Image courtesy Flickr.com
Goodbye, Facebook character profile; hello, Snapchat story.
In my last post, I described some of the benefits I’ve reaped as mentor to my student teacher, Leo Spengler. In today’s post, I pass the mic to Leo to share about the innovative Snapchat lesson he conceived and implemented as part of our sophomore English course’s argument unit. Many teachers have relied for years on the fake Facebook page activity (“Fakebook”) as a “hip” and relevant way for their students to think about literary characters. Facebook, now, has been passé to my students for about five years, so I’ve been without a good social media-based lesson for as long as I’ve been a teacher. I highlighted this Snapchat lesson in my last post and share about here today because it captures the innovative thinking that a student teacher can bring to a mentor’s classroom and illustrates how just about any social media platform can serve an educational purpose. Please read on to see my questions about the lesson and Leo’s responses concerning the overview, background, and reflection on his lesson. Continue reading
Teaching and acting have a great deal in common. (image via Wikimedia Commons)
- Students walk into a dim classroom.
“Thank you for being here today,” the teacher intones to the first student who arrives.
“Your presence here this morning would have meant a great deal to him,” he remarks somberly to the next student.
“I know this is a tough morning for you; he considered you a great friend,” he assures a third.
As students take their seats, bewildered, they notice the podium is draped in black, fake vines and a rose hanging from the top, flickering tea light candles arranged across the top of the lectern. Behind the podium, a drawing of a long-haired boy next to a soberingly terse epitaph helps the students make sense of this bizarre start to their second-period English class:
This is the dramatic scene that greeted my sophomore students this week the day after I assigned them to read chapter nine of Lord of the Flies, the chapter in which the stranded boys of the novel, driven savage in their isolation from “civilized” society, “do in” ten-year-old Simon in a frenzy of mob violence.
In a previous blog post, I described my dramatic redesign of a unit built around Shakespeare’s The Tragedy of Julius Caesar. In that post, I mentioned that breaking the pattern of four rhetorical analyses of speeches from the play would be a couple of class periods devoted instead to studying and performing Caesar’s assassination scene from act three, scene one.
It has become an almost unquestioned cliche of teaching Shakespeare that the Bard’s work is meant to be seen and heard, not read. While reading Shakespeare’s plays still has a role of obvious importance in the study of Shakespeare, I think students certainly should get to see and hear his plays, too. There are a number of ways, all with their own advantages and disadvantages, that teachers around the world teach Shakespeare with at least some success: performing key scenes, watching the movie first (or while reading or after reading), reading the script at home and discussing in class, reading aloud in class, reading along with professional recordings, and so on and so forth.
You may recall from my previous post about my Julius Caesar unit, however, that my primary learning goals for these five weeks revolved around the appreciation and practical application of rhetoric and argumentation. Acting out a scene or two from each act, therefore, would not necessarily be the best way to get my students from point A to my desired point B. It seems a sin to me, though, to teach Shakespeare without any classroom performance. Continue reading