One-Minute Wisdom

ONE MINUTE WISDOM
by Anthony de Mello


One of my sisters enjoys reading aloud a page from this text and then sharing her thinking about it with me. It is a way that we exercise our spirituality and feel more enlightened and connected.  It's truly soulful work, as we contemplate our beliefs via de Mello's themes and lessons.  In a similar way, I find myself searching for wisdom in books like THIS I BELIEVE, in poetry, in music.

Of course, as an instructional coach, I think, "How can I help teachers to find their own wisdom, promote harmony in their teaching lives, and to work wholeheartedly--to be "all in" as they work, moving in a common rhythm with me, their beliefs, and their colleagues?

Consider these lyrics from Lifehouse's "All In":

There's no taking back
what we've got's too strong,
we've had each other's back for too long...

And you know it's okay, I came to my senses
Letting go of my defenses
There's no way I'm giving up this time

This is what wholehearted teaching and living is all about...  Letting yourself be seen, vulnerabilities and all, knowing that there will be someone (your instructional coach, perhaps) who has had your back (even if you didn't realize it) and who is there for your journey of gaining teaching strategies and deepening your wisdom.

Consider this quote from ONE MINUTE WISDOM, p. 196:

DARING:

Said a disappointed visitor,

"Why has my stay here yielded

no fruit?"

"Could it be because you lacked

the courage to shake the tree?"

said the Master benignly.

Which brings me to one of the most difficult experiences I have had as an instructional coach.  This has only happened a couple of times (thank goodness) but yet I feel haunted by the experience.  Someone asks for coaching services but lacks the courage to "shake the tree," seems unable to let go of their defenses, and is not invested--not "all in"--and then wonders why the work was not as satisfying as it could have been.

When a coaching client is reluctant to "dare," or take a risk, the work suffers.  As with any relationship, one person can not compensate for the absence of mutual sharing, caring, allotment of time, dedication, and work. Thankfully, this rarely happens; but, when it has, I emerge feeling scathed... frustrated, empty--barely "alive" (professionally).

And I am disappointed, too.  I used to be more disappointed in myself, as I believed that somehow I should have been able to "shake the tree" for the client.  Somehow, I believed that if I somehow just did a little more... somehow I could "fix" the motivation by trying to care enough for both of us.  But now I know, to be of use as a coach, I have to lay down boundaries:

1. I can't do your work for you.
2. I can't grow for you.  
3. You have to jump into the work head first, no dallying in the shadows, and do what has to be done--again and again.  
4. While a coach can support you and guide you, you are the responsible for your submersion in the task, making your work uncommon, satisfying, and evident.

It is the teacher's role to make the work s/he is doing with the coach as real and authentic as possible.  

A plethora of reasons exist for why a person might not be invested in or even resist coaching... perhaps s/he felt coerced into accepting coaching services; maybe the experience just exposed too many vulnerabilities for comfort; or it's possible that the client didn't understand the work that we needed to do; perhaps s/he is experiencing competing commitments... the list goes on and on.  As a coach, I try to show up with respect and humility.  I feel innately invested in the teacher's growth.  I realize that most of the time, when a teacher doesn't seem invested, it isn't about me at all.  So I keep trying.

A coach cannot go it alone.  (This is why you don't see a coach on the sidelines with no team to play the game.)  I know that the people I love best will help by finding (or providing) an inroad "To Be of Use", doing work that is real.  Ultimately, the client must willingly harness the time and energy it takes to patiently propel our work forward.  That is when coaching works, satisfies, and is clean and evident.

To Be of Use

by Marge Piercy

The people I love the best
jump into work head first
without dallying in the shallows
and swim off with sure strokes almost out of sight.
They seem to become natives of that element,
the black sleek heads of seals
bouncing like half submerged balls.

I love people who harness themselves, an ox to a heavy cart,
who pull like water buffalo, with massive patience,
who strain in the mud and the muck to move things forward,
who do what has to be done, again and again.

