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JOURNAL 2015

Illinois Association for Gifted Children A Not-For-Profit Organization

IAGC JOURNAL FOCUS: CREATIVITY, CRITICAL THINKING, AND CURRICULUM From the Editor’s Desk Joan Franklin Smutny

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I. Framework for the Classroom Creative and Critical Thinking in Curriculum 3 Sally Y. Walker The Importance of Challenge for Thinking and Learning 4 Tracy Ford Inman Classifying Giftedness in the Age of the Common Core 7 Maurice D. Fisher Addressing and Assessing 21st Century Skills for High-Ability Learners 12 Dina Brulles and Karen L. Brown

II. Application to Content Areas Supporting Creative and Critical Thinkers: Accessing the Arts and Higher Order Thinking Skills in Early Childhood and Elementary Classrooms 16 Stephen T. Schroth and Jason Helfer Creating a Writing Community: Fostering Multiculturalism in the Gifted High School Creative Writing Classroom 23 Elizabeth Brown Spread Newspapers Around: Students Acting! The Invaluable Role of Modern Theater Class in a STEM Environment 26 Leah A. Kind Patricia Polacco and The Three C’s: Creativity, Critical Thinking, and Curriculum 29 Jerry D. Flack Tolkien and Gifted Students: Blending Creative and Critical Thinking 41 Adam Kotlarczyk More Than Just a Video Game: Tips for Using Minecraft to Personalize the Curriculum and Promote Creativity, Collaboration, and Problem Solving 44 Cathy Risberg Let It Ring! Creative Music Making—Motivating and Inspiring Musicians of all ages to Love What They Do and Do It Well 48 Sarah Hodges Sherban

Fostering Ownership of the Democratic Election Process in the Primary Grades Through Creativity, Analysis, and Self-Reflection Carol Sandberg Howe Connecting The Dots: c.c.c. “Bringing Rail to Higher Education” Christine Ohtani-Chang My personal experience as a parent… Michele Foote

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III. Diverse Populations: Promising Practices Creative Underachievers: Children Who Are Too “Out-of-the-Box” 60 Sylvia Rimm Safe Haven: Parenting Creative Children Amidst Abundant Conformity 63 Kathryn P. Haydon Is STEM for all? Perspectives of Black and Latino Students on STEM Motivation 67 Adrienne Coleman and Kayla Ingram Episodes in Education, a Teacher Researcher’s Reflections on “Five Minds for the Future” 75 Dorothy Clare Massalski Educational Impact on Spiritual Growth: A Case Study 80 Kristy Kowalske

IV. Looking Ahead… Changing Education-Thoughts about Creating and Inventing Tomorrow’s School Harry T. Roman

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Getting Students Ready for College and Career Through Creative Thinking 88 Diane Witt and Elizabeth Hahn IB Programmes: Creativity, Critical Thinking, Curriculum, and So Much More Susan Rhodes

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V. POETRY Dear Teacher, Kathryn Haydon Torrance Legacy Creativity Award 2014 Winners

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FROM THE EDITOR’S DESK Joan Franklin Smutny

In this time when standardized education and testing could not be greater, gifted children often feel contained within the narrowest restrictions. Creativity and higher level thinking come naturally to these learners and would continue effortlessly if they were not schooled out at a young age. What Toni Morrison has called “our busied-up, education as horse-race, trophy-driven culture” continues to set the tone and pace of our schools (1996, p. 13). In this frenzied pace where teachers and students have to focus more on crossing the finish line than anything else, the lively art of teaching and learning often slips away. A mother once commented to me, “it’s odd to watch my daughter create and grow intellectually when she’s at home, but in school, she barely has the freedom to stretch her wings. It’s not the teachers but our system. When she tries to fly, she keeps hitting the wall.” Ralph Waldo Emerson once said, “No bird flies too high if he soars with his own wings.” The authors in this issue have attempted to explore creativity and critical thinking in the curriculum from the inside out—that is, from an understanding of the child’s nature and needs. As such, they explore all aspects of gifted students’ lives—their intellect, culture, creativity, learning styles, social and emotional being, sensibilities, and moral and spiritual development. The contributors know from experience how vitally important the creative dimension is—how it combines with knowledge and critical thinking to significantly expand the learning process. When gifted children master a skill or learn something new, they seek ways to apply it—through invention, intuition, or the “sensing” abilities that guided their earliest discoveries as little children. There are five sections in this issue: Framework for the Classroom; Application to Content Areas; Diverse Populations: Promising Practices; Looking Ahead; and Poetry. With examples of real classrooms, children, teachers, and parents, this issue provides a rich journey through the larger landscape of advanced, creative learning. As authors and practitioners, we have focused attention on the fundamental question of how our gifted students— all our gifted students in all their variety—can receive the benefits of a more creative and challenging curriculum in ways that meet their needs. This question has led us to a variety of topics—from the larger meanings and implications of creativity and critical thinking, to an in-depth focus on teaching strategies and programs, to underserved populations, and the social-emotional world of the gifted. What readers gain in this journey is an appreciation of not only the complexity of meeting the needs of advanced learners in today’s classrooms, but also the potential for variety and flexibility in responding to these needs. Creativity and critical thinking, when applied appropriately, are a restoration to wholeness—an ability not just to do, but to thrive. By sharing their experiences and research with gifted children, the authors in this issue have presented what is perhaps the most compelling reason for creativity and critical thinking in the curriculum: that it is simply the most humane thing to do. And being humane surely must rank among the most important qualities of any educational system. Without the combination of creativity, the arts, and critical thinking, gifted children live like caged birds, imprisoned by attitudes, policies and practices that won’t allow them to be themselves. The authors here understand

the perilous passage that awaits those who abandon the road to the “far country.” The “far country” is of course where every gifted child wants to go—the wide horizon beyond the small window afforded them in school, imaginary worlds to explore, or mysteries to unravel. As the authors reveal, creativity, artistry, and critical thinking illumine the individuality of gifted children and ultimately provide the inspiration, motivation, and resiliency they need to follow their own path in life. Reference Morrison, T. (1996). The dancing mind. New York: Alfred A. Knopf. Founder and Director of the Center for Gifted and Midwest Torrance Center for Creativity, Joan Franklin Smutny has designed and implemented programs for thousands of gifted children from all socioeconomic and cultural backgrounds. She has authored, co-authored, and edited many books on gifted education for teachers and parents, including Stand Up for Your Gifted Child (2001), Igniting Creativity in Gifted Learners, K-6 (2009), Differentiating for the Young Child: Teaching Strategies Across the Content Areas, PreK-3 (2nd edition, 2010), Teaching Advanced Learners in the General Education Classroom (2011), Discovering and Developing Talents in Spanish-Speaking Students (2012), and Great Women Leaders and You (2014).

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Creative and Critical Thinking in Curriculum By Sally Y. Walker

Are we in the United States raising a nation of children who will be world leaders and thinkers or a nation of children who will be followers and/or good test-takers? Our country has focused on academic performance with an emphasis on standard curriculum and standardized tests. As a nation, we realized that the United States was lagging behind other countries. Many of our children from poverty and from minority backgrounds were exiting schools without basic skills, unprepared for the work world. As a result, the No Child Left Behind Act (NCLB) was enacted and emphasized testing and rigid benchmarking of progress. This punitive legislation took the fun, creativity, and liveliness out of lessons. All of the focus was on the “test.” And now there are rumblings that even teacher evaluations are to be tied to students’ test scores. The “test” has become the driving force of curriculum. Teaching to the test has become the survival strategy for many teachers. If it’s not on the test, it’s not taught. It soon became clear that NCLB was not the magic cureall for education that it was supposed to be. U.S. students were improving to a degree, but still lagged behind. The bottom did come up—a goal for NCLB—and the gap between the top and the bottom narrowed. However, this gap narrowed because the top came down. The children left behind were students at the top, those who excelled. It was believed that since they were at or above grade level, they did not need help or attention; they could make it on their own. Research reports confirmed that gifted students are indeed those students being left behind. (See: Mind the (other) Gap! The Growing Excellence Gap in K-12 Education; The Achievement Trap; Talent on the Sidelines: Excellence Gaps and the Persistence of America’s Permanent Talent Underclass; High- Achieving Students in the Era of NCLB; Do High Flyers Maintain Their Altitude? Performance Trends of the Top Students). Strategies that would have taken the curriculum beyond grade level or above the expected standard were abandoned in some schools. Although it was never stated that teachers must abandon critical and creative thinking, the tests took precedence. When teachers are judged on how well their students do on the “test,” it is evident that they will feel compelled to cover every bit of content that might be on it. When it was obvious that NCLB was not working, a new reform movement began to take shape. There was a change to Common Core Standards. This new movement looked at fewer things, but in greater depth. Common Core does go into problem solving and uses thinking skills. There still is debate over the place of test scores with teacher evaluations in order to assure essential academic material is learned. Concern still needs to be raised when Common Core State Standards contain no creative verbs and eliminate fiction from the reading curriculum. Civilizations that have flourished have not done so because of test scores. They have done so because individuals took risks and created new and better ways and places to live. They researched ideas and cured diseases, made living more comfortable, and explored the unknown. These accomplishments have been largely due to critical and creative thinking that was promoted in those civilizations at that time in history. Not all states have elected to jump on the Common Core bandwagon. For example, the state of Kentucky has developed “Characteristics of Highly Effective Teaching and Learning.” They looked at research related to highly effective teaching and

learning and established five components: 1. learning climate; 2. classroom assessment and reflection; 3. instructional rigor and student engagement; 4. instructional relevance; and 5. knowledge of content. In all of their work, they strove to make learning meaningful, complex, and inquiry-based, requiring critical and creative thinking with attention to problem solving. They also stressed differentiated strategies to make instruction meaningful to all students. In their entire document, testing was not mentioned as a component.

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Characteristics of Highly Effective Teaching and Learning (CHETL) Published: 7/31/2013 Richard Paul has written widely about critical and creative thinking and stresses that the mind needs to be trained in order to be “mentally fit” as the body needs to be trained in order to be physically fit. When the body is not fit, it does not function at its best. When we are not in good physical shape, we tend to get out of breath easily, experience lethargy, lose muscle function, and lack energy. Likewise, the mind that is not trained to focus jumps aimlessly from one topic to another, thinks randomly, and has no goal. Excellence is never achieved when there is no end in mind and thoughts are random without purpose. When the mind takes on a task that is challenging, it must become engaged and active in order to accomplish the goal. A fit mind should be a goal of our schools’ curricula. Our activities for students should be originated and designed to create products of excellence. This definitely does not mean that assigned work is effortless, without meaning, and just keeping students busy. Tasks assigned should be well thought out and engaging, allow no easy answers, involve struggle and require accuracy. The “kill and drill” of the past is not what we need today to move our schools and society forward. Many students “drop out of school,” if not physically, then mentally. Some of the students who drop out are gifted. They feel that school is meaningless, see no point in what they are learning, and are tired of playing the school “game.” The 21st Century Skills presents a framework for students who are problem solvers, solution finders, and good collaborators. It is not a “sit and get” curriculum of the past. It is meant to prepare students for the “real world” that they will face. The creative thinking in problem solving allows students to navigate the world so that they will have the flexibility and capabilities necessary to find solutions when life throws them a curve ball. Our job as educators is to keep students engaged and the key to engagement is indeed through critical and creative thinking. So what exactly is critical thinking? Critical thinking is the ability to recognize and challenge assumptions, ask pertinent questions, examine and explore alternative answers, recognize the importance of context, compare and contrast options, perceive different points of view, make decisions, clarify ideas, classify and analyze, determine parts-whole relationships, sequence, analyze arguments, and assess reasonableness and judge ideas. Critical thinking is the ability to provide positive as well as negative appraisals. Critical thinking skills are life survival skills. They are skills that can determine success or failure. And what is creative thinking? Creativity is the process we use to develop unique ideas that are useful and worthy of further study and development. Creativity is the spark that has us question

given one day, one way. That is efficient product, but not realistic or effective for the different levels of content or multiple levels of thinking. Products need to be appropriate to the learning style of the student, aimed at the content, and reflecting the highest level of thinking. This is typically not done on a standardized test. Bandwagons litter the education highway with their claim of improving learning for students. Rather than learning from the past and keeping what has worked and discarding what has not, policy makers throw all away and start fresh with each new bandwagon. We, as educators and parents, need to know what is essential information that is worthy of study, as well as the processes needed for students to think. We want all students to succeed, including the gifted. We must never lose site that the reason we are involved in education is for the students. They must be our focus and priority.

the assumptions underlying our habitual ways of acting and thinking. It pushes us to think and act differently based on critical questioning. Creativity takes thinkers outside the traditional box. Creative individuals may reject standard formats for working and problem solving and have an interest in a wide range of topics and divergent fields of study. When confronted with a problem, creative individuals may have multiple perspectives and use trialand-error methods of experimentation. They may have a future orientation to a situation. People who possess creativity tend to have self-confidence and rely on their own judgment rather than the opinions of others. Creativity brings joy and wonder to life. Neither critical nor creative thinking can exist without content. Solid content needs to be the base of any curriculum. What do students need to know and be able to do? Content must be worthy of study as well as applicable and connected to the students’ lives. Content must be broad enough that students can expand it through complexity, depth, time (past to present to future), and relevant to their lives. They want to know how they can use and manipulate information to make things better. Differentiation can occur with the depth, complexity, time, and relevance of the content, considering the different levels of knowledge and expertise of the students. Once content is established, the thinking skills come into play. What level of thinking do students need? Bloom’s taxonomy can prove helpful here with differentiation. The revised Bloom’s taxonomy has creativity as the highest form of thinking. This does not mean that creativity is reserved for only gifted students. All students need to be exposed to all levels of thinking, but with varied levels of complexity for differentiation. We assess students based on products. For many, it is a test,

Sources Anderson, L.W. & Krathwohl, D.R. (Eds.). (2001). A taxonomy for learning, teaching and assessing: A revision of Bloom’s taxonomy of education objectives. New York: Longman. Paul, R.W. (2012). Critical thinking: What every person needs to survive in a rapidly changing world. Foundation for Critical Thinking. Sally Walker is the Executive Director of the Illinois Association for Gifted Children (IAGC). She is also author of the Survival Guide for Parents of Gifted Kids, which won two national awards. She has co-authored Teaching Young Gifted Children in the Regular Classroom (currently in its revised edition), Acceleration for Gifted Learners, and Making Memories, A Parent Portfolio.

The Importance of Challenge for Thinking and Learning By Tracy Ford Inman Contrary to what we usually believe … the best moments in our lives … are not the passive, receptive, relaxing times— although such experiences can also be enjoyable, if we have worked hard to attain them. The best moments usually occur when a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile. Optimal experience is thus something that we make happen. For a child, it could be placing with trembling fingers the last block on a tower she has built, higher than any she has built so far; for a swimmer, it could be trying to beat his own record; for a violinist, mastering an intricate musical passage. For each person there are thousands of opportunities, challenges to expand ourselves. Mihaly Csikszentmihalyi, Flow: The Psychology of Optimal Experience

those with gifts and talents, may not have the opportunity to expand themselves, especially if their typical learning experiences lack challenge. The National Association for Gifted Children (NAGC) argues that CCSS, although strong starting points in curriculum development, simply aren’t challenging enough for students with gifts and talents: Although the new content standards are considered to be more rigorous than most current state standards, they fall short in meeting the specific needs of gifted learners, and if held strictly to the standard, could actually limit learning. To overcome this pitfall, it is imperative that gifted educators create a full range of supports for high-ability learners through differentiated curriculum, instruction, and assessments. (Common Core, 2014, par. 3 & 4) Ideally, regardless of whether a state or school has adopted CCSS, all educators should offer a full range of academic services, including differentiation, so that students can be appropriately challenged. It is through challenge that students learn how to think and how to learn. Optimally, each student works within his zone of proximal development, a concept defined by Vygotsky (1978) as the ideal level of instruction for a student, one that stretches him beyond what he knows already but doesn’t frustrate

Csikszentmihalyi (2010) captures the essence of optimal experience in his hallmark work on flow. Optimal experience does not come through completion of easy tasks; rather, it is birthed by genuine effort to accomplish something difficult, to meet a challenge. He believes “challenges … expand ourselves” (p. 3). But what happens to those students who do not face appropriate academic challenges in school? With today’s educational world focusing on Common Core State Standards (CCSS), federal and state mandates, and standardized testing, many students, especially

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him with an impossible goal. In short, instruction should provide the “sweet spot” of challenge for each individual learner. If CCSS are implemented as they stand, they may not be challenging at all for the gifted learner. Unfortunately, the myth that we do not have to worry about the gifted child—he will get it on his own—has continued to perpetuate. A survey completed by the Fordham Foundation reported that the majority of teachers (60%) indicated that academically struggling students are the top priority at their schools; understandably, 80% also responded that they devote the majority of their time to these struggling students (Loveless, Farkas & Duffet, 2008). Almost universally, schools and the public seem to agree that our focus should be academically challenged children instead of academically challenging all children. They mistakenly believe that no harm comes to the gifted students when they are left to work on their own. Nothing can be farther from the truth. Take a few moments to mentally answer this question: If a child earns good grades and receives high praise without putting forth much effort, what are all the things he doesn’t learn that most children learn by the end of primary grades? The answers to this one question provide an irrefutable argument for providing challenge to all children, including those with gifts and talents. Perhaps the most damaging lesson high ability students miss out on is that hard work equals success. IQ does not. Family or friend connections do not. Regardless of how smart someone is or the networking he’s established as an adult, unless he is willing to work diligently, he will not be successful. Eventually, the lack of work ethic will sabotage potential. Closely related to this is the concept of mindset (i.e., fixed and growth) coined by cognitive psychologist Carol Dweck (2006). People with fixed mindsets believe they are born with a certain capacity for talent and ability. For gifted or talented students, school can become a place to demonstrate that talent and ability—they raise their hands to most questions, turn work in first, and feel validated with honors, certificates, and eating lunch with the principal for making honor roll. However, once a real challenge is presented— it could be something as simple as questions to which the children don’t know the answers—those with fixed mindsets lack the skills necessary to cope. After all, they believe that talent and ability are set. Ideally, students embrace a growth mindset, one that believes talent and ability are malleable. Yes, we are all born with a certain capacity for learning, but with effort and struggle, that capacity can expand.. Intelligence, talent, and ability can increase with effort. Validation, then, comes in the form of joy in learning new things and the feeling of self-confidence in overcoming obstacles – all intrinsic rather than extrinsic rewards. This mindset is critical to developing potential: “Without effort, a student’s achievement suffers, if not sooner then later. Thus, it is important for the student to value and believe in effort as a vehicle for academic success” (Dweck, 2012, p. 11). Mindset mirrors another concept that children who make easy grades without effort don’t learn: the importance of failure. Failure to gifted children isn’t necessarily an F. It can be a B or even a 97%. Failure is not living up to one’s expectations. In the real world, this is not the case at all. Failure provides an opportunity to learn: “Success is about being your best self, not about being better than others; failure is an opportunity, not a condem­nation; effort is the key to success” (Dweck, 2006, p. 44).

