writing prompt for the Writing Exercise. Pass the Earlybird Guide to
Zach and let him “draw” his story with colored pencils. When he is done
drawing, let him dictate a two or three sentence to you. Inscribe his ideas…NO writing
for Zach!   

2. Think Longitude.

As Zach becomes more comfortable with writing—and this
will take time, think longitude—allow him to take over bits and pieces of the
writing you are doing for him.

3. Reach for the Stars!

Create a Star Chart and a prize box filled with
dollar-store trinkets. For every ten stars, Zach gets to go shopping. Here,
Linda came up with the terrific idea to use beans in a jar, clink clink clink,
what boy would not love this noise? Thanks Linda!

 

There’s a phrase I’ve learned to grip tightly over the
years. Recently, my dear friend, Christian, added a quirky little “whoa,
horsie” sass to the phrase. This made me chuckle, “Yes!” The phrase is
“stagger, tortoise.” Now you try it. That’s right. Now, say it again, only
louder, “S-t-a-g-g-e-r, tortoise!” 

–Kim

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Da Vinci Summer IV: UNPLUG

Television from WaterhouseGuild on Vimeo.

Each poem is a one-of-a-kind collage of sounds that tickle the tip-of-the-tongue and a rhythmic hammering that sparks a tap-of-the-toe.

Poetry is a larger part of our world than we often admit. It’s the songs we sing, commercial jingles, rap, billboards, and YouTube. Poetry is headlines, Facebook, and blogs. Poetry is in great books and essays. Poetry is everywhere!

And so poetry is worth our while—worth reading, worth writing, worth speaking out loud, worth memorizing.

“Memorizing?”

This past winter, when I challenged my writing apprentices to memorize a poem, I had to endure another collective groan, “Noooo…!” And when I showed them the poem they would have two weeks to memorize, they went pale and were silenced.

The poem “Television” by Roald Dahl was the perfect poem for this project not only because we were exploring the theme “Unplug” in our writing workshop, but because if was long enough to prove the vast potential of their ability to memorize.

The lesson began, “Memorized poems fill the pantry of our imagination with food that is sure to sustain us in lean times. If you don’t believe, read Frederick, by Leo Lionni.”

I went on, “I know, these days we’re not used to memorizing long passages of traditional poetry. But, wait think about all the memorizing we do on a daily basis!”

We generated a list and I saw color return to their cheeks.

Row, row, row your boat…

The wheels on the bus go round and round…

Peter Piper picked a peck…

Like a good neighbor, State Farm is there…

I shared a story about my oldest Hannah being able to recite all of Beatrice Potter’s Peter Rabbit when she was three simply because I read it to her so often, “Memorizing is something you are equipped to accomplish!”

Still, I was struck by downcast attitude of my writing apprentices, as if this was the most arduous task on the planet. Can you say “Mountain from a molehill?” It was actually painful to watch them shilly-shally.

I’m happy to report that by the end of week one most of them found their footing. By the beginning of week two, they were having so much FUN that I announced we would be making a film of the project. We would turn Dahl’s poem into a documentary.

Here’s how I helped them break the memorization into manageable bits:

1. Begin with a close reading. This poem is a very long single stanza. Count the sentences in the poem. Translate each sentence into your own words. Write out each translation on a piece of paper.

2. Copy the poem, one sentence at a time and say the sentence slowly as you write.

3. Break the poem into small, manageable sections. Read and repeat one line at a time from a section without looking. Listen to the rhythm. Read the next line from this section, then repeat (without looking) the two lines. Continue on in this manner.

4. Once the entire poem is memorized, breathe life into your reading by going back to your close reading notes. Use your voice to add inflection.

At the end of the list I promised, “Soon you will not only have the poem memorized, but you carry the poem in your heart.”

And they did.

And they do.

So before summer slips too far away, plan an UNPLUG activity or two… and please, please, please, memorize a poem!

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Words Are a Great Wonder

In our world where
fast paced technological communicating is the norm, our lexicon is shrinking
hand over fist. But the potential of words is a great wonder. Words are salty goodness that pepper writing with flavor.

 
Salty Words

Salt 2

So this month at the Guild we are, once again, making words.

Last spring I
introduced my writers to the idea of “neologisms” coined by Lewis Carroll. I
began by asking the writers to remind me of the details from last spring’s
lesson. I was surprised that they remembered with great detail the suffixes we
explored so long ago:

» cosm 
[From Greek kosmos, order,
universe.] 
Universe; world
microcosm, macrocosm

» esque
 [F., fr. It. -isco. Cf. –ish.]
 An
adjective suffix indicating manner or style
Arabesque, Romanesque

» ism 
[Greek -ismos, -isma noun suffix]
 A
suffix used to form action nouns from verbs, distinctive doctrine, system, or
theory skepticism, truism

They even
remembered more than a handful of the words they crafted, words like: appleism,
s-e-e-ism, TVism, tablesque, pencilesque, windesque, bouncehousecosm,
balooncosm, and lollycosm

As I sat with the
group, I marveled at their retention, but more significantly at their
delight. can’t say the same
about any of the vocabulary development lessons that I’ve utilized through the
years from various curriculums that shall remain nameless! 