I want to be with people who submerge
in the task, who go into the fields to harvest
and work in a row and pass the bags along,
who stand in the line and haul in their places,
who are not parlor generals and field deserters
but move in a common rhythm
when the food must come in or the fire be put out.

The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done
has a shape that satisfies, clean and evident.
Greek amphoras for wine or oil,
Hopi vases that held corn, are put in museums
but you know they were made to be used.
The pitcher cries for water to carry
and a person for work that is real.

In the minute or so that it takes to read this poem, I find wisdom in the room to breathe, to believe, and to remember the good things that have come of our work.  I love jumping into work head first, and I know that there are many people who are willing to swim off with sure strokes, do what has to be done, and strive for work that is real.

What Payton Manning Knows about Literacy Coaching

I love football.  Being a Colts' fan, my respect for Payton Manning has followed him to Denver.  Though he is "only 38" years old, he is getting close to retirement, as that is practically ancient for the NFL.  In today's sports news (NBC Sports, NFL.com, Kevin Patra), Payton lamented about what he knows he will miss most when he leaves the field as a player.

Payton Manning--"The Huddle"

  "Sometimes I sort of kick back and I pause and I think what sorts of things would I miss the most if I wasn't playing," Manning said.

So what would Manning miss the most?

"Being in the huddle," Manning said. "That's what I missed most when I was injured, I'll say that. I mean, there's no other type of unity or bond that I think any other job can provide. I know there are meetings, there are video conferences. But that huddle, because of where it takes place: it's often on the road, in the middle of the field, in front of 80,000 people, it's unique."

"When you don't play football anymore, you can broadcast, you can coach, you can be in management, whatever, but you are not allowed to go into the huddle anymore," Manning said. 

This is particularly interesting to those of us who know that Payton almost single-handedly instituted the "no-huddle offense" in the NFL.  Why would someone who is known for NOT huddling say that he values the huddle so much?  He responds, 

"That huddle is just for players. You can go into the locker room after the game and you can speak to the team, but I think any retired player would probably tell you they miss the huddle."

As a teacher for 20 years and coach for the past six, I can tell you that what I love most about teaching and coaching has been "the huddle."  In the classroom, "the huddle" is the time where you feel the sense of classroom community that you have worked so hard to foster; someone will say/do something that shows their connection to the group, the learning, and the investment you have collectively made.  These are the moments that we live for as teachers. If my coaching job ended, I would likely return to my own full-time classroom, and I know that I would, once again, live for "the huddle" that occurs there.  

As a literacy coach whose job expires annually with our funding, I remain cognizant that there is always the possibility of "no tomorrow" in my line of work.  That knowledge probably keeps me "present" in this moment--neither looking back nor too far into the future--just working and living in the here and now.  This job differs in critical ways from that of a principal, curriculum director, or superintendent.  In reality, an evaluator ("boss") cannot authentically enjoy the collegial relationship of a coach--an equal.  Nor does an administrator have the time to dedicate to mentoring/coaching on a daily basis.  An administrator, like an owner of a team, cares about employees, watches closely for improvement, and has no choice but to press for the win (in education, the test score).  When I think about "what else" I might do with my life, I understand Payton's remarks about "the huddle" more and more. 

A coach's job is to "huddle up" with colleagues to figure out each "play," as we do our best in each "game."  Working in a classroom, everyday is the Super Bowl.

A coach is actually in the arena, daring greatly beside the teacher, "showing up," honoring the vulnerability of herself and her colleagues.

In STITCHES, Anne Lamott likens life to "a patchwork of moments, memories, connections, and stories that I've found help steer me in the direction of answers that will hold, for now and even over time" (page 7).  So, too, is instructional coaching; it includes a patchwork of opportunities to work alongside others, facilitating: collaborative meetings, book studies, round table discussions, long- and short-term coaching cycles, workshops, consulting, demonstrating lessons, co-teaching, providing feedback from classes, analyzing data to plan instruction, projecting and co-planning units of study, and individually coaching teachers.

