This past summer I had the opportunity to take a “curriculum camp” with Julie Stern, Trevor Aleo, Kayla Duncan and the whole “Learning that Transfers” crew. Learning that Transfers is the umbrella organization for Julie and the team’s work in Conceptual Understanding.
This is not an informative post on Teaching for Conceptual Understanding. For that powerful method, I’d suggest you visit the Learning that Transfers team at their website. Also, follow the hashtag #LTT on Twitter. This is a post about a technique I used to great effect with my 10th grade English students that is based on the LTT team’s teachings in their amazing book, Learning that Transfers. However, for a quick overview, this video below will serve well.
My students and I started the year with a reading of Salman Rushdie’s Haroun and the Sea of Stories (HATSOS). Rather than read the novel as I had in previous years, by splitting the class into groups and having them read by focusing on allegory, satire, the Hero’s Journey, and allusion, I taught them a few key concepts.
Concepts are like nodes on the cognitive web of discrete information. Where a fact about rocks, for example, would be “Wissahickon schist” or “Baltimore Gneiss”, the concept, or node, that connects them is “metamorphic rocks.” So concepts, at least in one formation, are a type of classification. But it goes deeper than that. Concepts act as containers for ideas and actions. Thus, in any young adult novel, one could probably read the novel and identify numerous instances of identity formation. Thus, “identity” becomes a key conceptual lens to read though when reading books like Huck Finn, Invisible Man, The Joy Luck Club.
In our study of HATSOS I identified 5 key concepts: Truth, Identity, Power, Language, all of which orbit around the ultimate concept of “Story” itself. I then divided students into groups in which they would read and annotate the text in groups with their similar concept partners. We did this by using the social annotation application, Perusall.
About 3/4 of the way through the book, I asked students to create a series of three observations about how their concept was crucial to the development of the story so far. Those observations could also be things they’d learned by reading in this way that could be applied to the world outside the text.
Next, students moved into their concept groups and wrote their observations on to post-it notes (one observation per post-it). These were then placed onto special boards I have for just such purposes (they’re called “gator boards”).
Finally, and this is the most important part, after each group had placed all its post-it notes, groups rotated and visited the three other groups’ boards. There, they read the observations and collected two or three observations about the novel through this lens that they found interesting. As a final act, each group had to leave behind a new observation that connected their personal concept, with the other group’s concept.
I know it is impossible to read though just one conceptual lens when more are given; obviously students were always aware of the presence of the other concepts in the story. But by having them focus first through one lens and then giving them a chance to step back and see the novel in a wider sense, understanding better how their peers were reading similarly and differently, students became primed to jump into making deeper conceptual connections within the novel and in the world itself.
This “carousel,” produced some of the most impactful observations at the end of the novel when students engaged in thinkpieces, a type of “essaying,” through exploring their responses to questions they formed using the question stems from http://www.learningthattransfers.com.