The opportunity lies in the debriefing of the failure: what caused the failure, what could have been done differently, what role did lack of effort play, etc. This debriefing encourages metacognition and reflection, along with problem solving, critical thinking, and goal setting. Failure, when approached in a healthy way, prompts the development of resilience, persistence, and grit. As Hoerr (2012) explained: “Every child needs to encounter frustration and failure to learn to step back, reassess, and try again — and again. It surely seems odd and perhaps heartless to create scenarios in which students are not successful, but how can they learn to overcome adversity if they haven’t experienced it?” (p. 84). Overcoming academic adversity requires grit, a relatively new term to be used in the education arena. Duckworth (2007) defines grit as the “tendency to sustain interest in and effort toward very long-term goal” (par.1). She has even developed a Grit Scale wherein people self-assess their goal-setting and ability to handle setbacks. Grit, developed and honed through meeting challenge head-on, impacts success. Shaunessy-Dedrick & Suldo (2014) recently conducted a study with 30 Advanced Placement and International Baccalaureate high school students – programs that are typically considered academically challenging. In the perception part of the study, “students were adamant that their personal engagement with their classwork, reflected in their grit and persistence in their classes, was a major predictor of success. They were correct; students’ levels of cognitive engagement were a unique predictor of better mental health and GPA” (slide 47). Grit and persistence prove critical to academic success, and these attributes do not come readily to children who are not challenged. What else does an unchallenged child fail to learn? He does not learn how to think critically and creatively. Through challenge, one learns the following: • Raise vital questions and problems, formulating them clearly and precisely • Gather and assesses relevant information, using abstract ideas to interpret it effectively • Come to well-reasoned conclusions and solutions, testing them against relevant criteria and standards • Think open mindedly within alternative systems of thought, recognizing and assessing, as needs be, their assumptions, implications, and practical consequences • Communicate effectively with others in figuring out solutions to complex problems. (Foundation for Critical Thinking, 2013, par. 5) A child who never breaks an academic sweat and never faces challenge or endures struggle in the classroom does not raise questions, interpret aspect ideas, form plausible solutions, think open-mindedly, or collaborate with others to solve problems—all foundational skills to thinking critically. The Partnership for 21st Century Skills (2011) numbers critical thinking and creativity as two of their four Learning and Innovation Skills (with the other two being communication and collaboration)—skills developed, in part, through appropriately challenging learning experiences. The nation readily recognizes the importance of thinking in today’s world; schools must provide the learning experiences that encourage critical and creative thinking for all children. What else does a child not learn? A child does not learn skills necessary for success. For example, if he never has to set learning goals and create a plan for meeting them, he will not develop goal-setting skills which are critical to personal and professional success. Ideally, he should be practicing goal-setting and goal

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achievement regularly. Likewise, when he earns an A on a project he threw together last minute, he will not learn time management and organizational skills. To hone those skills so necessary in life, he should incorporate realistic time allotments and deadlines for completing each part of the plan to reach the goal. Time management, goal-setting, and organizational skills are all components of study skills. If a child can simply listen and absorb material and then make A’s on the test – or even make A’s without listening at all because he already knows the materials, he will not develop study skills so important to a healthy education. Then, the first time he is challenged, he has no answers to questions such as these: “How do I break down a challenging assignment into manageable parts?” “How can I take notes so that they help me later on?” “How do I prepare to take a final exam?” Additionally, when the student is not challenged to predict outcomes of possible choices, rank importance of criteria, or systemically dissect an issue into its base parts, he will not develop decision-making and problem-solving skills. Solving problems early in life provides a strong foundation for addressing problems and making decisions later in life. The list continues of what this child does not learn: • The value of collaboration and teamwork; • Empathy for others who do struggle with learning; • Metacognition and the ability to reflect on learning; • Responsibility; • The importance of sacrifice and delayed gratification; • The value of authentic learning that links to real world demands, expectations, products, etc.; • Independence in learning; and, perhaps most importantly, • The joy in learning. This list isn’t complete; it’s just a sampling of the possible answers. Notice the common denominator: these are the life skills that young people need to be successful scholars, citizens, and, most importantly, humans. Educators, administrators, parents, and decision-makers must understand the potentially irreparable damage that can be done to a child in his early years if there is no challenge. Critical skills – cognitive and social – do not fully develop. It is these skills that equip young people to be successful in their adult lives. That’s an incredibly important reason to promote challenge to all. Another unintentional consequence of the lack of challenge is underachievement. It takes as little as six weeks for underachievement to grab hold of a learner (Rimm, 2008). Educators and parents must understand what happens to children and what doesn’t happen to children when appropriate challenge is absent. What, then, can be done to ensure challenge for all learners? Much can be done in the school setting. Perhaps the most important is professional development. All educators need training on the nature, needs, and characteristics of gifted learners. Not only must they debunk the myths surrounding these exceptional children, but they must also embrace the importance of a growth mindset (see Ricci’s Mindsets in the Classroom, 2013). Understanding best practices in effective instruction, utilizing those practices, and being held accountable for their implementation would help ensure that educators are indeed providing appropriate challenge for all children, including those with gifts and talents. Administrators must support the creation of learning environments conducive to addressing the needs of all learners. They must understand the importance of differentiation, acceleration, and enrichment. They must make professional development a priority and hold

educators accountable for addressing all students’ needs. On the homefront, information is power. Parents must learn as much as they can in order to be strong advocates. This information ranges from their state’s laws, regulations, and policies concerning gifted education, to understanding their own child’s areas of strengths and interests. Parent advocacy groups are a wonderful resource. Go to www.nagc.org for a complete listing of state affiliates with the National Association for Gifted Children. Strong parent advocates realize the importance of partnering with schools to help provide optimum learning experiences for all children. They volunteer in the classroom and in the school; they serve on committees, run for the school board, or are officers in the parent-teacher organization. They champion extracurricular activities such as Future Problem Solving or Odyssey of the Mind. At home, they provide challenging opportunities for their children: scouts, FIRST Lego League, community athletics, community theatre, music lessons, etc. They understand the importance of challenge and growth mindset, so they provide opportunities for struggle, risk-taking, and failure. These parents even model their own failures, complete with the ever-important debriefing of the problem, internalizing what they learned, or emphasizing the growth and learning that come from struggle and overcoming obstacles. Put simply, they embrace challenge. As Csikszentmihalyi (2010) emphasized, “For each person there are thousands of opportunities, challenges to expand ourselves” (p. 3). Parents, educators, and administrators must work together to provide those opportunities in their schools, homes, and communities. Ensuring challenging learning experiences for all children, including those with gifts and talents, leads the way for that personal expansion Csikszentmihalyi mentioned. By providing academic challenge, educators provide the opportunity for students to develop lifelong skills and values (such as decisionmaking skills and the importance of work ethic and effort). These skills and values prove critical in students growing personally and professionally, so vital in their achieving optimal experiences References Common Core State Standards, National Science Standards and Gifted Education. (2014). National Association for Gifted Children. Retrieved from http://www.nagc.org/resourcespublications/resources/timely-topics/common-core-statestandards-national-science Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York, NY: HarperCollins Publishers. Duckworth, A. L. (2014). The Duckwork lab: Our work. Retrieved from https://sites.sas.upenn.edu/duckworth Dweck, C. S. (2006). Mindset: The new psychology of success. New York, NY: Random House. Dweck, C. S. (2012). Mindsets and malleable minds: Implications for giftedness and talent. In R. F. Subotnik, A. Robinson, C. M. Callahan, & E. J. Gubbins (Eds.), Malleable minds: Translating insights from psychology and neurosci­ence to gifted education (pp. 7–18). Storrs: University of Connecticut, The National Research Center on the Gifted and Talented. Foundation for Critical Thinking. (2013). Our concept and definition of critical thinking. Retrieved from http://www. criticalthinking.org/pages/our-concept-and-definition-ofcritical-thinking/411 Hoerr, T. R. (2012). Principal connection: Got grit?

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Educational Leadership 69(6): 84-85. Loveless, T., Farkas, S., & Duffett, A. (2008). Highachieving students in the era of NCLB. Washington, DC: Thomas B. Fordham Institute. Partnership for 21st Century Skills. (2011). Framework for st 21 century learning. Washington, DC: Author. Ricci, M. C. (2013). Mindsets in the classroom: Building a culture of success and student achievement in schools. Waco, TX: Prufrock Press. Rimm, S. (2008). Why bright kids get poor grades and what you can do about it. Scottsdale, AZ: Great Potential Press. Shaunessy-Dedrick, E., & Suldo, S. (2014, November). Teachers’, Parents’, and Students’ Perceptions of Successful AP and IB Students. Presentation conducted at the Annual Conference of the National Association for Gifted Children, Baltimore, MD. Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Boston, MA: Harvard University Press.

she has presented on the state, national, and international levels, trained hundreds of teachers in differentiation and gifted education, published multiple articles, and serves as writer/editor for The Challenge, the award-winning newsmagazine for The Center for Gifted Studies. Tracy co-authored three books through Prufrock Press: Teacher’s Survival Guide: Differentiating Instruction in the Elementary Classroom; Strategies for Differentiating Instruction: Best Practices for the Classroom, now in its second edition; and  Assessing Differentiated Student Products: A Protocol for Development and Evaluation. She and her co-author received the Legacy Book Award from the Texas Association for the Gifted and Talented for Strategies for Differentiating Instruction. Tracy was co-editor of Parenting Gifted Children: The Authoritative Guide from the National Association for Gifted Children, a compilation of the best articles in Parenting for High Potential, which won the Legacy Award in 2011.  She is president-elect of the Kentucky Association for Gifted Education (KAGE)  and webmaster for The Association for the Gifted, a division of the Council for Exceptional Children (CEC-TAG). Tracy is married to John Inman, and they have two sons, Jake and Zach. She can be reached at 270.745.6323 ortracy.inman@ wku.edu. 

Tracy Ford Inman has taught on both the high school and collegiate levels as well as in summer programs for gifted and talented youth. Associate Director of The Center for Gifted Studies at Western Kentucky University (WKU) in Bowling Green, KY,

Classifying Giftedness in the Age of the Common Core By Maurice D. Fisher

While listening to great musicians such as the violinist, Nathan Milstein, I wonder how and when they were classified as being gifted. Certainly no ability tests such as the StanfordBinet or Wechsler would have predicted the enormous musical performance abilities of these individuals. Or would these tests have predicted the achievements of some of the great scientists, such as Einstein, Feynman, Darwin or Hubble? Or in literature, the geniuses of short story writing like Katherine Anne Porter, Eudora Welty, and Flannery O’Connor? The specific type of giftedness these individuals developed would not have been predicted by standardized intelligence tests, including the Cognitive Abilities Test widely used in many gifted programs. Giftedness in the areas of humanities, literature, mathematics, the sciences, technology, and leadership must be more clearly defined and categorized. This more rigorous categorization would enable teachers and parents to do the following: (a) accurately identify the types of giftedness which children exhibit at younger ages; and (b) provide more effective education programs directed to each gifted child’s interests and abilities. Because of the need to evaluate large numbers of students for gifted and other specialized programs, standardized ability tests have become the most convenient way for accomplishing this task. Criteria for admission are usually set at the higher performance levels on these tests (95th percentile or higher), and this information is supplemented with grade level achievement results, practical accomplishments, and teacher recommendations. However, the pressures for making public education more rigorous and diversified during the last 20 years are causing this standardized test method of identification to become obsolete. Educators of the gifted must produce a more refined approach that goes far beyond

using one or more standardized test scores. Too many demands are being placed on the following programs by over-reliance on standardized tests for student selection: Advanced Common Core Curriculum, STEM (Science, Technology, Engineering, and Math) Education, Highly Gifted and Self-Contained Education, Advanced Placement Courses, International Baccalaureate Programs, Magnet Schools, and Innovative Charter Schools. Multiple Intelligences In 1983 Howard Gardner’s book, Frames of Mind: The Theory of Multiple Intelligences, demonstrated how human abilities can be systematically classified into seven types of intelligence, thereby creating a break from traditional conceptions of intelligence previously established by Alfred Binet and David Wechsler. Gardner provided extensive empirical and theoretical evidence for his Multiple Intelligences (MI) theory, and he gave further support in subsequent books such as Creating Minds (1993) and Leading Minds (1995). The impact of MI theory upon American education has been both controversial and positive. The primary controversy in the public schools has been the result of historical resistance to change, complicated by the intelligence test movement under the influence of Lewis M. Terman in the early part of the 20th century. This entrenched conception of intelligence has caused many educators to say that the MI theory unnecessarily complicates the educational process. Instead of concentrating upon two major abilities -- the verbal and mathematical areas -- teachers must focus on seven abilities in order to validly apply Gardner’s theory in the classroom. Many educators also argue that using MI theory

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causes a “dumbing down” of the school curriculum in the name of multiculturalism. Gardner focused on answering these and other criticisms in his book, The Disciplined Mind (1999). One of the positive aspects of using the MI theory in the gifted classroom is that it opens up the educational process to a wider range of human abilities and accomplishments than previously addressed by many schools. But most important, it addresses the reality of human development and existence. There are indeed more abilities than those usually concentrated upon in the public schools through the traditional verbal and mathematical curriculum models. I am convinced that Gardner’s Multiple Intelligences theory is the “road to take” in both general and gifted education (with certain modifications) because it addresses the reality of human abilities and achievement better than other current theories of intelligence (Willard-Holt & Holt, 1998; Fisher, 2000). The greatness of human accomplishments has been clearly expressed through the Verbal, Logical Mathematical, Musical, Bodily-Kinesthetic, Visual-Spatial, Intrapersonal, Interpersonal, and Naturalist areas of thinking and action. These areas of MI apply to domains of literature, poetry, humor, writing, speaking, mathematics, logical reasoning, scientific research and thinking, philosophy, music, theatre, sports, dance, comedy, painting, sculpture, architecture, psychoanalysis, psychotherapy, personality theory, meditation, analysis of the human condition, existentialism, politics, business and military leadership, the observation and classification of nature, and environmental issues. Among the gifted individuals who represent a particular type of intelligence are (Fisher, 2000): Verbal Linguistic: John Updike, William Styron, Clifton Fadiman, James Michener, Ray Bradbury, Elie Wiesel, Barbara Tuchman, Jorge Luis Borges, Albert Camus, C.S. Lewis, William Faulkner, Virginia Woolf, F. Scott Fitzgerald, Mark Twain, Charles Dickens, Charlotte Brontë, Jane Austen, William Shakespeare, W.H. Auden, Wallace Stevens, John Keats. Logical Mathematical: Stephen Hawking, B.F. Skinner, Jean Piaget, Bertrand Russell, Edith Hamilton, Albert Einstein, John Dewey, Neils Bohr, Ludwig Wittgenstein, Sir Issac Newton. Musical: Tony Bennett, Ella Fitzgerald, Itzhak Perlman, Isaac Stern, Aaron Copland, Vladimir Horowitz, Sir Thomas Beecham, Duke Ellington, Louis Armstrong. Bodily Kinesthetic: Julie Andrews, Lauren Bacall, Marlon Brando, Sir John Geilgud, Sir Laurence Olivier, John Wayne, Spencer Tracy, Vivien Leigh, Woody Allen, Dick Gregory, Bob Hope, Cal Ripken, Jr., Yogi Berra, Vince Lombardi, Satchel Paige. Visual Spatial: Ben Carson, Richard Feynman, Georgia O’Keeffe, Buckminster Fuller, Dorothy Parker, Winston Churchill, Frank Lloyd Wright, Marc Chagall, Henri Matisse, Vincent van Gogh, Pablo Picasso, Claude Monet. Intrapersonal: Annie Dillard, Alan Watts, Norman Cousins, Jean-Paul Sartre, Abraham Joshua Heschel, Thomas Merton, Martin Buber, Carl Jung, Nikos Kazantzakis, Mohandas K. Gandhi, Anne Frank, Sigmund Freud, Henry David Thoreau. Interpersonal: Colin Powell, Gloria Steinem, Elizabeth Dole, Henry Kissinger, Abigail Van Buren, Nelson Mandela, Mother Teresa, Norman Vincent Peale, James Baldwin, Margaret Mead, Golda Meir, Charles de Gaulle, Helen Keller, Martin Buber, Dag Hammarskjold, Martin Luther King, John F. Kennedy, Winston Churchill, Franklin D. Roosevelt, Sigmund Freud, Booker T. Washington.