Here is what I know about coaching:  when I work 1:1 or with small groups of teachers, I feel a sense of unity through "the huddle"--as Merriam-Webster defines it: "coming closely together to discuss privately." Within that patchwork of duties, there "is no other type of unit or bond" that can replace that felt between teachers or teacher/coach when "in the huddle."   

I recently finished Shawn Achor's book, THE HAPPINESS ADVANTAGE.  Achor describes the importance of each person's social network.  He says:

"If you can raise somebody's level of positivity in the present, then their brain experiences what we now call a happiness advantage, which is your brain at positive performs significantly better than it does at negative, neutral or stressed. Your intelligence rises, your creativity rises, your energy levels rise. In fact, what we've found is that every single business outcome improves. Your brain at positive is 31 percent more productive than your brain at negative, neutral or stressed. If we can find a way of becoming positive in the present,then our brains work even more successfully as we're able to work harder, faster and more intelligently."

Achor goes on to cite studies that show that high levels of social support is as predictive of longevity as regular exercise, while low social support is as damaging as high blood pressure.  Now we know why it feels so good to feel positive connections in our lives.

On the best days of coaching, I get to experience this increased "level of positivity" in almost every coaching session with teachers.  Brene Brown (in THE GIFTS OF IMPERFECTION) describes courage, compassion, and connection as those gifts:

"I define connection as the energy that exists between people when they feel seen, heard, and valued; when they can give and receive without judgment; and when they derive sustenance and strength from the relationship."

I suspect that this is the same energy that Payton Manning feels while in the huddle.  He knows he is "daring greatly."  He knows that Brene Brown is correct in saying, "To practice courage, compassion, and connection is to look at life and the people around us, and say, 'I’m all in.'"  Shawn Achor says, "The greatest predictor of success and happiness at work is social support. And the greatest way to increase social support is to provide it to others."  Payton does that; as a coach, I do that, too.  Based on Payton's interviews over the years and what I know about myself in my heart, I would say we both feel privileged to be "all in" as we provide support to others.  As Anne Lamott says (STITCHES) about searching for meaning, "...I do know it somehow has to do with sticking together as we try to make sense of chaos, and that seems a way to begin."  Isn't that what they huddle is:  a way to make sense of chaos while being "all in," invested as colleagues with a common goal?

This is why people love Payton so much--when he's your quarterback, you know he's "all in."  When he's the quarterback for your team that is playing the Broncos, this is what instills quiet fear in your heart--you know he is "all in."  

Payton is living a wholehearted life.  Those of us who love our jobs, care to see, hear, and value the people around us, give and receive without judgment, and derive sustenance and strength from our relationships, know his secret to happiness.  It's not really the Super Bowl ring (or, in our case, the test scores)--though those are nice.  It's really the energy of God--wholehearted goodness--surging between us as we "huddle up" to do our best work.

¹hud·dle

 verb \ˈhə-d^əl\

: to come close together in a group

: to come together to talk about something privately

hud·dledhud·dling 

Full Definition of HUDDLE

intransitive verb

1

a :  to gather in a close-packed group

2

a :  to hold a consultation

Again and Again Signpost Lesson--Notice and Note

Again and Again

Lesson Plans

Reading Workshop:  Notice and Note

Materials:

·         Notebooks for students

·         Chart paper/writing tools and/or   Interactive Whiteboard for Teacher

·         Sticky Notes and/or Graphic Organizers (from back of  N&N text)

·         “Handout” (word document) to display words from CHARLOTTE’S WEB

·         Fiction Text for Words of the Wiser

o   IDEAS:

§  NEW KID (short story)

§  EACH KINDNESS by Jacqueline Woodson

§  A Christmas Carol (excerpt) by Charles Dickens

·         Possible Videos/clips:

Scrooge’s bad behavior… again and again  (start at 2:40 into the video)

https://www.youtube.com/watch?v=IB8IxquZYvs

                                                Start at 1:15 and go to 2:53

https://www.youtube.com/watch?v=Fq91Nzq7LF8

Scrooge’s good behavior… again and again  (start at 1:28:20 end at

       1:38:50) – 10-1/2 min.

https://www.youtube.com/watch?v=JvdMjXhPGd0

Standards:  The Signposts from NOTICE AND NOTE can be used to meet the following standards from the IDOE’s Assessment Guidance for 2013-14:

4.RF.4 Read with sufficient accuracy and fluency to support comprehension.

