Wednesday, May 9, 2012

Want Children to “Pay Attention”?


Radical Teaching

Classroom strategies from a neurologist

Want Children to “Pay Attention”? Make Their Brains Curious!

Force feeding won’t work even on a hungry brain.


Curiouser and Curiouser

Plato Under a Brain Scanner
A few thousand years ago, in 360 B.C., Plato advised against force-feeding of facts to students."Elements of instruction...should be presented to the mind in childhood; not, however, under any notion of forcing education. A freeman ought not to be a slave in the acquisition of knowledge of any kind. Bodily exercise, when compulsory, does no harm to the body; but knowledge which is acquired under compulsion obtains no hold on the mind."




We now have neuroscience of learning research to support these recommendations to avoid forced instruction and provide children with the best environment and experiences for joyful learning. We have come to literally see how stress and curiosity edits which sensory information is given entry to our neural networks and where the input ends up.
Social, emotional, hormonal, and nutritional influences are overtaking the attribution of intelligence to primarily genetic factors. Microbiology research reveals that emotions and experiences turn on or off portions ofgenes that determine how that gene will be expressed. Neuroplasticity research reveals that intelligence can be changed and guides us to educational and parenting strategies are neuro-logical to promote positive changes. Those are topics that will be in future posts here and are addressed in articles on my website www.RADTeach.com .
In this post, combining my background as a neurologist and classroom teacher, I'll share my strategies to help parents and teachers get information "admitted" through brain's attention system.

Children Are Paying Attention, Just Not to the Boring Things in Class
Getting into the brain is like getting into an exclusive nightclub where only the glamorous few are selected. Once inside, another gatekeeper, stress, determines what makes the cut to enter the upper VIP lounge in the prefrontal cortex—that valuable 13% of cerebral architecture where our highest cognition and emotional reflection takes place. (That will be the next post.)
The brain evolved to promote the survival of the animal and the species. That means giving priority to potential threat. Every second, of the millions of bits of sensory information from the eyes, ears, internal organs, skin, muscles, taste and smell receptors that are at the entry gate, only a few thousand make the cut. The system that determines what gets in—what the brain attends to is the Reticular Activating System or RAS. This primitive network of cells in the lower brainstem, through which all sensory input must pass to reach any higher regions of the brain, is essentially the same in your dog, cat, child, and you.
The RAS favors intake of sights, sounds, smells, and tactile sensations that are most critical to survival of the animal and species. Priority goes toCHANGES in an animal or human's environment with priority to change appraised as threatening. When threat is perceived, the RAS automatically selects related sensory input and directs it to the lower brain where the involuntary response is not to think, but to react—fight, flight, or freeze.
Force Feeding Won't Work Even on a Hungry Brain
The RAS is a virtual editor that grants attention and admission to a small fraction of all the sights, sounds, and tactile sensations available at any moment. This survival-directed filter is critical for animals in the wild, but as it has not changed significantly as man evolved, and the implications for the classroom or with children in the home are significant.
When children's brains perceive threat (punishment orembarrassment in front of classmates for not doing homework, fearthat they will be picked last for a kickball game, or anxiety that they will make an obvious error because they are not fluent in English) the RAS lets in only what is perceived as relevant to the threat. Unless the perception of threat is reduced, the brain persists in doing its primary job—protecting the human or animal from harm. The neural activity on scans during fear, sadness, anger or other stressful emotions is evident in the lower brain. In this stressed state "attention" is not under our control and the brain activity on scans drops way down in the prefrontal cortex. That higher, reflective, cognitive region of the brain does not receive the sensory input determined irrelevant to survival. The day's lesson does fall on deaf ears.
When students are criticized for not paying attention to the lesson it doesn't mean they are inattentive. Their RAS is paying attention to (letting in) sensory input, just not the sensory input their teachers think in important.
Now What?
One of the great gifts of neuroimaging research is information about which sensory input gets through the RAS when threat is not perceived. When not under high stress alert, the RAS is particularly receptive to novelty and change that arouse curiosity. That is the key to the gate—the brain seeks input about the new, the unexpected, the colorful, musical, moving, aromatic sensations that are available when perceived or imagined threat is not blocking the way. When students are curious about something, they seek an explanation. This motivates them to persevere in seeking the information they now WANT to learn, what they need to be taught.
Knowing about the RAS means we can promote classroom communities where students feel safe, where they can count of the adults in charge to enforce the rules that protect their bodies, property, and feelings from classmates whom they perceive as threats to these things. Our increasing knowledge of what gains access through the RAS, once threat is reduced, offers clues to strategies that promote attentive focus to lessons in school and at home.
Curiouser and Curiouser
You can build novelty into teaching new information. Changes in voice, appearance, marking key points in color, variation in font size, hats, movement, lessons outdoors, music, curious photos, unexpected objects (a radish on each desk when students enter the classroom) get the RAS attentive to admit the accompanying sensory input of lessons that relates to the curious sensory input!
Advertising a coming unit with curiosity provoking posters or adding clues or puzzle pieces each day invests curiosity as children predict what lesson might be coming and the RAS is primed to "select" the sensory input of that lesson when it is revealed. Playing a song when students enter the room can also promote curiosity; hence focus, if they know that there will be a link between some words in the song and something in the lesson. If a teacher, or parent helping with homework, walks backwards before a lesson about negative numbers, the RAS is primed by curiosity to follow along when a number line is unrolled on the floor to start instruction about negative numbers. Even a suspenseful pause in your speech before saying something particularly important builds anticipation as the students wonder what you will say or do next.