Naturalist: E.O. Wilson, Robert T. Bakker, Annie Dillard, John McPhee, Jane Goodall, Ashley Montagu, Carl Sagan, Edward Abbey, Konrad Lorenz, Lewis Thomas, Rachel Carson, John Steinbeck, Ernest Hemingway, Aldo Leopold, William Faulkner, John Muir, Mark Twain, Jack London, Charles Darwin, Herman Melville, Henry David Thoreau, Ralph Waldo Emerson. It should be emphasized that many individuals have high abilities in several areas. For example, John Steinbeck was a gifted writer (Verbal intelligence) who was also a systematic observer of nature as demonstrated in two of his books [The Log from the Sea of Cortez (1941) and Travels with Charlie (1962)]. He was obviously high in Interpersonal intelligence as shown in these books and others that he wrote where his superb interviewing and reporting skills provided the background for his excellent writing. What are some of the benefits of engaging in a Multiple Intelligences analysis of gifted individuals? Here are a few which indicate the potential for awakening children’s curiosity about a particular area of study and stimulating teachers and parents to learn more about individuals: 1. Provides a guide for studying a wide range of gifted individuals in each area of intelligence. 2. Identifies individuals who are worthy of more detailed study through their quotations and related bibliographic references. 3. Allows students and teachers to set up studies of particular types of intelligence based on the common threads of ideas and personalities included under each intelligence. 4. Demonstrates how individuals such as, Albert Einstein, Bertrand Russell, Winston Churchill, and John Steinbeck can be gifted in many areas. 5. Enables students who are gifted in a particular ability to identify role models for study and assessment. 6. Works effectively as a part of a Multiple Intelligences and quotations based curriculum. Types of Minds in Gifted and Talented Education beyond Multiple Intelligences The public schools today place a high emphasis on educating students to be analytic thinkers who can break down problems into their basic units, refine and reorder these units, and reconstruct them into rigorous solutions to a problem. This type of thinking is fundamental to Western and other aspiring technological societies in all areas including mathematics, the sciences, and humanities. It is also the basis for the engineering approach to solving problems as emphasized in STEM education programs (Roman, 2011; Roman & Myers, 2013). Unfortunately, teaching large numbers of students to think in an analytical manner has not been very successful, as demonstrated by low performance on subject matter tests and the apparent lack of interest in developing rigorous problem solving skills. Educators of the gifted can overcome some of these obstacles to developing analytical thinking by first knowing what types of characteristics gifted children demonstrate at an early age (primary level) and designing a curriculum that enhances analytic thinking. I refer you to the latest book by Joan Smutny and S.E. von Fremd: The Lives of Great Women Leaders & You (2014, Royal Fireworks Press). This book shows the level and range of giftedness among women thinkers and doers in mathematics and science, space exploration, society and culture, government and politics, the arts, and leadership. Here is my original discussion of the book that appeared in the Fall 2014 issue of Gifted Education

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Press Quarterly: Good books require good readers. This is why I highly recommend the inspiring and well-written gem of a book by Joan Franklin Smutny and S.E. von Fremd: The Lives of Great Women Leaders & You (2014, Royal Fireworks Press). Teachers, parents, and both female and male students in gifted classrooms should read this masterpiece on women who have made important contributions to Math and Science, Society and Culture, Government and Politics, and the Arts. The final chapter addresses the issue of finding one’s way to become a leader. One example of the women pioneers discussed in the Math and Science chapter are Amelie Noether who developed a mathematical theorem of symmetry in nature with the laws of conservation of energy and matter. Her work was strongly supported by Albert Einstein for its originality and importance to physics, and remains as one of the foundations of modern physics. The chapter also describes the role of women in the NASA space exploration program from the original Mercury 13 (who were eventually excluded from the space program) to Sally Ride’s and Kathryn Sullivan’s space shuttle voyages. Sullivan was the first American woman to spacewalk. To hold this book in your hands is to possess a goldmine of inspiration for current and future generations of gifted girls and women. In the Introduction the authors say: “If you are a girl or young woman who wants to do what you’ve always dreamed but who thinks you cannot, this book is for you. If you think your ideas for education and career are unrealistic and impossible to achieve because other people have told you so, this book is also for you. If you live in a place where you cannot find anyone or anything to show you how you can create a new life, you will find in this book the footprints of women leaders who faced even greater challenges. You will discover what actions you can take to make your life your own and to have a life that makes you happy.” (Introduction, p. 1). In order to focus upon specific types of gifted minds, I present the following cognitive and social-emotional categories for teachers to search for and develop. These categories exist independently of test data and the Common Core Curriculum, since most have been a part of ability and achievement for thousands of years. It should be emphasized that our conception of giftedness in Western society has its origins from over 2,500 years in Greek intellectual culture.

at the Googleplex: Why Philosophy Won’t Go Away (2014). One of the terms she uses throughout the book is “The Ethos of the Extraordinary” which has specific applications for identifying and teaching gifted individuals who are outstanding thinkers. Here are a few of the specific types of analytical thinking that gifted students might show potential for accomplishing: 1. Empirical Reasoning. This is the type of problem solving that Jean Piaget studied in young children through their working on Pre-Operational and Concrete Operations problems. Teachers need to study Jean Piaget’s work (Flavell, 1963; Phillips, 1969) in great detail to learn about identifying children who are very advanced in solving problems through analytical thinking. 2. Logical-Deductive Problem Solving. This is a function of training the mind to use formal steps in solving specific problems. The Greek philosopher, Aristotle, founded an entire system of logical proofs (syllogisms) used by academics and scientific thinkers from medieval to modern times. Philosophy departments still offer courses that cover Aristotle’s formal system of logic. But Piaget again demonstrated in the 20th century that logical thinking was a natural part of the adolescent’s developing mind by conducting research on what he called the Formal Operations stage of development. Gifted students who have the ability to reason by using logical sequences of thought are in great demand in all STEM areas. From studying Piaget’s theory and research (Fisher & Fisher, 1981), parents and teachers will learn that children spend considerable amounts of time refining the ability to think, but they must have extensive problem-solving experiences to expand this ability to its potential. Piaget should have received a Nobel Prize because he meticulously described and analyzed the thinking processes of infants, preschoolers, older children, and adolescents. But he is difficult to understand because he used a unique vocabulary and some highly abstract concepts. How can Piaget’s research findings and concepts be applied to raising and educating today’s gifted children? Both the home and school environments should be designed to stimulate gifted children to develop at their own unique rates. In addition, these environments should constantly challenge children to advance to progressively higher levels of thinking and behavior. Some of the recommendations for achieving these educational goals are as follows: -- Respect preschool children’s unusual ways of explaining events, since these explanations usually indicate normal mental development. Offer alternative explanations but don’t force them on the children. -- Be sensitive to the importance and seriousness of infant and children’s play activities. For example, the infant engages in important mental activities when repeating simple behavior patterns, such as dropping a spoon on the floor over and over again. In this case, he learning about important concepts involving the relationship between cause and effect, and that different means (varying the manner in which he drops the spoon) can lead to the same end or goal (spoon hitting the floor). Preschool and elementary school children’s play activities are serious business in relation to their overall mental development and cause them to engage in new problem-solving activities that increase their understanding of the physical and social environment. -- Provide children with the most open and stimulating environment possible by using good books, toys, and games. -- Encourage frequent conversations and verbal interactions

Gifted and Talented Areas of Reasoning and Performance Analytical Thinking “What is the hardest task in the world? To think.” Ralph Waldo Emerson, 1803-82 (essayist, philosopher, leader of the New England Transcendentalist movement). From ‘Intellect’ in Essays: First Series (1844). “Thought is subversive and revolutionary, destructive and terrible; thought is merciless to privilege, established institutions, and comfortable habit.” Bertrand Russell, 1872-1970 (British philosopher). As discussed above, this is the fundamental type of thinking emphasized by Greek philosophers over 2,000 years ago (Herman, 2013; Lavine, 1984). All major intellectual accomplishments in the Humanities, Mathematics, Sciences, and Technology are based upon analytical thinking. Professor Rebecca Goldstein of Harvard University has written a very fine book that discusses how Plato and Socrates have influenced all aspects of Western civilization and thinking processes over the last 2,500 years: Plato

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interact.” Gerald Holton. From Dyonesians, Apollonians, and the Scientific Imagination, 1978.

between children and yourself. “The question which we shall attempt to answer in this book may be stated as follows: What are the needs which a child tends to satisfy when he talks? This problem is, strictly speaking, neither linguistic nor logical; it belongs to functional psychology, but it should serve nevertheless as a fitting prelude to any study of child logic.” Jean Piaget, 1896-1980 (developmental psychologist, philosopher). The Language and Thought of the Child (1923). 3. Mathematical Thinking. This is the most advanced type of thinking which involves manipulating abstract symbols to solve problems. The Center for Talented Youth at Johns Hopkins University was originally started by Professor Julian Stanley in 1979 for mathematically advanced students. It should be noted that the most recent winner (August 2014) of the prestigious Fields Medal in mathematics was a woman, Maryam Mirzakhani, a Stanford University professor of mathematics. She is the first woman to win this award, which is equivalent to a Nobel Prize in mathematics. Professor Mirzakhani said the following: “This is a great honor. I will be happy if it encourages young female scientists and mathematicians . . . I am sure there will be many more women winning this kind of award in coming years.” (Stanford University news release, August 12, 2014). The award was given for her work on understanding the symmetry of curved surfaces. “That women can do mathematics is evident from the individuals mentioned above [e.g., Sophie Germain, 1776-1831 and Sonya Kovalevskaia, 1850-91]. We could augment this with an extensive list of women who have been active in more recent times, from Grace Chisholm Young who played a key role in refining the advanced theory of integration during the early years of the twentieth century; to Julia Robinson, solver of Hilbert’s tenth problem; to Emmy Noether, one of the twentieth century’s most accomplished algebraists. Attitudes that women cannot do mathematics are groundless.” From The Mathematical Universe (1994) by William Dunham. “Tales of Ramanujan’s youth reveal a boy content to camp out on the pial of his house and work at mathematics, outwardly oblivious to the raucous play of his friends out on the street. Often wrapped up in mathematics, he was oblivious . . .” Description of the Indian mathematician, Ramanujan (1887-1920), when he was a precocious public school student in India. From The Man Who Knew Infinity: A Life of the Genius Ramanujan (1991) by Robert Kanigel. ”The real problem is not whether machines think but whether men do.” B.F. Skinner, 1904-90 (experimental psychologist). From Contingencies of Reinforcement (1969). 4. Inductive Scientific Analysis. The ability to conduct valid scientific studies based upon making systematic observations and inferences is a highly sought after aptitude in all technological and industrial societies. A student who is gifted in this area of Analysis could become a successful scientist in many cutting edge fields related to physics, astronomy, cosmology, biology, genetics, and medicine. “What is meant by genius in science? What are its characteristics? Can one understand it, or is that a contradiction in terms? I am not speaking merely of ‘creative’ people, nor of men of ‘high attainment.’ I am aware of the large amount of literature on creativity, and of some fine studies of men of genius in the arts or in political affairs. But I do not find them very helpful for understanding the life or the work of a Fermi or an Einstein, and even less for discerning how his personality and his scientific achievements

Invention-Innovation: Practical Problem Solving in Technological, Business, Military, and Medical Fields Individuals with this type of giftedness have a broad understanding of the Analytical Thinking areas discussed above, and know how to use deductive reasoning, mathematics, and induction to solve difficult problems. Harry Roman (2009, 2014) has discussed how to educate gifted students to become innovative problem solvers and inventors by using information from his experiences as an engineer and the study of great inventors, such as Thomas Edison. “I think that only daring speculation can lead us further and not accumulation of facts.” Albert Einstein, 1879-1955 (theoretical physicist). From letter to M. Besso, 1952. “If we would guide by the light of reason we must let our minds be bold. “ Louis Brandeis, 1856-1941 (U.S. Supreme Court Justice). Creative Thinking in Education, the Humanities, and the Arts This is the area originally studied by E. Paul Torrance (1970). His work was very influential from the 1960s through the 1980s, and the Torrance Tests of Creative Thinking are still used today to measure creative thinking. Torrance was also the founder of the Future Problem Solving Program International. Some of the areas of creative giftedness that need to be served in the public schools are these: Verbal-Speaking and Story Telling Ability, Fiction Writing, Visual Arts, Musical Composition and Performance, and Dance. R.E. Myers, a former student of Torrance, has recently published a book that encourages creative thinking in the gifted classroom: Giving a Lift to the Gifted: Ideas and Essays for Helping Teachers Inspire Higher Thinking in the Creative Classroom (2014). In addition, Judy Micheletti has written three books on applied creativity for elementary and middle school gifted students. Her latest one is entitled, SNIBBLES3 (2014). “A writer is someone born with a gift. An athlete can run. A painter can paint. A writer has a facility with words. A good writer can also think. Isn’t that enough to define a writer by?” Cynthia Ozick, 1928- (author). “Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilization would be impossible. They are engines of change, windows on the world, ‘lighthouses’ (as a poet said) ‘erected in the sea of time.’ They are companions, teachers, magicians, bankers of the treasures of the mind. Books are humanity in print.” Barbara Tuchman, 1912-89 (American historian). From Authors League Bulletin (Nov.-Dec. 1979). “Life itself is a quotation.” Jorge Luis Borges, 1899-1986 (short story writer, essayist and poet). Human Interaction Skills This type of giftedness is very important for society because it involves the development of Leadership, Team Work, Ethical Behavior, Interpersonal Skills, and Self-Analysis. Unfortunately, schools offer few programs in these areas for gifted students who show potential for being outstanding leaders and who are concerned with applying ethics to business, science, technology,

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Lavine, T.Z. (1984). From Socrates to Sartre: The phi losophic quest. New York: Bantam Books. Micheletti, J. (2014). SNIBBLES³: Serving up a STEAMing hot cup of creative problem solving challenges. Manassas, VA: Gifted Education Press. Myers, R.E. (2014). Giving a lift to the gifted: Ideas and essays for helping teachers inspire higher thinking in the creative classroom. Manassas, VA: Gifted Education Press. Phillips, J. (1969). The origins of intellect: Piaget’s theory. San Francisco: Freeman. Roman, H. (2009). Energizing your gifted students’ creative thinking & imagination: Using design principles, team activities, and invention strategies —A complete lesson guide for upper elementary and middle school levels. Manassas, VA: Gifted Education Press. Roman, H. (2011). STEM—science, technology, engineering, and mathematics education for gifted students: Designing a powerful approach to real-world problem solving for gifted students in middle and high school grades. Manassas, VA: Gifted Education Press. Roman, H. (2014). Invention, innovation and creative thinking in the gifted classroom: Activities & design challenges for students in middle & high school. Manassas, VA: Gifted Education Press. Roman, H. & Myers, R.E. (2013). STEM to STEAM education for gifted students: Using specific communication arts lessons with Nanotechnology, Solar, Biomass, Robotics, & other STEM Topics. Manassas, VA: Gifted Education Press. Smutny, J.F. & von Fremd, S.E. (2014). The lives of great women leaders & you. Unionville, NY: Royal Fireworks Press. Stanford-Binet Intelligence Scales (SB5), Fifth Edition (2003). Rolling Meadows, IL: Riverside Publishing. Torrance, E.P. & Myers, R.E. (1970). Creative learning and teaching. New York: Dodd, Mead and Co. Wechsler Intelligence Scale for Children, Fourth Edition (2003). New York: Pearson Education. Willard-Holt, C. & Holt, D. (1998). Applying multiple intelligences to gifted education: I’m not just an IQ score! Manassas, VA: Gifted Education Press.

and so forth. “What you always do before you make a decision is consult. The best policy is made when you are listening to people who are going to be impacted. Then, once policy is determined, you call on them to help you sell it.” Elizabeth Dole, 1936- (presidential candidate, former director of the American Red Cross). “I’m really glad that young people missed the Depression and missed the big war. But I do regret that they missed the leaders that I knew . . . They brought us together and they gave us a sense of national purpose.” Ann W. Richards, 1933-2006 (Governor of Texas, 1991-95). “You may have to fight a battle more than once to win it.” Margaret Thatcher, 1925-2013 (Prime Minister of Great Britain, 1979-90). Conclusion These broad categories of giftedness represent an attempt to focus upon areas that are parallel to the development of different types of gifted minds. The standardized test approach is too narrow for identifying the variety of gifted students who attend our public schools. The Multiple Intelligences approach is a good start in the right direction, but it does not go far enough in identifying areas of giftedness that need to be properly served by the Common Core, STEM education, and other innovative education approaches. As I indicated at the beginning of this article, the types of giftedness encountered in society and the schools need a more practical and detailed system of classification and education. Such a revised system will lead to more widespread acceptance of gifted education programs, and more effective identification of gifted students. References Cognitive Abilities Test (CogAt), Form 6 (2001). Rolling Meadows, IL: Riverside Publishing. Fisher, M.D. (2000). Multiple intelligences in the world: Quotations and bibliographies for the study, understanding and application of verbal, logical mathematical, musical, bodily kinesthetic, visual spatial, intrapersonal, interpersonal and naturalist intelligence. Manassas, VA: Gifted Education Press. Fisher, M.D. & Fisher, E. M. (1981). How do children think? Some answers from Jean Piaget. In The Early Education Connection: An Instructional Resource for Teachers and Parents of Preschool and Kindergarten Children (pp. 38-50). Manassas, VA: Gifted Education Press. Fisher, M.D. & Fisher, E.M. (Eds.) (2009). Heroes of giftedness: An inspirational guide for gifted students and their teachers – Presenting the personal heroes of twelve experts on gifted education. Manassas, VA: Gifted Education Press. Flavell, J. H. (1963). The developmental psychology of Jean Piaget. New York: Van Nostrand. Gardner, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books. Gifted Education Press Quarterly. Fall 2014 Issue, Vol. 28, No. 4. Manassas, VA: Gifted Education Press. Goldstein, R. (2014). Plato at the Googleplex: Why philosophy won’t go away. New York: Pantheon Books. Herman, A. (2013). The cave and the light: Plato Versus Aristotle, and the struggle for the soul of western civilization. New York: Random House.