Ø  Read on-level text with purpose and understanding.

Ø  Read on-level prose orally with accuracy, appropriate rate, and expression on successive readings.

4.RL.1 Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

4.RL.2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.

Ø  (IAS 4.3.6 – The CCSS requires the summarization of the text.)

4.RL.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character’s thoughts, words, or actions).

Ø  (IAS 4.3.3 – The CCSS requires in-depth description of character, setting, or event by using specific details in the text.)

4.RL.10 By the end of the year, read and comprehend literature, including stories, dramas, and poetry, in the grades 4–5 text complexity band proficiently, with scaffolding as needed at the high end of the range.

IAS 4.3.2 Identify the main events of the plot, including their causes and the effects of each event on future actions, and the major theme from the

story action.

4.SL.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

Ø  Come to discussions prepared, having read or studied required material; explicitly draw on that preparation and other information known about the topic to explore ideas under discussion.

Ø  Follow agreed-upon rules for discussions and carry out assigned roles.

Ø  Pose and respond to specific questions to clarify or follow up on information, and make comments that contribute to the discussion and link to the remarks of others.

Ø  Review the key ideas expressed and explain their own ideas and understanding in light of the discussion.

Objectives: 

1.  Each student will learn about the signpost of “Again and Again” in order to read closely to consider/better understand:
• Theme
• Conflict/plot
• character development across a text

Procedure/Plan:

1.      Review that we have been working with the signposts, “Contrasts and Contradictions”  “Aha Moments,”  “Tough Questions,” and “Words of the Wiser”.  These are sets of clues that authors use to get you to think about characters—it is how they make them seem real, multi-dimensional, interesting.

2.      This next signpost is one that you have probably experienced but may not have really noticed in your reading.

3.      Explain to students that patterns help us to make predictions or learn about things. When something happens over and over we start to think about why that same thing happens again and again and what that means. For example if we ate a candy bar and then our tummy hurt one time we probably wouldn’t think much of it. If we ate the same candy bar again and our stomach hurt again, we might take notice of that. If we eat the same candy bar AGAIN and our stomach hurt AGAIN we might stop and ask ourselves what is happening here? What do we think that means? Why does our stomach keep hurting? What is our body trying to tell us?

4.      Imagine that you are sitting with a few friends when another joins you.  One of the original group grows quiet and after a few minutes gets up and leaves.  You may not think anything of it at that moment; but, if it happens again the next day and then again the next week, you will probably notice it.  It’s the pattern, the repetition, the event that occurs again and again that lets you know something is up—if you notice it… and if you think about it.

5.      Obviously, noticing it isn’t enough.  You have to do something with what you have noticed or it’s lost.  You have to wonder about it, speculate on what it might mean, and perhaps compare it with other incidents, or it won’t help you to understand what is going on.  When you think about what it might mean, you will figure it out.

6.      We call this signpost technique the, “Again and Again” .

Begin creating poster while students make their in the their notebooks.

“When you’re reading and you notice a word, phrase, object, or situation mentioned over and over, again and again.”

7.       Pause to add this to the chart as kids add this definition to their notebooks.

8.       Then we want to pause and ask ourselves one question:

(Write this on the poster while kids add to their corresponding reading notebook page:)

Why does this keep showing up again and again?

9.      Add to anchor chart.

10.  Authors try to help us stop and take notice of important things in their books by having something happen again and again. It is a clue that we should stop and notice something in the story.

11.   Let’s take some time to think about one of the ways that an author might present a word, phrase, object, or situation over and over—again and again—in a text or story.