To further alert the RAS, increase curiosity, and the subsequent memoryof the information (learning) that explains the curious phenomenon, have children make PREDICTIONS. The predictions can be written down, shared with a partner, or held up on individual white boards at any point during a lesson. Don't break the participation or curiosity confirming or denying a prediction. Instead, maintain the interest by responding with a nod of acknowledgment or a "thank you" so the other students will continue to predict. The brain actually learns based on a system of predictions and feedback as neuroplasticity strengthens neural networks used to make correct predictions and it corrects memory networks used to make incorrect predictions. (This is why timely corrective feedback is important so those faulty circuits can be replaced with accurate information.)

Monday, May 7, 2012

What is the best way to show gratitude to your parents?


No photo

WORDS WORTH By Mons Romulo (The Philippine Star) 


Wherever we are today,whatever we have made of ourselves, we owe it to our parents who have given and taught us so much. We only have one set of parents, and we should make it a point to show them how grateful we are for everything that they have taught us. Whatever gesture we choose to express our thanks, the important thing is that they know how much we love them. I interviewed the cast of the forthcoming play Spring Awakening on how they show their thanks to their parents.

SITTI NAVARRO, singer, stage actress: The best way for me to do that is to live a life that they can be proud of, for them to be able to say, with conviction, “That’s my daughter, I taught her that!” — a God-fearing, values-instilled and honest life.

CHARI ARESPACOCHAGA , director, Spring Awakening: I show my mom gratitude for all the things she has done for me by aiming for excellence in my work and by living in a loving, generous way. I plan on traveling more with my mom. And more wine and cheese nights!

JETT PANGAN, singer, stage actorI like making my mom proud of me by showing her that I live by her life lessons on frugality and prioritizing my family above all else. My mom is a widow and retired, so I make sure to connect with her (she watches our gigs) and assure her that I’ll always be around.

INNO MARTIN, stage actor: The best way that I can express my gratitude to my parents is by showing how much I care for them, express how much I love them, and showing them how they influenced me as a son to be successful in all that I’m going to do in the future.

MIGUEL MENDOZA, stage actor: The best way I can show my gratitude is to compose a song for them and perform it.

NAR CABICO, stage actor: I will thank my parents by doing well in school and in the productions that I am part of.

RAJO LAUREL, costume designer, Spring Awakening: By being a man for others. My parents taught me that the best way to reward them is to help those most in need.

KELLY LATI, stage actress: Even though my mom is back home in New Jersey, I still talk to her every day. I tell her stories about rehearsals and my day. I thank her for allowing me to be part of Spring Awakening. I am especially grateful because she is flying in to watch me on opening night.

YANAH LAUREL, stage actress: By showering my mom with lots of hugs and kisses. By telling her she has been such an inspiration and motivating force in my life. By telling her I love her.

CHESKA IÑIGO, stage actress: This year, to show my mom how much I appreciate her, I threw her a surprise birthday party and gave her a new dog. (The last one we gave her passed away and she was feeling really bad about it.) I also show gratitude to my parents for everything they have taught me by living my life based on their beliefs and principles, and passing them on to my children so that my parents’ legacy will live on in them.

NICCO MANALO, stage actor: My parents had tough times growing up and all they want for me is to have the opposite of that. I will strive to be the best I can be on my own and still be there when my family needs me.

Thursday, May 3, 2012

Developmental Stages of Scribbling


by Kathleen Bailer, 2003
www.k-play.com




All children all over the world scribble.  No matter what chronological age a child starts to scribble, he or she will go through the following developmental stages.