Maurice D. Fisher is the publisher of Gifted Education Press and Gifted Education Press Quarterly. He obtained his doctorate from the University of Virginia in educational psychology and gifted education. His email address is [email protected].

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Addressing and Assessing 21st Century Skills for High-Ability Learners By Dina Brulles and Karen L. Brown Matthew is a talented mathematician. His computational skills are excellent and his content knowledge is extensive but he lacks the skills that allow him to gain a deep, more conceptual understanding of math. Matthew relies on algorithms learned to solve the problems he encounters. He has limited experience in problem-solving for creative solutions. He does not work well as a member of a team and struggles when collaborative effort is required. Matthew lacks a 21st century skill set. Angela is a go-getter. She loves the dynamics of team interaction and is the most confident when engaged in collaborative problem solving. She is considered an out of the box thinker, one who sees possibilities and can develop strategies to achieve them. Angela is not considered a scholar; her knowledge base is strong but not nearly as extensive as Matthew’s. However, Angela possesses the skill set of the 21st Century learner. She holds a golden ticket, the soft skill set, that makes her invaluable in her current and future classrooms.

Figure 1

Each category noted here is further articulated by several specific objectives. Each objective includes: 1. A teacher-developed description of the objective written in student-friendly language 2. Key terminology used for developing the skill 3. A brief video clip showing students demonstrating the objective in the classroom setting (See Figure 2.)

Introduction The phrase, “21st Century skills,” has become the hot educational buzzword in recent years. Teachers and administrators recognize the importance of developing these skills that help build depth and complexity into the general curriculum. Indeed, the same skills have been foundational to gifted education instruction for decades. What has been the mainstay for instructing gifted and talented students in the past is presently considered “best practice” for all students. This bodes well for our gifted students! As teachers learn to help general education students develop these skills, the gifted students in their midst benefit because the methods become part of the general instruction in all classrooms. This article describes how one district’s gifted education department developed an online student self-reflection tool and system for measuring what matters: the process of learning from a student’s perspective. This self-reflective thinking and learning process carries across all domains, content areas, grade levels and higher levels of thinking.

Figure 2

Making the Intangible “Tangible” 21st Century skills are the means through which students gather, develop, and utilize information in all subject areas at all grades. Teachers may wonder, “How do I teach students to think creatively or function collaboratively in a group?” For many educators the skills feel intangible, and therefore, their ability to specifically address and promote these skills remains vague as well. For students to self-reflect with accuracy the objectives must be clearly defined and articulated. The categories in this tool include the following: • Critical thinking • Problem solving • Collaboration • Self-direction • Creativity (See Figure 1.)

Background & Purpose Behind the Tool Embedding 21st Century skills and learning outcomes into daily instructional strategies has long been a priority in gifted education. The question remains, “How do we know students are developing these skills?” How do schools measure collaboration, self-direction, creativity, critical thinking, and problem solving? And how do these skills impact learning? Students’ ability to selfreflect becomes critical in the process of effectively developing these skills. Students must understand what the skills mean and look like and be aware of how to use them in the learning process. The process of self-reflection must be modeled and shared on multiple occasions and in different contexts for students to fully develop an understanding of the skills. Continual self-reflection allows students and teachers to identify areas in which the student are developing and those areas that remain a struggle. As these

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skills are often connected to students’ proficiency in a subject area, it is possible that students would perceive themselves as strong problem solvers in one area and not in another. For example, Kayla is an excellent history student but struggles in science. When thinking about her ability to think critically, she feels confident in this ability in history but not in science. This confidence is reflected in her self-assessment. Identifying discrepancies of this nature are invaluable to teachers for providing instruction, scaffolding learning activities, and developing supportive curriculum to further enhance student achievement.

areas. For example, a teacher might be interested in looking at her data by gender to see if there is a discrepancy in the manner in which boys vs. girls perceive their abilities to collaborate or problem solve. Figure 4

How it Works Administered quarterly, the self-reflection tool yields valuable data that can inform instructional practices. Each category provides students an opportunity to share evidence that supports their responses. In the implementation stage, teachers instruct students in the indicators and terminology needed to fully understand the objectives being assessed. With this focus, students learn to self-reflect and self-assess, and teachers learn to embed 21st Century skills into all areas of instruction and prepare students for specific performance-based assessments. When using the tool students self-assess in each of the five areas. Each component is broken down into five to eight measurable objectives. Given that the assessment is completed on a quarterly basis, students and teachers have access to data showing students’ perceptions of learning as it relates to the 21st Century skill set on multiple opportunities. The tool includes a rubric with descriptors, related terminology, and video prompts that enable students to gain a clear understanding of the various components of the 21st Century skill set. This offers both teachers and students a discussion focus when addressing the topics. A brief video clip of students engaging in the performance of the objective is also available to support student understandings. Students measure their confidence levels in using these skills on a Likert scale with indicators from “Never” to “Always.” Students are encouraged to provide evidence in support of their self-assessment for each of the objectives. (See Figure 3.) Figure 3 Most educators today agree that data driven instruction is considered best practice and helps to ensure that, as educators, we are addressing the specific needs of our students, not merely teaching a curriculum. Evaluating “How” Students Learn Why is it so important to focus on the process of learning in addition to the content? Content knowledge is acquired through the strategies and processes students use. When strong learning processes are in place, students can literally acquire any content within their challenge levels. Supporting students in identifying and understanding how they learn and then developing structures through which they can evaluate these learning processes provides students the opportunity, understanding, skills, and ability to advance their knowledge base. The self-reflection process provides data upon which future learning can be built. The goal is to provide students and teachers with information that can be used to drive the instructional process in all content areas.

Following each self-assessment opportunity the data generated is shared with teachers through a variety of analytics, which allows teachers to view the data from multiple perspectives. (See Figure 4.) Data can be viewed from an individual student perspective, from a class perspective, as a grade level, and as an overall school. Data is also shared by objective and component area to allow staff members to analyze skill development within specific component

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On their own, students are rarely able to improve upon what they do not perceive as an area of weakness, but their teachers can assist in this process by helping them recognize where they need to develop. Matthew, the mathematician, will have difficulty acquiring collaborative skills and creative problem solving if he remains unaware of this need. Through the self-reflective process he is able to identify the 21st Century skills in which he excels, as well as those that present challenges. With his teacher’s help, he can develop the skill set through strategically designed activities and assignments that build and foster these skills. Though Angela possesses a strong collaborative skill set, she could greatly enhance her learning by developing her ability to think critically, which would in turn enhance her creative problem solving skills. Supporting Angela in defining the aspects of critical thinking will help her enhance her overall skill set. Teachers can more readily address these areas when they can examine evidence of their students’ perceived abilities.

Figure 5

Embedding a Self-Reflective Learning Process Teachers can help students attain these 21st Century skills by developing their self-reflective processes through regular instruction. The varying levels of complexity within the lesson extensions in which many gifted students often work can help develop the self-regulation skills needed for self-reflection. Knowing this, teachers can build in learning activities that require reliance on these higher-order thinking skills. For example, teachers can incorporate learning activities that require students to synthesize and analyze supporting and contrasting information and data, correlate new information with background knowledge, seek and analyze trends, and so forth. Attention to these skills affects the process of learning rather than the specific content being learned. They are skills that, when well developed, enhance and elevate the level of understanding in whatever content area is being studied. Encouraging a selfreflective process with our students not only enhances learning but also helps prepare students for lifelong learning. As teachers, we want to accustom students to using and reflecting on these 21st Century skills to strengthen and support desired learning behaviors. When teachers develop a strong understanding of these skills, they naturally embed them into instruction. In so doing, teachers typically begin emphasizing specific terminology related to the skills, which helps students derive a more thorough understanding of the content they are learning. Posters highlighting skills, objectives, and related terminology provide a visual that teachers can refer to in the classroom to reinforce their students’ understanding and skill development (See Figure 5). The skills described in this section assist students in learning how to manage their time and attention, set and complete goals, and monitor the efficacy of their efforts. These skills become critical for students working on challenging lessons, whether they are working independently, with a partner, or in a group. The lists shown here provide specific objectives for teachers to emphasize for this purpose.

goals, identifying human and material resources for learning, choosing and implementing appropriate learning strategies, and evaluating learning outcomes” (Knowles, 1975, p. 18). Of primary concern in this definition of self-directed learning is that the learner takes the initiative to pursue a specific learning experience and the responsibility for completing the learning goal. These skills can be explicitly taught. Teachers can emphasize the following objectives when teaching students to develop their abilities for self-direction: • Set challenging, achievable goals and identify and access the resources necessary to achieve the goals. • Manage time and resources in an efficient manner to achieve goals. • Review progress and learning experiences to resolve problems that may be interfering with achieving goals. • Ask others for feedback and seriously consider their ideas when revising work. • Be determined to find answers or solutions to problems and monitor their commitment to their goals using a variety of techniques to stay on task. • Identify and describe the criteria and performance standards for quality work. • Identify strengths and weaknesses of student work in clear terms and identify areas for improvement. • Reflect to set new goals and effectively incorporate information learned from successes and struggles. These objectives allow students to create and keep to a schedule, monitor progress, and produce quality work. They also help students build independence and strengthen the ability to persevere when working on challenging projects. Problem solving A major goal in education is to help students learn in ways that enable them to use what they have learned to solve problems in new situations. Problem solving has been described as “cognitive processing directed at achieving a goal when no solution method is obvious to the problem solver” (Mayer & Wittrock). Problem solving is a process that involves reasoning, decision-making, and thinking critically. Teachers can emphasize the following objectives when

Self-direction Malcolm Knowles defines self-directed learning as such, “In its broadest meaning, self-directed learning describes a process by which individuals take the initiative, with our without the assistance of others, in diagnosing their learning needs, formulating learning

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• Participate in the group discussion and assess how well they are working together.

teaching students to build their abilities to problem-solve:

• Carefully analyze all the characteristics of a problem

Critical thinking Thinking is not driven by answers but by questions. Extending learning requires students to think critically as opposed to simply answering a question. Richard Paul, Director of Research and Professional Development at the Center for Critical Thinking, defines critical thinking as, “ . . . thinking that analyzes thought, that assesses thought, and that transforms thought for the better . . . It’s thinking about thinking while thinking in order to think better.” This process improves the ability to solve problems. Teachers can emphasize the following objectives when instructing students on how to build their abilities for critical thinking: • Identify the most important parts of the information being studied. • Use multiple strategies for evaluating the reliability of different kinds of sources. • Use subject area knowledge and personal experiences to make connections and draw inferences between content areas. • Clearly explain an opinion on a topic in speaking and in writing and give good reasons for it.

before beginning to solve it. • Identify important information needed to solve complex problems. • Anticipate different kinds of problems in complicated projects and think of ways to solve the problems before they happen. • Use the strategies and tools learned along with subjectarea knowledge to solve problems. • Reflect on problem-solving processes, evaluate the learning process and make changes when necessary. The ability to problem solve is critical for students working independently on learning activities that are abstract and openended. Open-ended lesson extension activities, particularly those in the higher Depth of Knowledge (DOK) levels, necessitate that students monitor their process and make adjustments when needed. Redirecting their efforts helps them refine the quality of their work, further develop their ideas, and scrutinize the purpose of the activities. Collaboration The ability to collaborate effectively represents more than the ability to cooperate on a team or in a group. Cooperation is nonengaging and does not move the thinking of the group forward. Today’s students must be able to collaborate. Collaboration leads to a merging of ideas that are no longer owned by individuals but shared like a Google Doc in which the final outcome represents the combined understandings and efforts of all. These skills are not learned in a textbook or shared via a lecture. These skills represent the way we learn, the very process we go through to acquire knowledge. When students work collaboratively to solve problems, they share knowledge and develop skills that can lead to deeper learning and understanding. Collaborative learning has resulted in higher student achievement, higher self-esteem, and higher motivation for all students across all socioeconomic and cultural backgrounds. On Edutopia, Monique Devane explains, “Individual work can be a great way to master content, but group work empowers and enables a student’s cultivation of resilience.” When working collaboratively, students see each other as resources where they can test their own theories, determine if they are on the right track, and develop habits of mind. Keep in mind that students need guidance to learn how to collaborate effectively. Some high ability students face challenges when working with peers. These students may benefit from developing strategies for working collaboratively with others. They may also need to learn how to listen, how to take turns talking, and how to monitor themselves and others when working with peers. Teachers can emphasize the following objectives when teaching students to develop their abilities of collaboration:

Students working at more complex levels rely on the ability to think critically; this involves analyzing information and supporting their methodology. They often rely on previous learning experiences and consider prior knowledge when completing the learning activities. The ability to accomplish this requires that they discern and evaluate relevancy when synthesizing material. Teacher attention toward developing this ability helps students self-direct and problem-solve when analyzing information at deeper levels. Creativity To foster and nurture the growth of creativity, E. Paul Torrance advises us to “encourage curiosity, exploration, experimentation, fantasy, questioning, testing, and the development of creative talents” (ERIC Digest #484). These processes should be inherent in all aspects of learning and in all subject areas. Teachers can emphasize the following objectives when helping students develop creativity: • Use knowledge and skills in the subject matter to generate possible ideas. • Seek out new experiences without worrying about what others think or whether mistakes will be made. • Have confidence in one’s ability to determine if ideas are worth pursuing. • Add the necessary concrete details to an idea to make it a successful product or performance. • Use language in meaningful and novel ways to move, inspire, entertain, inform, and persuade others.

• Actively contribute to the group by participating in

Creativity abounds in high ability students. However, the propensity to expand on creativity has the potential to deter students from their learning goals. When students stray too far from the learning objectives, the lessons can become more of an unrelated enrichment activity rather than an extension of the objective. We want to instill the goals of creativity and mastering

discussions. Accept and perform all required tasks. Help the group set goals and direct the group in meeting goals. • Share ideas and contribute information appropriate for the topic and encourage other members to share their ideas. • Balance listening and speaking. Take into account other people’s feelings and ideas.

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learning objectives in all of our students, while also ensuring mastery of the curriculum standards we need to address. Adapted from the forthcoming Engaging and Challenging All Learners: Differentiating Instruction for High-Ability Students in a Mixed-Ability Class, Grades 5–12 (working title; expected publication fall 2015). Copyright © 2014 by Susan Winebrenner, Dina Brulles, and Karen Brown. Used with permission of Free Spirit Publishing Inc. www.freespirit.com.

Torrance, P., & Goff, K. (1990, January 1). Fostering academic creativity in gifted students. ERIC Digest. Retrieved October 23, 2014, from http://www.ericdigests.org/pre9216/academic.htm Winebrenner, S., Brulles, D., & Brown, K. (in print for fall 2015). Engaging and challenging all learners: Differentiating instruction for high-ability students in a mixed-ability class, Grades 5–12 Copyright © 2014. Dina Brulles is the Director of Gifted Education at Paradise Valley Unified School District in Phoenix, Arizone and also the Gifted Education Program Coordinator at Arizona State University. Past President of the Arizona Association for Gifted and Talented and past vice-president of SENG (Supporting Emotional Needs of the Gifted), Brulles serves on SENG’s Editorial Board and on their Diversity Committee as well as on the NAGC’s Equity and Diversity Committee. She assists schools in developing gifted programs and training teachers in gifted education. She coauthored The Cluster Grouping Handbook: How To Challenge Gifted Students and Improve Achievement For All and Teaching Gifted Kids in Today’s Classrooms by Free Spirit Publishing, and Helping All Gifted Children Learn: A Teacher’s Guide to Using the NNAT by Pearson Assessment.

Strengthening Skills and Moving Forward This article describes how one school district is embracing the lofty goal of addressing and assessing students’ abilities to incorporate 21st Century skills into the learning process. By increasing both teachers’ and students’ awareness of how to integrate these skills, we move closer toward developing students’ abilities to work at deeper and more complex levels. Students become more adept at using and transferring these critical learning practices when guided on how the skills impact their understanding of the content they are learning. Don’t wait to get started! Teachers do not need a systemic, school-wide approach to develop their students’ abilities to self-reflect on how they incorporate and use 21st Century skills. Emphasis on the learning processes as articulated here starts with the teacher. Discussing and describing these skills and what they look like in classroom instruction begin the process. Allowing students to self-reflect on their learning processes further develops their abilities and advances their capabilities in all areas.

Karen L. Brown is the Gifted Program Mentor for Paradise Valley Unified School District and has taught and facilitated gifted education courses at Arizona State University since 2010.  As Gifted Program Mentor, she works extensively with cluster teachers within the district as well as gifted specialists and selfcontained gifted classroom teachers to ensure that the instruction and curriculum provide the appropriate level of challenge and support for gifted students. Brown is certified in Elementary Education, Special Education, and has earned a master’s degree in Gifted Education.  In 2009, she received National Board Certification.