12.  Let’s think about “Again and Again” as we look at some pictures.  Display “handout” of web words from CHARLOTTE’S WEB.  Who recognizes these words?  Discuss how Charlotte did this again and again because she believed that it would cause the Zuckermans to have an “Aha Moment” that Wilbur was no ordinary pig—even though he WAS, she wanted them to believe that he was a far superior (contradictory to ordinary) pig.

13.   We know that A CHRISTMAS CAROL has a lot of signposts in it—from contrasts/contradictions to aha moments to tough questions to words to the wiser.  Does it have again and again?  What did he do again and again at the beginning?  Was there more than one spirit or ghost?  How does that provide again and again experiences?  What does he do in the end again and again?  Why does the author have him do these things?

14.  Now as we read, we should be on the lookout for places where the author shows us a character experiencing something again and again—or you notice that the author has used many similar words or phrases again and again.  Sometimes you might notice colors or objects again and again, as well.  The key is to look for patterns.

15.  Review our story, EACH KINDNESS by Jacqueline Woodson.   We want to think about any “again and again” patterns in this story.  Let’s highlight them with yellow crayon, colored pencil, or highlighters. 

16.  Allow time to read/highlight.

17.  Discuss.

18.  Repeat process with NEW KID. 

Handout:

          

              

             

              

Words of the Wiser--Notice and Note Lesson

This post is to describe the continued the immersion of literary signposts from Kylene Beers and Robert Probst's book,  Notice and Note:  Strategies for Close Reading.

Remember, our goal is for our students to understand that these are not just something fun, but are tools designed to help them as they read closely, relating to and learning from the literature we read.  This makes us socially smarter and our reading (and viewing) lives enriched.

We started with "Contrasts and Contradictions" then moved on through "Aha Moments" and "Tough Questions" as described in earlier posts.

Again, we created a class anchor chart for each of these signposts as the children followed along, creating their own in their readers' notebooks.  We drew a sign (like a street sign) with the name of the signpost, added the types of clues that the reader will encounter, a STOP sign for what the reader needs to do and a speech balloon with a large-print question on it to draw attention to what the reader should wonder when encountering this signpost.  Finally, we added what the reader can expect to learn from using this signpost.

We decided to introduce each signpost by using video clips from movies made from literary texts. 

Words of the Wiser

Materials:

·         Notebooks for students

·         Chart paper/writing tools and/or   Interactive Whiteboard for Teacher

·         Sticky Notes and/or Graphic Organizers (from back of  N&N text)

·         Fiction Text for Words of the Wiser

o   IDEAS:

§  NEW KID (short story)

§  EACH KINDNESS by Jacqueline Woodson

§  CHARLOTTE’S WEB by E. B. White

§  A Christmas Carol by Charles Dickens

·         Possible Videos/clips:

o   Oz to the characters as he doles out the items in his bag:

§  http://www.youtube.com/watch?v=ky7DMCHQJZY

o   Scrooge and Marley (about 7 minutes)

§  http://www.youtube.com/watch?v=qh_fUMgFomk

(could start about 2 min., 30 sec., into this clip and stop at 9:28)

o   Charlotte’s explaining her web/lifestyle to Wilbur:

§  http://www.youtube.com/watch?v=zS3qOr0zAJg

Standards:  The Signposts from NOTICE AND NOTE can be used to meet the following standards from the IDOE’s Assessment Guidance for 2013-14:

4.RF.4 Read with sufficient accuracy and fluency to support comprehension.

Ø  Read on-level text with purpose and understanding.

Ø  Read on-level prose orally with accuracy, appropriate rate, and expression on successive readings.

4.RL.1 Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

4.RL.2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.

Ø  (IAS 4.3.6 – The CCSS requires the summarization of the text.)

4.RL.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character’s thoughts, words, or actions).

Ø  (IAS 4.3.3 – The CCSS requires in-depth description of character, setting, or event by using specific details in the text.)

4.RL.10 By the end of the year, read and comprehend literature, including stories, dramas, and poetry, in the grades 4–5 text complexity band proficiently, with scaffolding as needed at the high end of the range.

