It’s Pablo Picasso’s Guérnica, and there are countless conversations to be had in every square foot of this painting (the painting itself is 11 feet x 25 feet). One would only describe Guérnica as a drawing of a horse if they chose, quite deliberately, to ignore the story, the intensity, the context, and the purpose behind Picasso’s craft and his process. Continue reading “On jargon, professional language, and gazing upon the art of teaching”→
As Co-director of PLCs in the Junior High, I have the exciting privilege (and obligation) to participate in each of the school’s PLCs: English, Math/Science, History, and Language. Thursday was my first opportunity to observe another PLC in this capacity, and my very first visit to the History PLC. Within the first few minutes I experienced what I had assumed I would have to wait weeks for: a common thread. Continue reading “Just how hard is “integrated studies” anyway?”→
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Here’s the task:
Imagine that for some reason a school decided to eliminate content-specific departmental structures. Rather than learning Art, Science, and Spanish, students learn a set of core skills and content that will prepare them for the next levels of learning, a life of citizenship, a successful career, and a life worthy of the investment of time living it.
What do you consider the essential learnings or essential questions that students would explore throughout their academic studies?
Whether you’re an educator, a parent, whether you work in public sector, private sector, or don’t work at all, I’d love to have your input.
Comment below, reply to others’ comments, challenge me and others, combine ideas. Have fun. I hope it’s not just me and the crickets…
This morning I’m finishing up Imagine: How Creativity Works by Johah Lehrer. After talking about the creative process, the neuroscience of creativity, the importance of divergence and convergence in the creative process, and the relationship between cities and creative behavior, he finishes by talking about Shakespeare. He argues that, yes, Shakespeare’s work exists “for all time” (quoting Ben Jonson). However, Shakespeare could have only produced what he produced by living in his own time, that the conditions were ripe for a Shakespeare. Then he mentions one of the conditions of creativity (freedom of speech) that made me wink directly at my book. After quoting a passage fromKing Lear, Lehrer writes:
These are the lines of a fearless writer. Shakespeare knew that even if his plays did manage to offend the queen’s censors, he probably wouldn’t be thrown into a dungeon…Instead, his punishment would be literary; he might be asked to revise the play in the next version, or cut the offending lines from the printed edition. This forgiving attitude encouraged playwrights to take creative risks…
Shakespeare was a beneficiary of formative assessment.