References and Resources Knowles, M. (1975). Self-directed learning: A guide for learners and teachers. New York: Association Press. Mayer, J.D. & Wittrock, M. (1996). Problem-solving transfer. In  Handbook of educational psychology. New York: Simon & Schuster Macmillan

Supporting Creative and Critical Thinkers: Accessing the Arts and Higher Order Thinking Skills in Early Childhood and Elementary Classrooms By Stephen T. Schroth and Jason Helfer

Alejandro and Brigit teach in an early childhood learning center. Like many teachers who work with young children, they sometimes feel overwhelmed by various demands and mandates that have become part of their day: Core Content Standards, periodic assessments, planning calendars, pacing guides, and others. As a result, Alejandro and Brigit worry that they do not always spend enough class time addressing the needs of the more able students in their classrooms. Meeting for coffee one day shortly before school began for the year, Alejandro and Brigit discussed their concerns. After catching up on their summer activities, the two discussed improvements in their classroom practices they wanted to institute for the upcoming school year. Both determined that providing the children they serve with more opportunities to engage in creative

and critical thinking was a top priority, but they were unsure about how they wanted to do this. Brigit suggested that each teacher review his or her class lists at home, and then explore materials each might have to determine what the next steps for each should be. Agreeing to meet again the following week, Alejandro and Brigit went home to determine how each would like to proceed with his or her class. Introduction Early childhood and elementary teachers often play vital roles in developing the creative and critical thinking skills of the students with whom they work (Smutny & von Fremd, 2009; Tomlinson, 2003; Treffinger, Selby & Schoonover, 2013). A myriad of

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sometimes conflicting demands placed upon teachers, however, coupled with never-ending school reform initiatives sometimes makes it seem impossible for teachers to engage their students in the practices they know will best develop these skills (Cuban, 2010; Fullan & Boyle, 2014; Ripley, 2013). Teachers, especially those who work with young gifted learners, wonder how they can provide an equally challenging educational experience for all their students, one that will build the critical and creative thinking skills they know are vital for future success (Feldhusen & Treffinger, 1980; Smutny & von Fremd, 2011; Tomlinson, 2001; Treffinger et al., 2013). Teachers of young gifted and talented children often ask: How can I best develop creative and critical thinking skills in all students? How do I respond to administrators and others who want me to focus chiefly on struggling learners? Am I doing a disservice to the children who struggle if I address critical and creative thinking skills? What are some activities that will address the needs of gifted learners and also benefit all learners? Fortunately, a variety of approaches can be used in any classroom that will assist teachers in building the critical and creative thinking skills of all learners. Forty-five states and the District of Columbia have adopted the Common Core State Standards (Ravitch, 2010; 2013). This initiative has been hailed by some as raising the level of performance for all students and making the transitions of students who change schools easier and more predictable (Koretz, 2009; Ravitch, 2010). As the Common Core State Standards movement coincided with a push for better performance in academic subjects encompassing or related to science, technology, engineering, and mathematics (STEM), many school leaders and policy makers have emphasized these areas over all others (Drapeau, 2014; Payne, 2008; Ravitch, 2013). The reception of the Common Core Standards, which did not include participation from the majority of classroom teachers, colleges of education, and gifted education specialists, has been so poor that several states have changed the name of the standards in an effort to deflect criticism (Payne, 2008; Ravitch, 2011; 2013). Implementation of this initiative has led to literature and the arts— creative writing, dance, music, theatre, and the visual arts—being ignored in too many places. This problem is especially acute for those who come from households less likely to be able to support such investigations without assistance from the school or for those who can easily handle the additional challenge (Davis, 2008; Schroth & Helfer, 2008a). The approach that ignores or eliminates the arts from the schools is misguided insofar as it ignores the value of critical and creative thinking skills, the need for familiarity with the mainstays of our culture, and the realization that quantity does not always equal quality (Darling-Hammond, 2010; Kohn, 2000; Noguera, 2003). Bettelheim suggested that exposure to fairy tales provides one of the best types of education because they nourish children’s minds, teach them about their essence, relieve their anxieties, and kindle their hopes in dealing with the vagaries of life (Bettelheim, 1976). Torrance also supported sometimes engaging children in flights of fancy and famously identified four creative thinking skills: fluency, flexibility, originality, and elaboration (Torrance, 1987). Fluency involves generating many ideas that might provide solutions to problems, while flexibility demands the ability to come up with different types of ideas and to change existing ideas to better suit certain needs (Torrance, 1987). Originality requires that ideas generated be unusual or one-of-a-kind, while elaboration demands that problem solvers add details to or extend ideas to different uses (Torrance, 1987). Instructional activities that engage

students in these types of thinking build the types of skills children need for success in later life (Schroth & Helfer, 2008b; Smutny & von Fremd, 2009). The Common Core Standards can be used to encourage and indeed support exposure to and study of the arts if teachers are judicious and selective in the literature and art that they use with children. Engagement with literature and the arts develops the critical thinking, reading, writing, and speaking skills so valued by the Common Core Standards. Additionally, familiarity with the concepts and language of the arts permits students to make connections between disciplines that augment and assist creativity, comprehension, and critical analyses (Botstein, 1998; Greene, 2001; Payne, 2008). Administrators, parents, and teachers must ensure that gifted children are exposed to and conversant with literature and the arts as a means to develop their critical and creative thinking skills (Smutny & von Fremd, 2009; Schroth & Helfer, 2009; 2013). Doing so will assure the development of critical and creative thinking skills of young children, including the gifted, in ways that are developmentally appropriate for all. This article will examine two appropriate instructional strategies for young learners, Creative Problem Solving and Guided Investigations. An understanding of each of these is crucial to appreciating why creative and critical thinking must play a vital role in the classroom. First, the article will examine how to use Creative Problem Solving with young children to assist their explorations with music. Next, it will look at how to employ Guided Investigations to engage with the arts to enhance gifted children’s knowledge, understandings, and skills undergirding the Common Core State Standards; teachers can then take and expand upon these. Finally, the article will conclude with an analysis of how actions that build creative and critical thinking skills support the Common Core Standards regardless of errors that may have occurred in their adaptation and implementation. Creative Problem Solving Alejandro teaches third grade and has noticed that his students lack the levels of creativity and imagination children expressed in the past. His students, for example, insist that they need realistic props when engaging in imaginary play, and when he provides assignments that permit a certain degree of latitude, such as those in creative writing, they often respond with blank stares. This disappoints Alejandro, especially since over half of the children he serves have been identified as gifted, while the remainder are considered high achievers using the criteria in place at his school. Although the students in his class continue to do well on districtand state-generated assessments that measure their proficiency at tasks delineated by the Core Content Standards, Alejandro knows that success in the future will depend on much more than mastery of simplistic and superficial regurgitation of knowledge, so he wants to provide his students with a richer educational experience. As Alejandro searches for ways to enable his students to build their critical and creative thinking skills, he speaks with Mrs. Fonville, his school’s gifted resource teacher. After discussing the situation with Alejandro, Mrs. Fonville suggests that he consider using Creative Problem Solving (CPS) tools with his students, as these have a strong research and practice base in helping learners to understand challenges and opportunities, generate ideas, and develop effective plans for solving problems. Alejandro is intrigued, especially since CPS can be used by students on their own or in a group, and develops both creative and critical thinking skills in

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harmony. After Mrs. Fonville shares some CPS materials with him, Alejandro takes them home to study and prepares activities for his students that utilize some of the CPS tools. Suitable for use with almost any age group, CPS has an extensive tradition of theory, research, and practice that makes it an ideal way to build creative and critical thinking skills (Treffinger, 1995; Treffinger, Isaksen, & Stead-Dorval, 2006; Treffinger & Parnes, 1980). CPS is suitable for use with every age group and can be used with any subject area (Treffinger, 1995; Treffinger et al., 2006). Long recognized as being especially suitable for use with gifted children, CPS can be used as part of pull-out programs, in special classrooms, or as part of the general education program (Schroth, Collins, & Treffinger, 2011; Treffinger, Selby, & Schoonover, 2013). The use of CPS is predicated upon certain beliefs, including the following: • All people possess creative potentials; • Creativity can be expressed in many areas or subjects in an infinite number of ways; • Individuals’ interests, preferences, or styles affect the ways in which creativity is manifested; • Although all can function creatively, the extent to which they are creative will be demonstrated to different levels or degrees; and • All can make better use of their creativity and increase their creative accomplishments through training or instruction (Treffinger, 1995; Treffinger et al., 2006). Not every person will make creative breakthroughs of great significance, of course, but all can be more creative in their daily lives (Treffinger et al., 2006; Treffinger, Selby, & Schoonover, 2013).

Treffinger et al., 2006). Framing Problems entails generating as many varied and unusual ways to frame the problem as possible, and then creating a specific statement that will invite creative ideas (Isaksen et al., 2011; Treffinger et al., 2006). Generating Ideas involves devising many possible solutions or approaches to a problem and has but a single state (Isaksen et al., 2011; Treffinger et al., 2006). Generating Ideas emphasizes an open search or exploration for new ideas, a process that may include, but which is not limited to the tool of brainstorming (Isaksen et al., 2011; Treffinger et al., 2006). This search asks participants to generate as many ideas as possible (Torrance’s fluency in thinking) with many of these demonstrating new perspectives or varied solutions (flexibility)—ideas that are innovative and unique (originality) (Isaksen et al., 2011; Treffinger et al., 2006). After this is done, those using Generating Ideas attempt to focus their thinking by identifying those ideas that have exciting or appealing potential to refine, develop, and apply (Isaksen et al., 2011; Treffinger et al., 2006). Preparing for Action includes exploring ways to transform promising options into workable solutions and preparing for successful implementation of these to tackle the problem at hand (Isaksen et al., 2011; Treffinger et al., 2006). Preparing for Action involves two stages: Developing Solutions and Building Acceptance. Developing Solutions involves applying deliberate strategies and tools to analyze, develop, and refine promising possibilities which are transformed into promising solutions by this process (Isaksen et al., 2011; Treffinger et al., 2006). Building Acceptance consists of considering ways to build support for promising solutions, as well as to decrease or overcome potential resistance to these (Isaksen et al., 2011; Treffinger et al., 2006). Building Acceptance also involves the planning of specific ways to implement and evaluate the promising solution’s results and overall effectiveness (Isaksen et al., 2011; Treffinger et al., 2006).

Components and Stages CPS exists as a six-stage process model, which has been organized into three separate components (Treffinger, 1995; Treffinger et al., 2006). These six stages may be used in conjunction, or one or more may be used separately to develop certain skills or tackle a specific task (Treffinger et al., 2006; Treffinger et al., 2013). The three CPS components are Understanding the Challenge, Generating Ideas, and Preparing for Action (Treffinger et al., 2006). One, two, or all three of these components can be used as part of a CPS exercise (Treffinger et al., 2013). A variety of tools exist that assist with each of the stages and these too can be used as part of a comprehensive process or individually (Isaksen, Dorval, & Treffinger, 2011; Nassab & Treffinger, 2000). Understanding the Challenge encompasses investigating a wide-ranging goal, opportunity, or challenge, and working at clarifying, focusing, and articulating one’s thinking in a way that will set the principle direction for future work (Isaksen et al., 2011; Treffinger et al., 2006). The three stages that comprise Understanding the Challenge are Constructing Opportunities, Exploring Data, and Framing Problems (Isaksen et al., 2011; Treffinger et al., 2006). Constructing Opportunities asks participants to consider possible opportunities and challenges facing them and to identify constructive goals to pursue, stating those goals broadly and briefly (Isaksen et al., 2011; Treffinger et al., 2006). Exploring Data involves considering what is known about the situation and determining what knowledge is needed to better understand the matter, focusing on examining many sources of data from as many perspectives as possible (Isaksen et al., 2011;

CPS in Action As Alejandro’s class reads Louis Sachar’s Holes, he becomes aware that many children have viewed the film of this work and are intrigued by the differences between the two. In an effort to kindle this curiosity, Alejandro and his students decide to make a new version of the film, using iMovie and other tools. Before beginning, Alejandro wants his students to develop a script to ensure that the process results in a film that is faithful to the book, yet not a mere retelling. To assist with this process, Alejandro decides to use two Creative Problem Solving tools to help his students think creatively and critically about Holes, Attribute Listing and ALoU. Attribute Listing is a Generating Ideas tool that can assist Alejandro’s students in more fully understanding the characters about whom they will prepare a script. Attribute Listing first asks participants to list the main qualities of an object, task, or creation. They can then change, modify, improve, or enhance these characteristics. Indeed, it is advisable to generate multiple characteristics for each character because the Generating Ideas component encourages students to produce as many potential concepts as possible. For example, when considering Camp Green Lake, the setting for Holes, Alejandro’s class devised the list of attributes identified in Table 1.

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as possible. For example, when considering Camp Green Lake, the setting for Holes, Alejandro’s class devised the list of attributes identified in Table 1.

As part of her planning process, Brigit talks with Mrs. Fonville about ways that she can increase opportunities for her students to engage in creative and critical thinking activities while also allowing them greater exposure to the arts. Mrs. Foneville suggests that Brigit consider using Guided Investigations with her class, as these will permit all of her students to engage in activities that are rigorous, respectful, and relevant, while permitting Brigit the opportunity to differentiate instruction to account for differing readiness levels, interests, and learning profiles among her students. Excited by this prospect, Brigit reviews some of the materials that Mrs. Fonville has loaned her, and begins planning a unit that will have her students examine music in a meaningful way.

Table 1.1. Table Problem: How to Improve Camp Green Lake Part or Component Characteristics or Attribute

Ideas for Improvement

The location

Isolated Barren Far from town

Express bus Bicycles Roller skates

The terrain

Flat Arid Treeless

Desert landscaping Drilling for a well

The layout

Spartan Tents

New buildings Connected by shaded walkways

The daily routine

Dig one hole a day, 5 feet by 5 feet

Arts and crafts Baseball Basketball

(Sachar, 1999). DuringDuring the process of process compiling this list, Alejandro encourages students to participate and the of compiling this list, all Alejandro encourages

all students to participate andandrecords responses records their responses using chart paper markers sotheir that these may be usedusing at a laterchart time. paperAfter andhis markers so that these may be used at a later time. students have used Attribute Listing to generate multiple characteristics for each After his students have used Attribute Listing to generate character, Alejandro introduces ALoU the classcharacter, as a means ofAlejandro focusing their thoughts. ALoU multiple characteristics fortoeach introduces ALoU the class as a means focusing their features. thoughts. ALoU stands for to Advantages, Limitations, overcome of Limitations, and Unique The Advantages stands for Advantages, Limitations, overcome Limitations, and Unique features. The Advantages phase asks the students to rate and rank the various attributes of each of their ideas, helping them to see which concepts have the greatest support. Next, the Limitations stage asks the group to consider drawbacks or shortcomings to each of the choices, and to determine whether this affects their earlier ranking of their ideas. Once this is done, the students decide whether there are ways to overcome these limitations that alter the rankings. Finally, the class examines each of their options to determine which have unique features that might permit good plot developments to occur if used. By using these tools, Alejandro’s students were able to devise a script that was based upon Holes, yet differed from it in significant but plausible ways. Through working with the Creative Problem Solving process, Alejandro’s third graders engaged in authentic creative and critical thinking, and produced something original. The Creative Problem Solving tools are an ideal way for children to interact with each other and work on projects that stretch their thinking. CPS can be used with all students, with most students, with some students, or with a few students depending upon their academic skills and needs (Smutny & von Fremd, 2011; Tomlinson, 2001; Treffinger, Young, Nassab, & Wittig, 2004). Guided Investigations Brigit works with a diverse group of twenty first grade children, five of whom are identified as gifted. Like most first grade teachers, Brigit understands the centrality of teaching reading but is alarmed by her district’s emphasis on this to the exclusion of all other subjects except mathematics in the wake of the adoption of the Common Core State Standards. Brigit is concerned that many of her students do not have access to the arts and seldom engage in activities requiring creative and critical thinking. While she is upset that this limits the curriculum of her gifted students, she is also upset that other students who might struggle with reading or math do not engage in higher order thinking skills. Determined to provide all of her students an appropriate level of challenge and access to the full curriculum, Brigit begins to look for ways to more fully incorporate creative and critical thinking skills within her classroom activities.

Guided Investigations (GI) rely on the teacher playing an active role in student learning. Simply put, teachers guide children’s progress. GI assist children in investigating matters that affect them, their families, and their communities. Central to any guided investigation is the classroom teacher. Teachers are best able to guide the investigations of students in balancing development and disciplines to assure maximum learning. The GI model is supported by classic concepts of learning theory, such as Vygotsky’s Zone of Proximal Development (ZPD). The ZPD is the distance between a child’s independent problem-solving level and that same child’s level of potential development at problem solving when working under an adult’s guidance. Using the GI model, teachers ascertain what a student’s independent problem-solving level is and then provide that student with the supports and structures necessary for him or her to work at the next level. For example, a native English speaker working on a problem regarding the volume required to fill a bottle must expect to do most of the work, but a classmate, because of his or her English Language Development (ELD) level may need assistance that a native-English speaker would not. Within GI, teachers are not expected to help a great deal initially, but instead hang back, allowing the student to manage as much as possible on his or her own. When a student’s attempts go askew, however, expert teachers raise questions rather than helping the student directly. They ask the student to explain how he or she progressed through a particular step of a problem and to describe what happened—how an answer was arrived at or how one answer deviates from another attempt. The truly exemplary practitioner even manages to use this situation to transform the student from an extrinsic to an intrinsic motivational source. Rather than praise the student for getting the correct solution after it is solved, the expert teacher discusses how difficult the problem is before it is tackled. GI assists teachers in meeting student learning needs through curriculum that both challenges and supports them directly. (Adler, 1998; Bransford, Brown, & Cocking, 2000; Brisk & Harrington, 2007; Bruner, 1960; Dewey, 1900/1990; Hughes, 2003; Perkins, 1992; Schroth, 2007; Smyth, Collins, Morris, & Levy, 2000; Tomlinson, 2003; Ward, 1980.) Differentiating Guided Investigations Students learn best when they are provided with a moderate challenge. When tasks are far too difficult for a learner, that learner feels threatened and will not persist with thinking or problem solving as a self-protection mechanism. Conversely, tasks that are too simple also suppress a learner’s thinking and problem solving; rather than learning, such a learner drifts through school unchallenged by and indifferent to the learning process. Either

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situation is problematic, especially for those students for whom school represents the sole connection with learning. Schools that are interested in decreasing the time students spend with inappropriate tasks seek to have teachers differentiate instruction so that the needs of all learners are met. Differentiation involves adjusting the complexity of content, the processes used for instruction, and the products students create to afford each learner an appropriate challenge. Differentiation presents such a compelling model for classroom modification of instruction because it is deep, profound, and multifaceted. It provides a configuration that novice teachers can use to set up their practice, yet also offers a challenge for competent veteran teachers. Differentiation asks teachers to determine the readiness and needs of each student and then to provide that student with instruction and activities that are appropriate, cogent, and beneficial. Classroom teachers are, of course, the experts regarding the children in their care. Teachers who examine any set curriculum will understand that parts of it may need modification to best meet individual or group needs. Some suggestions for how to ensure a successful change in the provided curriculum are detailed below. (Tomlinson, 1999; Tomlinson, 2001).

modification of that sequence of instruction. For each learning activity, a GI has been devised that allows students to interact with the material in meaningful ways. Students in a given classroom may have needs based upon their readiness levels, interests, or learning profiles that require the modification of a particular GI. Teachers should feel free to modify the process of instruction or the products created to best meet the needs of the children they serve. Suggestions for differentiating the GI are provided for each learning sequence. Other modifications may be made as the teacher sees fit. During the planning of the lesson, teachers should be mindful of the resources that children may need and have these available during the lesson (e.g., internet access, access to the library, art supplies). During the lesson, teachers should have students read Marcia Brown’s Cinderella, either alone or together (Brown, 1954). A discussion should follow ensuring that students understand the content. Next, students must have the opportunity to read through and brainstorm a plan of action regarding how to turn this text into a libretto. A student’s plan of action should be premised upon a time frame set by the teacher or student in conjunction with the teacher. During the work time, the teacher should assist only when necessary.