IAS 4.3.2 Identify the main events of the plot, including their causes and the effects of each event on future actions, and the major theme from the

story action.

4.SL.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

Ø  Come to discussions prepared, having read or studied required material; explicitly draw on that preparation and other information known about the topic to explore ideas under discussion.

Ø  Follow agreed-upon rules for discussions and carry out assigned roles.

Ø  Pose and respond to specific questions to clarify or follow up on information, and make comments that contribute to the discussion and link to the remarks of others.

Ø  Review the key ideas expressed and explain their own ideas and understanding in light of the discussion.

Objectives: 

1.  Each student will learn about the signpost of “Words of the Wiser” in order to read closely to consider/better understand:
• theme
• character development across a text

Procedure/Plan:

1.      Review that we have been working with the signposts, “Contrasts and Contradictions”  “Aha Moments,” and “Tough Questions”.  These are sets of clues that authors use to get you to think about characters—it is how they make them seem real.

2.      This next signpost is one that you may have experienced—having someone give you advice or explain important lessons about life to you.  “Words of the Wiser.”

3.      Show PPT to introduce ideas about what the kids predict this will mean.

4.      sometimes appear in stories to teach the character a lesson—and to help the reader in thinking about the theme of the story.   

5.      Let’s think about “Words of the Wiser.” 

6.      “Let’s take some time to think about one of the ways that an author shows us how a character is being taught something to solve a problem or make a decision.

7.      If we think about Scrooge, he didn’t know he had a problem—he thought the problem was with the rest of the world!  Let’s review how he received wise words at first on that fateful Christmas Eve.

8.      Call children back to the story area.

9.      Review about Scrooge’s partner, Marley, and how he had been dead for exactly 7 years.  Seven is a “magic” number is stories—so this is a clue to readers that this particular night might be magical—and it is, right?

10.  Read aloud about Scrooge’s visit from Marley then view the video clip to help kids envision. 

Ø  Scrooge and Marley (about 7 minutes)

                                                              i.      http://www.youtube.com/watch?v=qh_fUMgFomk

(could start about 2 min., 30 sec., into this clip and stop at 9:28)

11.  We call this signpost technique the, “Words of the Wiser” .

Begin creating poster while students make their in the their notebooks.

“When you’re reading and a character (probably older and wiser) offers the main character advice or wisdom to help with a problem or decision.”

12.   Pause to add this to the chart as kids add this definition to their notebooks.

13.   Then we want to pause and ask ourselves one question:

(Write this on the poster while kids add to their corresponding reading notebook page:)

What’s the life lesson, and how might it affect the main character?

14.  As we read, we should be on the lookout for places where the author shows us a character who giving/receiving wise words because it means that things are probably going to change—these could lead to tough questions or aha moments!

15.   Clues the author might give us would be having the main character and another having a quiet, serious moment and the wiser character shares wisdom or advice to help the main character solve his/her problem or to make a decision.

16.   Those clues are there to tell you that this moment is important, and you need to pause to give it some thought. 

17.  So once we have spotted a moment where words of the wise are being dispensed, we have to pause and do something with it.  That is when we go to the key question (be sure this is in color in our notebooks):

What’s the life lesson, and how might it affect the main character?

18.  Let’s watch the video clip of “The Wizard of Oz” where Oz is giving brains, courage, and a heart to three of the main characters.  Along with each of the tokens, he shares wise words.

Ø  Oz to the characters as he doles out the items in his bag:

                                                              i.      http://www.youtube.com/watch?v=ky7DMCHQJZY

19.  Review our story, EACH KINDNESS by Jacqueline Woodson.   We want to think about where the Words of the Wiser are in this story.  These might occur near an “Aha Moment” or “Tough Question,” so notice if they do!

20.  Discuss.

21.  Do you recall any wise words in NEW KID?  Work in partners to find and share.

22.   As you do your reading in your own books as well as for class, you might practice noticing Contrasts and Contradictions, Aha Moments, Tough Questions, and Words of the Wiser.