I'm not the teacher doing a push in model but I'm wondering if one way to alleviate the problem of too many classes and not enough support is to work with the children in one or two classes over a 6-week period or something like that? That way you could provide intense and continuous instruction and then move on to the next group. Of course, the classroom teacher would need to be doing excellent instruction in the classroom in order for this to have a chance of working and you could include periodic follow ups with the children that came before. I'm just trying to think a bit out of the box here since sometimes just brainstorming different possibilities, even if they seem far fetched, can spark other ideas. Good luck! Elisa
Elisa Waingort Grade 2 Spanish Bilingual Teacher Spanish Learning Leader Dalhousie Elementary Calgary, Canada The best and most beautiful things in the world cannot be seen or even touched. They must be felt within the heart. —Helen Keller The society which scorns excellence in plumbing as a humble activity and tolerates shoddiness in philosophy because it is an exalted activity will have neither good plumbing nor good philosophy: neither its pipes nor its theories will hold water. -Former US Cabinet member John W. Gardner Visit my blog, A Teacher's Ruminations, and post a message. http://waingortgrade2spanishbilingual.blogspot.com/ -----Original Message----- From: [email protected] on behalf of Tamara Westmoreland Sent: Sat 23/07/2011 9:27 PM To: Mosaic: A Reading Comprehension Strategies Email Group Subject: Re: [MOSAIC] adding instruction for remedial... I was a Title 1 Teacher for many years. Each year I had approximately 80 students in my program (1st-5th grade). Our school had 4-5 classes per grade level and I had two instructional assistants who each worked 4 days a week and I worked 3 days a week. I always had a pull out model. Now- I read the research and have always followed Dick Allington- but I could never figure out how to effectively operate a push in model- because... A- I did not have the man power to push in to 22 classrooms a day.... and B- and most classrooms deliver reading instruction in the mornings- so technically- there were only about 4- 30 minute timeslots in the morning. So when you say that you are using a push in model how do you manage to go into all classrooms and support all the students? On Sun, Jul 17, 2011 at 12:43 PM, <[email protected]> wrote: > I 100% agree with ALL students having equal access to ALL of the > curriculum. I have been very privileged to work with students that do not > perform > well on standardized tests and for years had been "pulled out" of the > classroom for "remedial" instruction. I fought hard for a push in model > and it > works really well. I am completely dumbfounded by "theories" that state > the > students which need the most STABILITY in their daily routines are the ones > continually disrupted! > I am also a HUGE supporter of the arts in every sense of the word! I have > brilliant artists in my classroom yearly. I see the depth of knowledge and > confidence my students feel when they are in art , music, or PE! > Knowledge is not confined to a "text" book. There is so much evidence now > that > supports background knowledge as the number one component of good reading > comprehension. Doesn't that mean we need to EXPAND the students > curriculum as > oppose to narrow it? > Just my thoughts.... > > Ali/4th grade/FL > > > In a message dated 7/17/2011 2:59:13 P.M. Eastern Daylight Time, > [email protected] writes: > > Sally, > > When I was teaching art, students came to me for one hour > approximately once every three weeks or so. I wish, wish, wish I > could have had them more often. With a few exceptions, most teachers > just brought the students to me, dropped them off, and returned in an > hour to pick them up. For the most part this worked fine for me > because *some* of the teachers who stayed would sometimes interject > their own strategies and thoughts and opinions and directions into my > lesson, which drove me nuts. But overall, I really wish that the > teachers had stayed to listen to the introductions, participate in > the activities themselves, listened more closely to the questions I > asked during discussions, and gave more thought to what was actually > happening in my classroom, because there was tons of problem-solving, > small motor development, eye-hand coordination, development of > observation skills, juxtapositioning of overall composition and > internal details, talking about great art works (you'd be surprised > what a 1st grader can find in and extrapolate from closely observing > the Mona Lisa!), writing about their art work, critiquing other's art > work, comparing student works, etc etc etc. There is a ton of > language arts and math work in there. Tons. > > Off my soapbox now.... > Renee > > > On Jul 17, 2011, at 9:57 AM, Sally Thomas wrote: > > > You have me thinking as I am going to bring the two emails to my > > class on > > Thursday for discussion. > > > > Maybe there should be a "push in" with knowledgeable support teachers > > co-planning with the regular teacher to help create better reading > > workshop > > type classrooms. And two informed teachers have to be better than > > one in > > terms of giving differentiated support to children???? > > > > Sally > > > > > > On 7/17/11 7:54 AM, "Renee" <[email protected]> wrote: > > > >> Oh my..... I SOOOOO disagree with this! No child should be excluded > >> from equal access to the curriculum, and that includes Art, Music, > >> P.E., or whatever else, no matter where they are performing. In > >> fact, I > >> would say that low-performing children might need these parts of > >> curriculum most of all.... to help them see and experience the grand > >> intertwining of all parts of learning. Children who are > >> "underperforming" according to some standardized assessment shouldn't > >> be punished and have their curriculum narrowed down. Children don't > >> need *more* reading instruction, they need *better* reading > >> instruction > >> (and in my opinion, that means more actual reading and less actual > >> drilling). > >> > >> I understand too well the frustration of having students pulled > >> out of > >> class for small group instruction and in fact I am not particularly > >> supportive of trading students around among teachers that people > >> do so > >> much of these days. But narrow the curriculum because a child is > >> reading below grade level? Sorry..... can't support that one. > >> > >> Some food for thought: > >> > >> 10 Lessons the Arts Teach > >> > >> 1. The arts teach children to make good judgments about qualitative > >> relationships. > >> Unlike much of the curriculum in which correct answers and rules > >> prevail, in the arts, it > >> is judgment rather than rules that prevail. > >> 2. The arts teach children that problems can have more than one > >> solution > >> and that questions can have more than one answer. > >> 3. The arts celebrate multiple perspectives. > >> One of their large lessons is that there are many ways to see and > >> interpret the world. > >> 4. The arts teach children that in complex forms of problem solving > >> purposes are seldom fixed, but change with circumstance and > >> opportunity. Learning in the arts requires the ability and a > >> willingness to surrender to the unanticipated possibilities of the > >> work > >> as it unfolds. > >> 5. The arts make vivid the fact that neither words in their literal > >> form nor numbers exhaust what we can know. The limits of our language > >> do not define the limits of our cognition. > >> 6. The arts teach students that small differences can have large > >> effects. > >> The arts traffic in subtleties. > >> 7. The arts teach students to think through and within a material. > >> All art forms employ some means through which images become real. > >> 8. The arts help children learn to say what cannot be said. > >> When children are invited to disclose what a work of art helps them > >> feel, they must reach into their poetic capacities to find the words > >> that will do the job. > >> 9. The arts enable us to have experience we can have from no other > >> source > >> and through such experience to discover the range and variety of what > >> we are capable of feeling. > >> 10. The arts' position in the school curriculum symbolizes to the > >> young > >> what adults believe is important. > >> > >> SOURCE: Eisner, E. (2002). The Arts and the Creation of Mind, In > >> Chapter 4, What the Arts Teach and How It Shows. (pp. 70-92). Yale > >> University Press. Available from NAEA Publications. NAEA grants > >> reprint > >> permission for this excerpt from Ten Lessons with proper > >> acknowledgment > >> of its source and NAEA. > >> > >> > >> Renee > >> > >> > >> On Jul 16, 2011, at 3:13 PM, Amy Lesemann wrote: > >> > >>> We had arguments about this, and I lost until a new teacher came > >>> in and > >>> supported me. Frankly, if a student is 2 or more years- even less, > >>> frankly - > >>> then they really do need to sacrifice music, or art, or another > >>> special for > >>> extra reading instruction, and stay in the regular class for regular > >>> reading > >>> instruction. Before I got that extra vote in the faculty > >>> meetings, the > >>> remedial kids were getting pulled out of their regular classes to > >>> meet > >>> with > >>> me...so they were getting exactly the same amount of instruction as > >>> everyone > >>> else. That's not the idea. They should be participating in > >>> reading and > >>> writing workshop, and then going to the specialist to target > >>> their weak > >>> areas - in phonics, using context clues, and so on. > >>> > >>> Good luck! > >>> > >>> -- > >>> Amy Lesemann, Reading Specialist and Director, Independent Learning > >>> Center > >>> St. Thomas the Apostle Elementary School > >> > >> > >> " What was once educationally significant, but difficult to measure, > >> has been replaced by what is insignificant and easy to measure. So > >> now > >> we test how well we have taught what we do not value." > >> - Art Costa, emeritus professor, California State University > >> > >> > >> > >> _______________________________________________ > >> Mosaic mailing list > >> [email protected] > >> To unsubscribe or modify your membership please go to > >> http://literacyworkshop.org/mailman/options/ > >> mosaic_literacyworkshop.org > >> > >> Search the MOSAIC archives at http://snipurl.com/MosaicArchive > >> > > > > > > > > _______________________________________________ > > Mosaic mailing list > > [email protected] > > To unsubscribe or modify your membership please go to > > http://literacyworkshop.org/mailman/options/ > > mosaic_literacyworkshop.org > > > > Search the MOSAIC archives at http://snipurl.com/MosaicArchive > > > > "The conductor of an orchestra doesn't make a sound... He depends for > his power on his ability to make other people powerful." > ~ Benjamin Zander > > > _______________________________________________ > Mosaic mailing list > [email protected] > To unsubscribe or modify your membership please go to > http://literacyworkshop.org/mailman/options/mosaic_literacyworkshop.org > > Search the MOSAIC archives at http://snipurl.com/MosaicArchive > _______________________________________________ > Mosaic mailing list > [email protected] > To unsubscribe or modify your membership please go to > http://literacyworkshop.org/mailman/options/mosaic_literacyworkshop.org > > Search the MOSAIC archives at http://snipurl.com/MosaicArchive > > _______________________________________________ Mosaic mailing list [email protected] To unsubscribe or modify your membership please go to http://literacyworkshop.org/mailman/options/mosaic_literacyworkshop.org Search the MOSAIC archives at http://snipurl.com/MosaicArchive _______________________________________________ Mosaic mailing list [email protected] To unsubscribe or modify your membership please go to http://literacyworkshop.org/mailman/options/mosaic_literacyworkshop.org Search the MOSAIC archives at http://snipurl.com/MosaicArchive