Elements of differentiation No single formula produces a differentiated classroom. Instead, a few key ideas guide the practitioner who seeks to differentiate instruction. Tomlinson suggests these principles: 1. Teachers focusing on the essentials; 2. Teachers attending to student differences; 3. Teachers using ongoing and diagnostic assessment to guide instruction; 4. Teachers modifying content, process, and products; 5. All students participating in respectful work; 6. Teachers and students collaborating in learning; 7. Teachers balancing group and individual norms; and 8. Teachers and students working together flexibly (pp. 9-14). These ideas are designed to assist students who learn in different ways and at different rates and who bring various talents and interests to school feel comfortable and valued. In their planning and instruction, teachers must address the student traits of readiness, interest, learning profile, and affect. Readiness refers to students’ “knowledge, understanding and skills related to a particular sequence of learning.” Interest concerns events and subjects that spur learners’ curiosity and evoke their passions. Learning profiles relate to learning style, intelligence preference, culture, and gender. Affect concerns students’ social and emotional response to themselves, their work, and the classroom as a whole. Finally, classroom elements such as process, product, and learning environment are also concerns of differentiation. These refer, respectively, to how a student makes sense of information, ideas, and skills; the assessments or demonstrations of what a student knows, understands, or is able to do; and the operation and tone of the classroom. In the successful differentiated classroom, student traits and classroom elements will be linked to achieve the optimal learning situation for each student (Tomlinson, 1999; Tomlinson, 2003).

Assessment Adequate assessments of student learning must be put in place so that student outcomes can be measured. The GI have been structured in such a way that the product possibilities listed at the conclusion of each Investigation can be used for assessment purposes. While each GI can “stand alone,” one way of affording children the opportunity to demonstrate their growth is through collecting children’s work in a portfolio. This is a simple but effective means of assessing student learning and growth. Rewards Interacting with great works of music can make a tremendous difference on student learning. Students are exposed to the creative process at its highest level, are initiated into the world of music, and provided multiple avenues to demonstrate their understanding of the concepts and principles studied. Differentiation offers many benefits to students and teachers as a means of ensuring that every learner receives the appropriate level of instruction. Careful preparation and management on the part of classroom teachers can assist the implementation of guided investigations at a school. Most importantly, classroom teachers can instill in a school community a true sense of excitement for the initiation of a new program. Differentiation demands what is best of the profession: planning with imagination, assessing with insight, and teaching with verve. The teacher who differentiates is never finished, is never satisfied with a student’s progress, is never done creating, but instead is engaged in a constant quest for excellence and improvement. Such a challenge is rare, and the rewards invaluable.

Planning & Implementation Before beginning implementation of any lesson, teachers should contemplate what student characteristics might require

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Guided Investigations in action Brigit decides that her class will study Rossini’s Cinderella, an opera that is appealing to young children. As part of their work, Brigit’s students will engage in two Guided Investigations. The first GI will have students write a libretto, the second will have students stage the libretto. Each task is respectful and authentic, although they are differentiated based upon varying student readiness levels. For the group writing a libretto, Brigit emphasizes that it is

want to expose their charges to more than simple regurgitation of facts will embrace these types of activities, as they permit students to grapple with real issues and problems, the type that will truly ensure college and career readiness (Tomlinson, 2003; Treffinger 2004; 2006).

important to be able to summarize or rework ideas from an extant story, in this case Brown’s retelling of Charles Perrault’s classic tale (Brown, 1954). She consequently asks students in this group to read Cinderella with her and to construct a script that would deliver the central ideas of the story by using a variety of operatic forms (aria, duet, trio, ensemble, chorus). For the group staging a libretto, Brigit also asks them to consider the setting of the story. This group will pay special attention to parts of the story that describe the place, the scenery, the costumes, lighting, and other time and place information (e.g., time of day, season of the year). Through these activities, both groups will engage in the concept of narrative, while also learning about an important musical form. Although the two groups will be working on separate investigations, Brigit will be able to coordinate a certain number of lessons for both. To assist students, Brigit will do the following: 1. The teacher selects a children’s book to model how to develop a libretto with the class; 2. She or he reads the story with students to familiarize them with the characters, plot, and setting; 3. As a group, students writing the libretto will, with the guidance of the teacher, deconstruct the story into acts and scenes; 4. As a group, students writing the libretto will, with the guidance of the teacher, decide how to select the appropriate operatic forms for a particular scene; 5. As a group, students writing the libretto will, with the guidance of the teacher, write the text for the scene in the appropriate operatic style (e.g., an aria if only one character is speaking about a particular emotional state of state of being, a duet/ensemble if more than one person is in a scene and the scene is more than a passing conversation, a recitative if one or more than one individual is speaking but their interactions are not central to the plot); 6. At the conclusion of this activity, students staging the libretto should review the other group’s work and design costumes and setting; 7. The teacher should select students to portray a character and perform the libretto; 8. If desired, Brigit should have a library of books from which small groups can create their own libretto after having seen the process modeled in whole group instruction. Students who are able to work independently should be encouraged to do so, but for other children, working in a larger group with the teacher is perfectly acceptable. These Guided Investigations provide the children in Brigit’s classroom with opportunities to build their creative and critical thinking skills through real-world applications that result in authentic products.

References Adler, M. J. (1998). The Paideia proposal: An educational manifesto. New York: Touchstone. Bettelheim, B. (1976). The uses of enchantment: The meaning and importance of fairy tales. New York: Alfred A. Knopf. Botstein, L. (1998). What role for the arts? In W. C. Ayers and J. L. Miller (Eds.), A light in dark times: Maxine Greene and the unfinished conversation, pp. 62-70. New York: Teachers College Press. Bransford, J. D., Brown, A. L., & Cocking, R. R. (2000). How people learn: Brain, mind, experience and school. Washington, DC: National Academy Press. Brisk, M. E., & Harrington, M. M. (2007). Literacy and bilingualism: A handbook for ALL teachers (2nd ed.). Mahwah, NJ: Lawrence Erlbaum Associates, Inc. Brown, M. (1954). Cinderella. New York: Atheneum Books for Young Readers. Bruner, J. S. (1960). The process of education. Cambridge, MA: Harvard University Press. Cuban, L. (2010). As good as it gets: What school reform brought to Austin. Cambridge, MA: Harvard University Press. Darling-Hammond, L. (2010). The flat world and education: How America’s commitment to equity will determine our future. New York: Teachers College Press. Davis, J. H. (2008). Why our schools need the arts. New York: Teachers College Press. Dewey, J. (1900/1990). The school and society and The child and the curriculum. Chicago: The University of Chicago Press. Drapeau, P. (2014). Sparking student creativity: Practical ways to promote innovative thinking and problem solving. Alexandria, VA: ASCD. Feldhusen, J. F., & Treffinger, D. J. (1980). Creative thinking and problem solving in gifted education. Dubuque, IA: Kendall/ Hunt Publishing Company. Fullan, M., & Boyle, A. (2014). Big city school reforms: Lessons from New York, Toronto, and London. New York: Teachers College Press. Greene, M. (2001). Variations on a blue guitar: The Lincoln Center Institute lectures on aesthetic education. New York: Teachers College Press. Hughes, C. A. (2003). What teacher-education programs can learn from successful Mexican-descent students. Bilingual Research Journal, 27(2), 225-244. Isaksen, S. G., Dorval, K. B., & Treffinger, D. J. (2011). Creative approaches to problem solving: A framework for innovation and change. Thousand Oaks, CA: SAGE Publications. Kohn, A. (1999). The schools our children deserve: Moving beyond traditional classrooms and “tougher standards.” New York: Houghton Mifflin Company. Koretz, D. (2009). Measuring up: What educational testing really tells us. Cambridge, MA: Harvard University Press. Nassab, C. A., & Treffinger, D. J. (2000). Thinking tools lessons: A collection of lessons for teaching creative & critical thinking. Waco, TX: Prufrock Press.

Conclusion All children, especially those who are gifted, need exposure to classroom instruction that asks them to engage in creative and critical thinking (Smutny & von Fremd, 2009; Treffinger, 1995). While many teachers of gifted children are forced to use CCSS, which were adopted without approval of or input from classroom teachers or gifted education specialists in colleges of education, it is still possible to create experiences that support these vital skills. Both Creative Problem Solving and Guided Investigations provide tools that are easy to use, flexible in their scope, and enjoyable for students (Treffinger et al., 2004; Schroth, 2007). Teachers who

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Noguera, P. (2003). City schools and the American dream: Reclaiming the promise of public education. New York: Teachers College Press. Payne, C. M. (2010). So much reform, so little change: The persistence of failure in urban schools. Cambridge, MA: Harvard University Press. Perkins, D. (1992). Smart schools: Better thinking and learning for every child. New York: The Free Press. Ravitch, D. (2010). The death and life of the great American school system: How testing and choice are undermining education. New York: Basic Books. Ravitch, D. (2013). Reign of error: The hoax of the privatization movement and the danger to America’s public schools. New York: Alfred A. Knopf. Ripley, A. (2013) The smartest kids in the world: And how they got that way. New York: Simon & Schuster. Sachar, L. (1999). Holes. New York: Farrar, Straus and Giroux. Schroth, S. T. (2007). Gifted English language learners: Developing talent while supporting English language acquisition. Gifted Education Press Quarterly, 21(2), 5-9. Schroth, S. T., Collins, C. L., & Treffinger, D. J. (2011). Talent development: From theoretical conceptions to practical applications. In T. L. Cross & J. R. Cross (Eds.), Handbook of Counselors Serving Students with Gifts and Talents (pp. 39-52). Schroth, S. T., & Helfer, J. A. (2008a). Identifying gifted students: Educators’ beliefs regarding various processes and procedures. Journal for the Education of the Gifted, 32(2), 155179. Schroth, S. T., & Helfer, J. A. (2008b). Urban school districts’ enrichment programs: Who should be served? Journal of Urban Education, 5(1), 7-17. Schroth, S. T., & Helfer, J. A. (2009). Practitioners’ conceptions of academic talent and giftedness: Essential factors in deciding classroom and school composition. Journal of Advanced Academics, 20(3), 384-403. Schroth, S. T., & Helfer, J. A. (2013). Supporting gifted children through collaboration with museums, symphony orchestras, and other arts organizations. Gifted Education Press Quarterly, 27(4), 12-16. Smyth, M. M., Collins, A. F., Morris, P. E., & Levy, P. (2000). Cognition in action (2nd ed.). Hove, East Sussex: Psychology Press, Ltd. Smutny, J. F., & von Fremd, S. E. (2009). Igniting creativity in gifted learners, K-6: Strategies for every teacher. Thousand Oaks, CA: Corwin Press. Smutny, J. F., & von Fremd, S. E. (2011). Teaching advanced learners in the general education classroom: Doing more with less! Thousand Oaks, CA: Corwin Press. Tomlinson, C. A. (1999). The differentiated classroom: Responding to the needs of all learners. Alexandria, VA: Association for Supervision and Curriculum Development. Tomlinson, C. A. (2001). How to differentiate instruction in mixed-ability classrooms (2nd ed.). Alexandria, VA: Association for Supervision and Curriculum Development. Tomlinson, C. A. (2003). Fulfilling the promise of the differentiated classroom: Strategies and tools for responsive teaching. Alexandria, VA: Association for Supervision and Curriculum Development. Torrance, E. P. (1987). Teaching for creativity. In S. G.

Isaksen (Ed.), Frontiers of creativity research: Beyond the basics (pp. 189-215). Buffalo, NY: Bearly. Treffinger, D. J. (1995). Creative Problem Solving: Overview and educational implications. Educational Psychology Review, 7(3), 301-312. Treffinger, D. J., Isaksen, S., & Stead-Doval, B. (2006). Creative problem solving: An introduction (4th ed.). Waco, TX: Prufrock Press. Treffinger, D. J., & Parnes, S. J. (1980). Creative Problem Solving for gifted and talented students. Roeper Review, 2(1), 3132. Treffinger, D. J., Selby, E. C., & Schoonover, P. F. (2013). Educating for creativity & innovation: A comprehensive guide to research-based practice. Waco, TX: Prufrock Press. Treffinger, D. J., Young, G. C., Nassab, C. A., & Wittig, C. V. (2004). Enhancing and expanding gifted programs: The levels of service approach. Waco, TX: Prufrock Press. Ward, V. S. (1980). Differential education for the gifted: A perspective through a retrospective (Volume 2). Ventura, CA: Ventura County Superintendent of Schools Office & National/ State Leadership Training Institute on the Gifted and Talented. Stephen T. Schroth is an Associate Professor of Early Childhood Education at Towson University in Towson, Maryland. A teacher, coordinator, and literacy coach for the Los Angeles Unified School District for almost a decade, he holds a PhD in Educational Psychology/Gifted Education from the University of Virginia, where he studied with Carol Ann Tomlinson and Carolyn M. Callahan. The author of multiple books, book chapters, articles, and other publications, Schroth has served as a past chair of the Arts Network of the National Association for Gifted Children. His research interests include perceptions of giftedness, differentiated instruction, diverse learners, and the arts. Jason A. Helfer is the Assistant Superintendent of the Illinois State Board of Education. Prior to this he spent over a decade in higher education, before which he was a teacher in Evanston, Illinois and for the Grapevine/Colleyville Independent School District in Texas. Helfer holds a PhD in Curriculum & Instruction from the University of Illinois, and has authored a series of curricular materials for the Lyric Opera of Chicago (with Stephen Schroth). Please address correspondence to: Stephen T. Schroth Associate Professor of Early Childhood Education Towson University Hawkins Hall 107-B 8000 York Road Towson, MD 21252 [email protected] (410) 704-4292

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Creating a Writing Community: Fostering Multiculturalism in the Gifted High School Creative Writing Classroom by Elizabeth Brown “No one has yet fully realized the wealth of sympathy, kindness and generosity hidden in the soul of a child. The effort of every true education should be to unlock that treasure.” –Emma Goldman Introduction Quality education is multicultural education. Multicultural education should not be a “luxury” or an “afterthought,” but it must be viewed as a necessary and integral component, that which ensures both academic and career success for all students, regardless of race, gender, and socioeconomic status (Gay, 2004). The most crucial time to focus on a multicultural-based education for children is in grades K-12 due to the processes of knowledge, the awareness of the self, the growth and development, and the road to academic success that need to start and continue to develop fully in these fundamental years for every child (Gay, 2004). Creative writing is one of the best subjects in which to freely adopt and utilize a multicultural approach in the classroom. It cannot be stressed enough, therefore, that the subject of writing offers an excellent forum with which the students’ stories, essays, poems, and other genres may address multicultural awareness and its needs and issues within schools and the society at large. The creative writing classroom for gifted high school students must be such a place. Students’ experiences and their subsequent writing are important markers of growth and development within the human experience – an experience that is more universal than we might be aware. The teacher can create a multicultural writing community by addressing the physical space of the classroom, monitoring the classroom’s psychological environment, acknowledging the students’ varied life experiences and backgrounds, and fostering respect. Similarly, the teacher must focus on self-directed learning where possible, use collaborative writing and group projects, and implement journal writing. All of these criteria are of the utmost importance in facilitating a community within the writing workshop. Finally, a focus on love of the writing craft and imagination will aid in offering a multicultural-based creative writing classroom and a community for our gifted high school students. This article will introduce and discuss these aspects as well as serve as a model for teachers of the subject. It will ultimately help gifted high school student writers pursue their passions or directions in life.

environment needs to be mutually inclusive. Utilizing “circles” for seating arrangements creates a feeling of equality between the students and facilitates greater ease in discussions of writing and reading of students’ creative work. Furthermore, schools need to be concerned with integrating tenets and aspects of the students’ home cultures in their curriculum and the physical environs of their classrooms (Fettes, 2007). By making sure the classroom is serving all of its students’ needs, the creative writing teacher will enable his or her students to feel comfortable. This is especially true for adolescents due to the tremendous growth they are undergoing physically and emotionally. In the words of Author Toyomi Igus: “Any child who tries to express himself in any way should be respected for that. Any words they write, or creative things they do to share themselves with the outside world, should be encouraged. Teenagers have to be courageous. It is difficult to open yourself up to people and the outside world. Try to express yourself to them and know that what you say is valuable.” (Nuwer, 2002) Gifted students often possess more acute sensitivity regarding the sharing of their feelings and personal thoughts, so comfort should be a major concern for the teacher of gifted students. Psychological Environment The need for a psychologically safe and supportive atmosphere for all class members is of paramount importance. In fact, a successful multicultural writing community cannot exist without taking into account the nature of the psychological environment that exists within the class or workshop. The teacher must be a model of acceptance and respect for his or her students and their writing. For example, when the time comes to workshop student writing, the teacher must explain how the writing workshop will be run. Additionally, the teacher should explain and give examples of how and what feedback should be given to allow for quality control during the workshop The students can provide feedback and comments (at least two positive comments first, followed by at least two comments concerning areas for improvement) for their peers’ writing. This allows each student to receive feedback from each of his or her peers; all students receive feedback as well as offer feedback. This helps to foster community and equality within the class environment. With practice, the students become adept at giving pertinent and useful feedback to one another, all the while improving their writing and sense of community.