The child who starts to scribble at age one, might spend more time in each stage than a child who begins at three. As children move through the developmental stages, there will be times when it seems as though they are in between stages as they leave behind one stage and move into the next.


Exploratory  Scribbling
• A child’s first experience with a crayon is to explore it with his or her eyes,
mouth, and hands.  This exploration usually results in practicing what he or she
knows how to do, throwing, banging, putting objects away, grabbing, and
mouthing.
• The beginning scribbler is just beginning to get acquainted with the drawing
tool and is interested in its properties rather than what it can do.
• The random marks on the paper are usually a result of adult encouragement
and the innate desire to imitate.
• Marks are often light colored in nature and are the result of banging the
drawing tool on paper, dragging, or sweeping.
• Child’s attention may be elsewhere as he or she is drawing.


Literacy  Link
The very first marks a child makes on paper are the child’s first use of a communication
tool.  These first marks are similar to the first walking steps and should be highly
encouraged and praised.  It represents the beginning of the child’s literacy development.


What  You  Can  Do
To encourage a child at this stage, the adult can show the child how to make
marks with the drawing tool on a separate piece of paper. As you demonstrate, do
so at the child’s level by scribbling and not by drawing a picture. Place a thick pad
of newspaper or a placemat under the drawing to ease a smooth application of the
crayon on paper. Provide one drawing utensil at a time to help the child focus his
or her attention on the process of scribbling instead of the profusion of colors.


Disordered  Scribbling
 • Lines go back and forth or up and down and are created by using the shoulder
rather than the hand or arm movement. These lines can also begin to curve
slightly.
• Children’s scribble patterns show the understanding of the boundaries of the
paper.
• Will start to imitate marks another person has made or choose to draw over
someone’s marks.


What  You  Can  Do
It is important to give the child plenty of experience in making marks with
crayons and paper as well as with finger paint, to satisfy the need to make marks
and smear less appropriate materials.
Response to a child’s art is an important consideration when looking at children’s
art.  Parent and teacher comments hold great emotional value to the child.  As a
result, comments should be descriptive and reflective instead of judgmental. For
example, “Wow, I saw your whole arm going back and forth to make those lines!”


Controlled  Scribbling
• Will start to recognize that the drawing tool makes marks on the paper.  These
marks please the child and motivate him or her to make more.
• Will be interested in making marks on other surfaces besides paper, foggy
mirrors, windowpanes, sand, and snow…
• When given a colored pencil or marker knows which end of the drawing tool
works and uses it to accomplish a mark.
• Produce repeated movements on the paper.
• Large areas of energetic scribbling start to create an overall shape regardless of
the paper’s boundaries.
• Sometimes a noise is produced each time a mark is made.


Literacy  Link
Children at the end of this stage have enough muscle control that their scribbles
include all the basic twenty scribbles that are depicted in Rhoda Kellogg’s book,
Analyzing Children’s Art, and make up the basic written characters of human
language.


What  You  Can  Do
Instead of asking, “What is it?’’ or saying, “It’s great!” try to describe what the
child is doing, “I see you were using the side of the crayon to make that wide
line”. Another way of commenting is to talk about what there is to see on the
paper, “You covered the whole paper with blue lines!” or “I see loops (as you
make a loop in the air) in your drawing”. It is helpful to become familiar with Rhoda
Kellogg’s scribbling “alphabet” to recognize all the different strokes a child can make.


Shape  Stage
• Will begin to connect two ends of a line to enclose shapes.  These shapes will
become circles, squares, and triangles, sometimes filled with color.
• Some children will begin to name their scribbles.  These children seem to want
to connect the form they perceive on paper with what they know - a long line
becomes a train or a road - a circle, a sun.
• Socially, children at this stage want to establish a link with others through drawing.
The child might want to give the drawing as a gift to a loved one.


Literacy  Link
Susan Striker writes in her book, Young at Art, “This use of lines and shapes as
symbols for other things is the bridge leading to symbol recognition and
formation used in reading and writing.  It stands to reason that the more
experience a child has in dealing with producing art, the easier learning to read
and write will be later on.”


Viktor Lowenfeld writes in Creative and Mental Growth, “This naming of
scribbling is of the highest significance, for it is an indication that the child’s
thinking has changed.  Before this stage he was satisfied with the motions
themselves, but now he has connected his motions to the world around him.  He
has changed from a kinesthetic thinking in terms of motions to an imaginative
thinking in terms of pictures.”