The art of
crafting neologisms focuses the writer’s attention on the specificity of words
and their potential to enact ideas in a very meaningful way. And lessons that
are meaningful are lasting. 

So we began our
exploration of suffixes, mining for meaning and application:

» able 
[From Latin abilis, capable of, fit
for.]
 washable, enjoyable, pitiable

ex.
Neologism – baloonable

» nomy
 [From Greek nomos, system of rules
or knowledge.] astronomy, economy, autonomy

ex.
Neologism – iPodonomy

» ization 
[From Greek izein, to become.]
popularization, organization, generalization

ex.
Neologism – basketballization

 »
ology 
[From Greek logia, to speak of, study or science of.]
biology, geology, anthropology

ex.
Neologism – pickleology

 » phobia 
[From
Latin phobia, abnormal fear] claustrophobia, arachnophobia, xenophobia

ex.
Neologism – flipflopphobia

 » ward
 [From
Middle English ward, specifics of direction] toward, homeward, backward

ex.
Neologism – chocolateward

Bonus Suffix:

 » biotic
 [From
Greek biotikis, of life, method of living] antibiotic, probiotic, microbiotic

ex.
Neologism – fauxbiotic

Ultimately, I challenged the
writers to create a list of neologisms for each suffix. Now I challenge you to do
the same. And as you do, keep in mind, words are a great wonder! Go and salt the earth.

-Kim

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“Tiny Magical Spheres of Wonder”

These curious little balls commonly known as water pearls (I prefer my name) are in a word…captivating.

Their usefulness in exploring science and math are obvious and you can find tons of great ideas all over the Internet for incoroprating these little gems into your learning adventures.

Or maybe simply playing with and marveling at them holds just as much educational value.

Sometimes poetry can be found in the most unexpected places.

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Write “Your Very Own Ars Poetica”

_MG_3713
Q: What is the purpose of poetry?

A: Why an Ars
Poetica of course.

Q: A what?

(Now the fun begins…)

A: Well, being a Latin phrase “ars poetica” is translated
“on the art of poetry” in English. And art by definition allows the imagination to speak. Art shows.

Q: So how does poetry show?

A: Let’s explore. 

 

To begin, compare a
poem to the unexpected and you will begin to see the art of poetry:

A poem is an orange balloon against the blue sky.

A poem is a gift-wrapped pair of well-worn sneakers.

A poem is a baby crying at the end of a nap.

A poem is a collection of musical notes.

A poem is a silver spoon diving into vanilla ice cream.

A poem is honey on the tongue.

Keep going…

 

Think about how the
poem infuses the senses and you will begin to “show” the art of poetry. Generate
ideas by answering the following questions:

How does poem sound?

Example – A poem is river tumbling stones.

How does a poem look?

Example – A poem is a glass tower in gloaming.

How does a poem feel to the touch?

Example – A poem is nestled in velvet and fingertips stroking bark.

How does a poem taste?

Example – A poem is cayenne smothered in chocolate.

How does a poem smell?

Example – A poem is honeysuckle on a warm spring day.

Where does a poem take the reader?

Example -…to stars hanging in night sky.

 

Gather
more fodder by imagining a series of “what if” scenarios…

If your poem was on the moon, how would it
survive?

If your poem was on stage, what would it
wear and how would it act?

If your poem was a bird, what would it see?

What if your poem went exploring?

Keep imagining until you have a page of
ideas.

 

Now, began by
crafting your ideas to single sentences that describe the art of poetry and the
essence of a poem:

Example-

A poem is the clap of rain, the trumpet of thunder and
takes me to stars hanging in the night sky.

 

Next, break each sentence into poetic phrases. Feel free
to make little word adjustments as you craft your line breaks:

 

A poem is

clap of rain,

trumpet of thunder,

and painter of stars

clinging to the night sky.

 

As you see, each sentence will be crafted to a single
stanza. Try another and another. Soon you will have your Ars Poetica.

 

Archibald MacLeish "Ars
Poetica" (1926)

A poem should be palpable and mute

As a globed fruit, 

 

Dumb

As old medallions to the thumb, 

 

Silent as the sleeve-worn stone

Of casement ledges where the moss has grown
– 

 

A poem should be wordless

As the flight of birds.

 

A poem should be motionless in time

As the moon climbs, 

 

Leaving, as the moon releases

Twig by twig the night-entangled trees, 

 

Leaving, as the moon behind the winter leaves,

Memory by memory the mind – 

 

A poem should be motionless in time

As the moon climbs.

 

A poem should be equal to

Not true. 

 

For all the history of grief

An empty doorway and a maple leaf. 

 

For love

The leaning grasses and two lights above the sea
– 

 

A poem should not mean

But be.