“To teach in a manner that respects and cares for the souls of our students is essential if we are to provide the necessary conditions where learning can most deeply and intimately begin.”—bell hooks Physical Space “When entering the classroom, the teacher must do so with the purpose of creating community”—bell hooks One of the first and easiest ways to begin to foster a multicultural community in the high school creative writing class is by addressing the physical environment of the room or space. Creating a writing community in consonance with the physical space will aid the students in feeling at ease and functioning at a higher level academically and communally. The physical

Acknowledging Students’ Life Experiences and Backgrounds, and Fostering Respect Because the United States is growing more diverse every day and “increasing access to technologies that link us to others around the world, today’s children will grow up more connected than

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Relevancy-Oriented Learning, Goal-Directed Learning, and Self-Directed Learning The importance of all three of these components—relevancyoriented learning, goal-directed learning, and self-directed learning—cannot be emphasized enough in the creation of a writing community that is multicultural in philosophy and approach. Beginning with relevancy-oriented learning, it is crucial to recognize and take to heart this sobering fact: . . . many ethnically diverse students do not find schooling exciting or inviting; they often feel unwelcome, insignificant, and alienated. Too much of what is taught has no immediate value to these students. It does not reflect who they are (Gay, 2004). As teachers, we cannot have our students’ educations failing to offer relevance and substance. We need to provide learning that gives them “cultural relevance, self-affirmation, selfunderstanding, and self-empowerment” (Ford, et al., 2005) The learning environment must be “familiar and friendly...one that provides cultural similarity and responsiveness” (Gay, 2004). The writing teacher must encourage active, participatory learning that will stimulate intellectual creativity and critical thinking. The creative writing classroom and workshop lend themselves well to this type of adaptation, as active learning through writing and workshopping occurs naturally. Focus needs to be placed on content that engages and celebrates the cultures and contributions of all ethnic groups. “Diverse ethnic, racial, and cultural groups and individuals have made contributions to every area of human endeavor and to all aspects of U.S. history, life, and culture, even under times of great oppression” (Gay, 2004). Writing and literature are no exception. Great African-American, Asian, European, and Latino writers need to be represented in the creative writing classroom. These works aid in instilling the idea that diverse groups are not “dependent” or “helpless victims” who have made limited contributions to literature (Gay, 2004). Students can read and write about these great writers, and, in time, feel that they can also achieve the same by virtue of their experiences and talents. Creativity flows when there are no undue limitations placed on the students’ writing process by the teacher, or by the students themselves. The teacher will need, therefore, to take into account the different learning styles and be prepared to offer a variety of suggestions and methods with which to reach the diverse learning styles that might be present in a creative writing class at any given time. Creative writing is not a “one size fits all” subject matter, so teachers need flexibility and awareness in their teaching practices and repertoire. The creative writing teacher will find it helpful to keep the following criteria in mind when creating writing and reading assignments for his or her gifted high school students in order to be aware of relevancy and multicultural issues (Steiner, 2001): • Strong Characters. Look for books and writing assignments that will keep ethnic and gender diversity in mind. • Authenticity. Writing prompts, assignments, and reading should foster accurate representations of the cultural attitudes, feelings, and perspectives of any given culture or group. • Interconnections. Look for books, readings, writing exercises, and writing assignments that will bring diverse people together in realistic ways and ones that reflect universal similarities of all cultures. • Historical representation. Have writing assignments,

ever before to their counterparts in other countries” (MacMillan & Kirker, 2012). Teachers must acknowledge and celebrate each student’s unique life experience. Encouraging all class members to participate in discussions by expressing to each member that he or she has something important to say or contribute will aid in successfully creating a multicultural experience. Additionally, both the teacher and the students need to have respect for one another. Class members need to feel that they are valuable and encouraged; their views and goals need to be validated. If the teacher can foster and model these behaviors, he or she will have an easier time getting the students to follow suit. The classroom must become a place of democracy where everyone “feels a responsibility to contribute...this is a central goal of transformative pedagogy” (hooks, 1994). Both “student learning and teacher transformation need to be at the very heart of multicultural education” (Fettes, 2007). The teacher must be “culturally competent” and not adhere to previous pedagogical philosophies or mindsets that do not take diversity into account. The reluctance and often times absence of “multiculturalism in gifted education curricula has proven to be a hindrance and inhibitor of learning for many students of color. American public schools . . . often shortchange both students of color and white students of educational experiences where both can learn about different racial and cultural groups” (Ford, et al., 2005). Journaling In the words of writer and academic bell hooks, “ . . . .a feeling of community creates a sense that there is shared commitment and a common good that binds us . . . [O]ne way to build community in the classroom is to recognize the value of each individual voice” (hooks, 1994). As emphasized above, this is the heart of creating a sense of real community for all students within the creative writing classroom. Another important way of achieving this is to recognize and implement journal work. Journal writing can help achieve both awareness and celebration of differences and diversity in a wide array of areas, including language, religion, culture, race, gender, and special needs. The teacher should encourage students to write and record their life experiences and then share these entries with one another. This will help them feel comfortable with their peers. Most of all, it ensures that no student remains “invisible” (hooks, 1994). Collaborative Writing The high school gifted writer is not only developing his or her identity as a writer but also as a member of society. Therefore, the creative writing classroom must reflect the makeup of society itself. It is necessary to foster collaborative projects in the creative writing classroom. This allows students to work together as peers and equals in learning and creating. The teacher must value and promote collaboration by fostering open discussions with active participation during lectures and workshops. The teacher may find that putting students with partners or in small workshop groups will be beneficial. Similarly, the teacher can give occasional group writing exercises to promote cooperation and collaboration. Finally, reading students’ works aloud or performing or acting out their writing or scenes can also be a fun exercise in promoting community.

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prompts, and reading examples that dispel misconceptions by reflecting truths. • Balance. Continually strive for a balance of diversity in literature, reading assignments, and writing exercises, so all members can relate to classroom activities. • Become proactive. Read and recommend quality multicultural literature to students, teachers, librarians, curriculum committees, administrators, and parents (Steiner, 2001). Once the students feel their classroom experience is relevant, the teacher should focus on goal-oriented and self-directed learning. Only by seeing relevance can these next steps be taken by the students. Having students identify their learning and writing goals is helpful to stimulate curiosity as well as ambition and writing progress. By actively visiting their progress in obtaining their goals, the students will feel they can reach them. For instance, one student may have a goal to write ten poems during the academic quarter and another may want to write a children’s book or a collection of stories. If both the student and teacher regularly check in on how the student is progressing, the student will be motivated and encouraged to complete his or her writing project. Similarly, having writing buddies and small groups that check on each other’s’ writing progress will not only aid in promoting students’ writing completion but will undoubtedly form bonds and community within and beyond the classroom. Students with goals of their own should be encouraged, if ready, to pursue self-directed learning or working with a writing mentor. By actively fostering autonomous and self-directed work, the creative writing teacher will help teen writers become actively involved in their learning and writing process. Preparing them to be responsible for their own learning prepares young authors for both the college experience and the professional world. Having students identify their goals and then seek advice, support, and help, if and when they need it, can go a long way toward preparing gifted high school writers for what is to come.

reaching out to their students. “Good multicultural education fosters schools that re-imagine their communities and teachers who will dedicate their lives to bringing that vision into being . . . good education, in this interconnected world, is multicultural education” (Fettes, 2007). The task of the creative writing teacher is to provide a multicultural climate in the writing classroom. This is absolutely crucial for the gifted high school creative writing teacher. High school students stand on the threshold of adulthood. Some may not have been fortunate to have a multicultural writing community or multicultural education before. They need and deserve this experience before they cross that threshold to become our nation’s future. In summary and closing, the following is a list of Twenty Reasons Why We Need Multicultural Writing and Multicultural Literature (Steiner, 2001) for our students: 1. They provide opportunities for all children to see themselves in both their writing and literature. 2. They foster development and positive self-esteem. 3. They strengthen the significance of personal heritage. 4. They help raise personal aspirations. 5. They provide a means for everyone to learn about people all over the world. 6. They recognize and value the contributions of all people. 7. They broaden understanding of history and geography. 8. They cultivate respect, empathy, and acceptance of all people. 9. They help build a global community. 10. They prevent people from feeling isolated. 11. They allow differences and promote harmony. 12. They provide a multitude of opportunities to discuss similarities and differences. 13. They promote social consciousness of people afflicted with social problems. 14. They help overcome denial and fears of differences. 15. They provide daily opportunities to talk about diversity and current events. 16. They promote positive actions to rectify unjust behaviors and events. 17. They blend easily into themes of study found in schools. 18. They provide the needed balance of literature representative of many cultures. 19. They offer a good option for locating well-written literature. 20. They prepare us for the future. (Steiner, 2001) QUOTE?

Love of Writing Instilling a love of writing, an affinity for the writing process, and a profound joy in the art of creation cannot be overlooked in the quest for building a writing community. Without this most fundamental element, the true essence of what a teacher is striving for is not realized. Students need to be informed and encouraged as they develop. They need to be given opportunities for the future. Some ways to provide these are to bring in guest writers and authors to talk to the students and read from their works. The guest writers should be diverse ethnically, culturally, and reflect both genders. Students should have workshops and classes in all the various genres of creative writing to broaden their knowledge of the craft and to try their hands at the many ways to create and tell stories. Finally, having outlets for students to share their writing within the school, neighborhood, or community will aid in continuing to create relevance, goal-oriented learning, and selfdirected learning, as well as to foster community. Students will flourish when given an opportunity to have their writing published in a classroom journal, a school-wide writing journal, a school blog/website, or a writing competition. This will foster readiness and propel the young writers forward in their creative pursuits. Imagination Multicultural education calls upon teachers, schools, administrators, and communities to use their imagination in

Conclusion Every student is a wellspring of creativity just waiting to put his or her lasting mark on the world. Teachers must inform, encourage, and inspire their students in order for this to happen. Creating a sense of community for all is integral for learning and creativity. Without a multicultural awareness and a thorough implementation of it in the creative writing classroom, gifted high school students will not reach their full potential as writers or individuals. Teachers need to ultimately make the focus of their creative writing classrooms about the universal human experience. After all, this is what draws us together; both in our writing and in the time we share with one another on this earth. “To speak a true word is to transform the world.” –Paulo Freire

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References Fettes, M. (2007). Imaginative multicultural education: Notes toward an inclusive theory. In K. Egan, M. Stout, & K. Takaya (Eds.), Teaching and learning outside the box: Inspiring imagination across the curriculum ( pp. 126-137). New York, NY: Teachers College Press. Ford, D., Moore, J., & Harmon, D. (2005). Integrating multicultural and gifted education: A curricular framework. Theory into Practice, 44 (2), 125-137. Gay, G. (2003/2004). The importance of multicultural education. Educational Leadership, 61(4), 30-35. hooks, b. (1994). Teaching to trangress: education as the practice of freedom. New York, NY: Routledge.

MacMillan, K., & Kirker, C. (2012). Multicultural storytime magic. Chicago: American Library Association. Nuwer, H. (2002). To the young writer: Nine writers talk about their craft. New York: Franklin Watts. Steiner, S. (2001). Promoting a global community through multicultural children’s literature. Englewood, CO: Libraries Unlimited, Inc. Elizabeth Brown is a published writer, violinist, producer, and professor of writing and the humanities. She also teaches creative writing at The Center for Gifted. Her website is www. elizabethmbrown.com

Spread Newspapers Around: Students Acting! The Invaluable Role of Modern Theater Class in a STEM Environment By Leah A. Kind All the world’s a stage, and all the men and women merely players. This line of William Shakespeare’s, itself often redrawn and refashioned to suit different intended purposes, perhaps never rings as poignantly as during high school. Students speak of trying on a particular personality or character, as they desperately seek for what TRUE player dwells behind the mask. The years between junior high and secondary education exist for many students as their own personal time of remaking. Students exit one wing in adolescence, rush behind the curtain as they take up or cast off whatever masks and accoutrements they desire, and emerge at the opposite side, maybe as an entirely new character. This paper seeks to explore the relationship between creativity in the Modern Theater classroom (as taught by myself at the Illinois Mathematics and Science Academy [IMSA]—a residential public high school for highly gifted STEM students) and its benefits to and creative application of the students across all their classes. And, naturally, I do not here intend to advocate for or claim the absence of such challenges to students in their STEM-focused coursework. Rather, I seek to show the highly beneficial and often unique challenges experienced by these students within a different type of class. As many schools move, or are forced to move away from the arts and humanities, my experiences with this course have solidified even more the understanding of just how crucial these types of classes can be. Modern Theater at IMSA is an English Department elective—available only to second semester juniors and seniors. As is the case for all our English courses, it is a one-semester class. By that time, students have progressed through the core of required classes—been asked to read, analyze, speak, write, present, argue, and interpret. They are expected to have achieved a certain level of comfort and mastery with these essential skills. My Modern Theater class combines examination and analysis (through discussion and formal essays) of several pivotal post1950’s texts (Beckett, Miller, Pinter), with some fundamentals of stagecraft and acting (ranging from body-position awareness and projection) and performances (informal classroom acting opportunities, formal and graded monologues and group scenes). All students have several opportunities to direct during the course

of the semester. In my classroom, improvisational theater also factors in heavily. In a way, as STEM students in a science and math-focused atmosphere, drawn to IMSA purposefully for the exposure to challenging STEM classes and myriad research opportunities, these students already have to act within the English classroom. (I, of course, will sometimes be speaking in broad generalizations, as we have many students who both adore and thrive within the requirements of English courses! As Modern Theater student Dennis puts it: “IMSA is STEM-focused. Still, I think many students here, myself included, consider themselves somewhat better-rounded than that”). Students at IMSA are highly motivated, highly goal-oriented, and highly focused; their focus is for their science, math, and engineering-based courses. And then, suddenly, they sign up for the Modern Theater elective course…. and the challenges become completely different. So what does the Modern Theater classroom offer these students? For one, the course allows students a creative outlet which demands a type of focus so unlike their other courses it is frequently referred to as “much needed breath of fresh air” (emphasis mine). I have long believed that our students, who are amazingly driven and so intelligent, benefit from their humanities courses not just on the basis for the content and the skills those courses offer, but also for what they lack: the specific rigors of math and science. At a school where students double up math and/or science classes in many semesters, humanities courses allow them a sanctuary in which their right-brain is called into full account. Students seemed to feel this way because of the different atmosphere within the Modern Theater classroom. Often, students can find themselves in highly competitive situations— as many smart students enjoy some level of intellectual tussling with each other. But in MT class, (and I do take a measure of professional pride in this) students often spoke of how they felt highly comfortable with each other because of the atmosphere created within the classroom. As not one of my students has ever been a classically trained actor (nor do I expect them to be!) they all have the same performance-based fears and trepidations on Day 1. This anxiety-based camaraderie quickly fades into an