What  You  Can  Do
It is important not to label the child’s scribbles at this stage because what is a
train one day can become a road another day.  This mental connection of naming
is a child’s early attempts at linking symbols to meaning.  Instead, you can help
stimulate the child’s imaginative thinking by asking some questions about the
subject he or she just named, “This is Mommy” can be responded to with “Is your
Mommy tall?”  “Does she have long hair?”  “Does she feel soft when you hug her?”
“Does your Mommy make you yummy things to eat?”  The purpose is not to have
the child improve his or her drawing but rather approach a subject using all of his
or her senses.
It is also important to let the child decide when the scribbling is finished even
though the adult might want to whisk it away in an attempt to “save the
masterpiece before it gets ruined”. In these instances, the child will not
understand why his or her scribbling was interrupted.


Design  Stage
• Uses more defined muscle control and shows a greater understanding of
symmetry and order in the world around him.
• Takes the shapes he has learned and combines them.
• Creates “Mandalas”.  Mandala is the Sanskrit word for “magic circle”.  It is one
of the most sacred forms in the world.  All religions have mandalas.  As ameditation, the Tibetan monks create mandala’s out of colored sand.  The Greek
cross is a type of mandala.  Mandalas can be circles or squares with intersecting
lines often diving them into quarters or eighths. Concentric circles are also
mandalas.
• Suns and radials are formed.  Such a circle with radiating lines is a natural
scribble for all children.  It is derived from earlier images in a child’s scribbling.
The adult perceives it as a sun but for the child it is first a design that is perfectly
balanced with order.  Suns usually show up after a child turns three.  A radial
formation has lines radiating from a specific point.  It is the basis for making arms
and legs on people.
• Explores mandalas, suns, and radials in depth and become the basis for making
people and early animals.


What  You  Can  Do
To point out what you see you might say, “I see so many different kinds of circles
on your paper” or “I see all your lines come from here.” Remember to encourage
without directing the child’s drawing, naming or helping.


Representational  Stage
• Draws basic people consisting of a round form, inner shapes that become the
eyes and two lines radiating from the circle, which become arms.
• Uses the basic form of a person to become a car, a bug, or a cat.
• Makes general representations.  A child doesn’t draw his or her dog, but just a
“dog”.
• As the stage progresses, details will start appearing in the people.
• Later representations include drawing more than one side, creating x-ray
drawings, which show the interior of an object, and organizing objects into scenes.


What  You  Can  Do
Susan Striker in her book, Young at Art states that, “When trying to think of
helpful comments to make, remember that by simply describing the activity or
picture, you are being very helpful because you are providing the child with an
awareness of the causes and effects of his or her actions, and you are stimulating
language development by adding to the child’s vocabulary.”  In her book she lists
seven areas that the teacher or parent can consider when making comments.
They are:
1) How the child’s actions affect the picture
2) How color is used
3) The type of line that is used
4) How the work differs from previous work
5) The way a tool is being used
6) Pressure of the hand on the tool
7) How the child feels when working


Literacy  Link
Representational drawing is the foundation for storytelling.  Start by listening to
the children’s stories as they draw and asking them if they would like you to write
down their stories. Once children have established the pattern of drawing and
storytelling, you can begin to scaffold their writing by leaving a few words out of
the dictation and encouraging the child to write them in.  From there, the child
should be encouraged to do his or her own writing of the story.
Bibliography
• Gardner, Howard, Artful Scribbles, New York: Basic Books,
Inc., Publishers, 1980
• Kellogg, Rhoda, Analyzing Children's Art, Palo Alto, CA: Mayfield
Publishing Company, 1970
• Lowenfeld, Viktor, Creative and Mental Growth, 4th Edition. New York:
Macmillan Publishing Company, 1964
•Lowenfeld, Viktor, Your Child and His Art, New York: Macmillan
Publishing Company, 1963
• Striker, Susan, Young at Art, New York: Henry Holt and Company, 2001

Wednesday, May 2, 2012

Happy Mother's Day

A dedication to MY MOTHER and ALL MOTHERS by Mimi Say                              



                                    Your smile                                               your touch                                                   
                     your comfort          your hug                  your dedication your care
        your endless sacrifices                your love     your hardship     your feelings
           your motivation                                your hard work    your responsibility
                 your history                                                                             your family
                       your caress                                                               your attention
                            your concern                                           your cooked food
                                 your desire                                                your anxiety
                                       your selflessness                         your strength
                                             your suffering                your kindness
                                                     your generosity   your hope
                                                              makes me realise
                                                                     how much
                                                                             I
                                             
                                                                  LOVE YOU

                                                         HAPPY MOTHER'S DAY