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environment of comfort and safety—where students are not afraid to take chances. As Amy, who was a junior when she was enrolled in the course, says: At first, I think we were all thrown out of our comfort zones, but eventually we all got comfortable with each other. That comfort and supportive environment we created allowed us to act freely and perform with more confidence. In that class there was no stress and all my worries seemed to get stuck at the door when I walked in. It was extremely beneficial for me because Modern Theater became my mini break from reality, a sort of oasis filled with laughter. I view Amy’s use of the word “oasis” as quite striking. An oasis is both a place of safety, but also one of restoration—a haven from the “stress and…worries” and pressure faced by the students in their other coursework. She went on to say: As we grow up, it seems that we neglect our imagination more and more. Now, the only imagining I do on a daily basis involves calculus and imaginary numbers. When I had modern theater, it was a break in my day when I could use my imagination freely, and be as outrageously creative as possible. This should not be misconstrued as saying that Modern Theater is an easy class, a chance for these gifted science and math kids to just relax and goof around. What I am stressing is that the challenges and new experiences they face in the MT classroom provide both a type of respite from their usual expected brain functioning and give them practice with an entirely new set of skills which will serve them well as intelligent, free-thinking, motivated young people. As in all their courses, students are encouraged and expected to take chances in Modern Theater, with some major differences. Here, the gulf between the payoffs and the failures can be immense and immediate—your audience laughs (or doesn’t) when they are supposed to, or a line is flubbed and the skit falls short. There is no lag time in finding out if something has been successful or futile as might be the case with a submitted essay or exam. Students find themselves “exposed” in an entirely new and different way. There is not a lot to hide behind when giving a monologue or performing a scene (save for an acting partner!) And, even though the majority of our performances during the semester took place in our classroom (which I now absolutely love to think of as an “oasis”!) the students were on display and “on stage” in a very complete way. Ultimately, they had to come to rely on each other. As Maureen relayed: There are little to no opportunities/assignments for public speaking in the science and math classes at IMSA. I felt out of practice when I started Modern Theatre class. Initially, I was challenged with getting comfortable with my fellow classmates. While the students did a wide range of performances through the semester, ranging from improvisational games, scenes, memorized group performances, all the way to monologues, most frequently they were not on stage alone, and had to find ways to work together. In many classes, when students are tasked with a group-activity one member might more easily skate by without doing much work, or, just as frequently, one person might end up with the lion’s share of effort. This less-than-desirable amount of input is much more difficult to attempt when the directed outcome is a performance, and the expectant eyes of the

classroom audience are fixed upon them. Thus, the expectations of participation in Modern Theater (which I purposefully reiterate on Day 1) often motivate students to take more ownership of their own involvement in the course than they might otherwise do. Conversely, students who I had in previous classes who were highly intelligent but just on the more introverted side often found amazing ways to express themselves on stage. One such student, Alan, showed such natural presence and ability on the stage, I constantly found myself asking him if he had done any acting before. He came alive on the stage with an energy and passion that I had never seen in any other classes—delighting his audience with interpretations and impressions. Indeed, students speak of the way that MT imbues them with new types of confidence— allowing them to try, and sometimes fail, but to enjoy the entirely of the process. Early in the semester, when students were called upon to perform or engage in an activity, there was still that moment of charming self-consciousness, a laughing hesitation. As the semester went on, student eagerly put their hands up, begged to be called upon to act, and bemoaned the end of class or wrapping up of an activity. Interestingly, the chance to not be themselves came up again and again as a source of enjoyment. Students truly relished the chance to become a character—the power (and freedom!) of acting. As Luselena described: At times, different situations pushed me outside my comfort zone such as yelling or playing a more aggressive character that is not entirely my personality. Although at times it was a challenge to be creative or portray the character assigned, the class was extremely beneficial in my growth as an individual. Luselena, now a senior, is a petite, quiet, and highly intelligent student who is constantly described as “sweet” and “demure.” Being able to break from that persona and be someone more, as she puts it, “aggressive” allows her both freedom to become a character with traits which are totally foreign to her, but also the security to take on the characteristics of this character within the safety of the classroom (and to leave those traits there as desired!). Another trend, perhaps not surprising, was the immense preference that students had for performing, writing, and improvising comedic pieces. At the heart of these choices, I suspect, is the fact that it is often easier to please a teenaged audience through humor, and that the humorous pieces and skits were more fun for them to prepare and perform. However, I discovered that their preferences did not indicate that there was a lack of ability for writing or performing more somber or tragicomedic pieces. In fact, perhaps due to the fact that they so often leaned towards humorous pieces, when the class was prompted to script and perform serious pieces, the results were immensely moving for the class. Students spoke of the great ability of their classmates to emote, to imagine realistic dramatic scenarios and render them for the stage, and to connect with the audience. This served as another way to push students from their comfort zone, although I found a small bit of pedagogical pleasure in pointing out to my students that they now were so comfortable as to consider humorous acting to be their “comfort zone” in Modern Theater class, and were now being compelled to move beyond that. Students also spoke of the wide range of skills that Modern Theater demanded of them. Beyond those mentioned already— students were also challenged to comment critically on their

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classmates’ performances. I considered this to be a highly crucial and beneficial aspect to the class, because it helped to teach many of the drama fundamentals holistically. After an individual or group performance, I turned to the class to ask for both positives about the scene, as well as areas that they would suggest for improvement. Thus, basics such as the way an actor in a multi-person scene has to “cheat” their body ¾ to the audience in order to appear to be having a discussion yet still be visible and audible, projection, facial expressions, even gestures or foot placement—all these elements could be suggested to the actors by their classmates—the impact became much more permanent. Equally important was continued practice in giving and receiving constructive and productive feedback to each other—a necessary act, but one not often utilized in other courses. As Karin stated: It was definitely beneficial to be in such a supportive classroom, and made me feel much more comfortable with not only being in front of a classroom, but taking constructive criticism as well. I’m incredibly self-conscious about other people reading what I write and watching me perform, but modern theater sit downs with directors and classroom feedback has helped me a lot. In a typical classroom, students (in the form of the class) are often the subject of the critique—written or verbal—and thus model their own practice on the instructors they view. Now, because I often stepped back and invited them to provide their feedback before I said anything about the performances, students were forced to find ways to express themselves first. I stressed the constructive criticism aspect in an attempt to head off any unnecessarily harsh or cruel comments, but I found that on the whole, students were wonderfully able to police themselves, vetting out the best commentary for their classmate-actors. These skills and abilities will absolutely be called upon in the future—as the applications for being able to provide and accept productive feedback are myriad. Beyond the powerful value of the course content (I’ve consciously neglected discussing the readings and analysis done of the foundational works read, which is another crucial facet to the course) the ways that students speak about what they will utilize from the course in other disciplines demonstrates the wide-ranging impact the course has upon them. Again and again, students cite the way that the course has prepared them—often to their own surprise—for other areas of their academic endeavors. For whatever reason—the cosmic alignment of the right group of kids at the right moments—both sections of Modern Theater I taught in the Spring of 2014 excelled in improvisational theater. Many (although not all) had never heard of the popular show “Whose Line is it Anyway?” which meant that most of them went into improvisational situations with no preconceived notion of what they should be doing. I devised a multitude of improv acting situations. In some, I would arrange four chairs in non-random arrangements (a circle, two facing two, two by two, etc.) and place students in the chairs, and then give them a scenario (you’re kindergarten kids, you’re four workers in a lab, you’re on a city bus) and let them have at it. Sometime I would do “object reveal” improv with props—where I have would have two students start a scene (one of you is being interrogated by the other, you just bought a present for them, and so forth) with an object under a box. When I said “reveal!” they could see what was under the box, but had to incorporate it into the movement of their scene. I also often introduced a new character, emotion, or situation, to teach them to adapt to the change. Sometimes I would

give them an opening line, or a line they had to incorporate into the scene at some point. I tried to give them enough different types of improvisational games that it never became a stale activity. After a few stumbling attempts, everything just clicked, and the students started to constantly request these improv days. Besides the enjoyment and talent that the students demonstrated, they also were learning valuable skills through these activities. Modern Theater encouraged a sense of comfort in not only acting, but simply putting yourself in a vulnerable position. Improvisation encouraged adaptation and quick thinking—skills called upon in all disciplines. Students also described how their knowledge bank grew through these activities. Maureen explained: We performed on a daily basis in the class and I feel that this “desensitized” me to the pressure of presentations. I felt very practiced and comfortable to public speaking when I had to present for IMSAloquium [students present on year-long research projects] in April. I know that I have and will continue to use some of the skills that I learned in modern theatre in the future. (insert mine) Students saw the value of their classroom experiences went beyond just a successful performance that day. Many other students also cited how MT class and improvisational exercises served as “problem solving” practice for them. As Luselena described, “Modern Theater showed me I was still capable of being creative and the different activities in class still provided me with problem solving situations with different paper topics, improv skits, and directing a group of my peers in a small play.” Karin agreed, citing the new comfort she found in exposing her work, and how many classes these skills would be utilized within. “Being more comfortable with other people seeing my work is definitely something I can use in any class, from English to science to math.” I hoped that students realized the wide-range of applications in which these newly acquired and honed skills could be used. For them to use language like “problem solving” in the same breath as “creativity” in describing various activities, it demonstrates that their approach to the activities may have still been one that was guided by their STEM atmosphere, but was also one in which they were able to make the necessary adjustments in order for the most successful outcome. One of my students, Omair, acknowledged that the requirements of Modern Theater class went beyond his experience, and, initially, his comfort zone. “Thus, these unique challenges required unique ways of resolving them, which meant I was forced to dig deeper and explore other realms of creativity and problem solving—realms that I was not at all familiar with.” If students are able to use their academic approaches to help tackle the problems I put before them in Modern Theater, I also fervently believe that they can use the skills gained in class for the problems they’ll face not only as STEM students, but as active professionals within a wide range of careers. Omair concurred: Taking a step back and making interdisciplinary connections, this way of thinking can definitely be used across the board in all the various academic settings. By that I mean that these skills can not only be used in a class like Modern Theatre, but also in science or math classes. By doing so, it would allow students to not only view a problem from one angle, but rather from multiple different angles to get the whole scope of what one is dealing with.   I honestly believe that this push to engage the rather “untouched” areas of thinking in STEM-driven students will directly lead to the creation of not only well-rounded students, but

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also well-rounded individuals that are ready and willing to serve as active citizens of society. And, if I can continue to help facilitate that sort of thinking, engagement, and action in students, I consider my task to be a successful one. The first half of my title refers to a Paul Rudnick play I Hate Hamlet, in which the ghost of John Barrymore encourages a television actor to take on the role of the melancholy Dane. But it is also indicative of the sometimes very (metaphorically, emotionally) messy atmosphere that can come from a course in which students are pushed not just to think critically and analytically, but also, creatively. There were class days in which we had multiple failures, but courageous attempts. And then there were days in which everything the students attempted came together, and they were able to complete a complex task with purpose and pride—giving them new abilities to take beyond my classroom, and beyond school. Although the Shakespeare quote

I cited earlier implies a sort of artifice in how we approach life, I believe it can also be viewed as a way in which individuals can approach challenges, deftly displaying the nuanced dance between creativity and problem solving. Leah Kind teaches at the Illinois Mathematics and Science Academy, where she has been a member of the English Department since 2010. Prior to her work at IMSA, she taught at North Central College in Naperville, Illinois, and Northern Illinois University. She has a Ph.D. in Victorian literature, and has published in the George Eliot—George Henry Lewes Studies journal, as well as completing numerous conference presentations on both English and American literature and pedagogy. She is also a coach of IMSA’s Speech and Debate Team. In 2014, she earned her National Board Certification in English Language Arts.

Patricia Polacco and The Three C’s: Creativity, Critical Thinking, and Curriculum By Jerry D. Flack Author’s Note I have long been a fan of Patricia Polacco and the remarkable picture books treasury she has created. In the 2004 Illinois Association for Gifted Children Journal (IAGC), I wrote extensively about Dr. Polacco’s life experiences and her body of work up to that time. The focus for the 2004 IAGC Journal was underserved gifted students. I particularly emphasized Patricia Polacco’s connection to that theme in an article titled, “Patricia Polacco: The Twice-Exceptional Student Who Succeeded.” In the 11 years since the publication of that manuscript, the authorillustrator has significantly expanded her repertory of stories of gifted yet learning disabled persons. She salutes the resiliency and great productivity of highly creative students who face difficult challenges and yet manage to succeed in remarkable ways. She also continues to create picture books about great teachers who guide gifted youths with learning disabilities. In this same timespan, Patricia Polacco has continued to build upon her favorite themes of family love and the richness of diversity in a democratic society. She has also charted new ground in biography, history, and contemporary social issues. Patricia Polacco did not publish her first picture book, Meteor! until she was 41 years old. She has never looked back or slowed down. To date, she has published well over 60 new titles, virtually all of which remain in print. A re-examination of her body of work fits well with the themes of the IAGC Journal 2015 – The Three C’s: Creativity, Critical Thinking, and Curriculum. The major focus of this current tribute to Patricia Polacco accentuates her post-2004 inventive accomplishments as both artist and storyteller. Even so, special books such as The Keeping Quilt, Thank you, Mr. Falker, and Pink and Say – are revisited because of their direct connection to newer titles in Dr. Polacco’s oeuvre. It is a special pleasure and a privilege to introduce such an exceptionally creative artist to parents, teachers, and mentors who themselves may have been students when the IAGC Journal 2004 was first published. For this privilege, I

especially thank the extraordinary editor, Joan Franklin Smutny. Jerry D. Flack, November 01, 2014 Introduction Patricia Polacco is one of the most creative and prolific author-illustrators in the field of children’s literature today. She creates wonderful picture books about a seemingly endless range of valuable topics in subject disciplines that are as diverse as reading, writing, storytelling, history, art, science, and social studies. She continues to champion multiculturalism, diversity, and current events that are closely aligned to curriculum benchmarks in today’s schools. Further, her characters demonstrate remarkable critical thinking and problem solving skills that are very much in keeping with today’s learning standards for gifted and talented youths. Patricia Polacco successfully mines her own experiences with uneven intellectual development as springboards that simultaneously honor the heroic educators presented in picture books such as Thank you, Mr. Falker and Mr. Wayne’s Masterpiece. In both of these highly autobiographical picture books, the authorillustrator reveals her terrible struggle with dyslexia as a student. From her grandmother, Polacco learned how to be a wonderful storyteller and on her own she developed her exceptional artistic gifts. But childhood was still extremely painful for a shy girl who was very gifted, but simply could not read. In her first autobiography, Firetalking and in its newly-created update, Still Firetalking (see below), Polacco describes her childhood anguish. I had difficulty reading. Math was and still is almost impossible for me. I knew that inside I was very smart, but at school I felt stupid and slow (p. 13).

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A crucial irony of Polacco’s life as a gifted student afflicted

Polacco, Patricia. Fiona’s Lace. New York: Simon & Schuster, 2014. Family is a very special touchstone found in much of Polacco’s writing. The Keeping Quilt is perhaps her most enduring work as well as her penultimate family story. She digs deep into her own heritage to fashion a chronicle about immigrants, family solidarity, and changing times. The story begins when the artist’s maternal great-grandmother emigrates from Russia to the United States. Anna arrives in New York City with few possessions, chiefly her dress and a red babushka (headscarf). As she adapts to her new land and outgrows her clothes, her mother fashions a quilt from her dress and fragments of clothing that belong to her beloved family: Uncle Vladimir’s shirt; Aunt Havalah’s nightdress. Anna’s babushka becomes the border of the quilt. Through new generations the quilt becomes a symbol of love and life in a single family. It serves as a tablecloth for dinners to begin the Sabbath. Anna’s husband proposes to her while sitting on the quilt spread out as a picnic blanket. It functions as their wedding huppa and serves as the infant blanket into which they wrap their first child. The family quilt serves again as a tablecloth for Anna’s 98th birthday celebration, and warms her as she spends her last moments on earth. Down through each generation of Patricia Polacco’s family the quilt is used for just such special occasions. The artistic design of the book is unique. Until 2014, The Keeping Quilt was Polacco’s only book with horizontal (as opposed to vertical) cover and pages (perhaps to suggest the format of a family scrapbook) and her characteristic bursts of color are saved alone for the original quilt fabrics. All the people and events are rendered in sepia tones, perfectly capturing the characteristic look of family photographs of a century past. The Keeping Quilt is a superb introduction to both family storytelling and genealogy for children. The original edition of The Keeping Quilt ended with the heirloom quilt serving as a huppa or wedding tent for Polacco’s marriage and as a soft, welcoming blanket for the birth of her own first child, Traci Denise. The 25th Anniversary edition of The Keeping Quilt begins three years later when the author wraps her second child, baby son Steven John, in the family quilt. Traci Denise and Steven John used the family quilt as a tablecloth for birthday celebrations and as a cape for super heroes in their dressup play. Years pass until the quilt serves as a mourning blanket when Patricia’s mother dies. Polacco describes how she created the original edition of The Keeping Quilt and how she took the quilt with her all across America as she visited schools and shared the individual stories each colorful icon the quilt reveals. Again, the family quilt served as a huppa for both the author’s children’s marriages. As with so many cloth heirlooms the keeping quilt became increasingly fragile. Polacco’s daughter and son secretly took digital photographs of every inch of the family quilt or talisman and passed the photographs on to the author’s sister-in-law who with her quilting group created an exact replica of the original family treasure that was presented to Patricia on her birthday. In a bittersweet passage Polacco relates how she placed the original quilt in the hands of the curator of the Mazza Museum at the University of Findlay in Findlay, Ohio where it is now protected and viewed by thousands of museum visitors. The new quilt continues to serve Polacco’s family at sad times when a member of her family dies, a joyous wedding huppa, and best of all, to serve as a swaddling cloth to warm the very newest

with accompanying limiting exceptionalities is that as an elementary and middle school student she could not have read, unaided, her most beloved books such as the Lincoln-inspired Pink and Say and the more recent title, Just in Time, Abraham Lincoln. Patricia Polacco’s classic and more recent tales fit several key categories that include family ties or genealogical stories, history and biography, autobiography, children engulfed in horrific war times, twice-exceptional (2e) students, great educators, humor and tall tales, creative picture books of childhood joy, contemporary social issues that address brave new territories, plus holiday stories straight from the heart. One of the great virtues of Polacco’s writings that accentuate prejudice and hostile environments for today’s youths is that she does not preach. She inspires. Indeed, a collection of Polacco’s picture books that showcase great educators would serve a graduate class in education as well as any college text. Polacco reveals both the philosophies and every-day strategies of superb teachers, administrators, and mentors. Moreover, she shows the ways and means to combat both prejudice in general and bullies in particular. Autobiographies Polacco, Patricia. Firetalking. Katonah, NY: Richard C. Owen Publishers, Inc., 1994. Polacco, Patricia. Still Firetalking. Katonah, NY: Richard C. Owen Publishers, Inc., 2014. Still Firetalking is an updated edition of Polacco’s photoautobiography Firetalking which is just one of 31 “Meet the Author” volumes for young readers published by Richard C. Owen Publishers, Inc. This valuable collection of author memoirs includes similar profiles created by children’s literature super stars such as David A. Adler, Lois Ehlert, Cynthia Rylant, and Jane Yolen. Amazingly, in just 31 pages, Patricia Polacco shares her cherished family heritage, her childhood years in both Michigan and California, her often troubled educational experiences, her contemporary life in a small Michigan village, plus a special new focus upon the most recent three generations of her family. She also devotes considerable insights into her work habits, especially sharing with readers how she creates a brand new book. Still Firetalking is filled with past and current photographs of her personal life and colorful images of the book covers of her classic titles and her newest picture books. Students who read and savor the verbal and pictorial content of Still Firetalking will swear that Patricia Polacco wrote this book especially for them. The author is a great storyteller and she uses this gift to joyously welcome readers directly into her own life on a very personal level. Reading Still Firetalking is akin to having one’s own special day with a gifted and productive author and artist. Family or Genealogical Tales Polacco, Patricia. The Keeping Quilt. New York: Simon & Schuster, 1988, 2013. Polacco, Patricia. The Blessing Cup. New York: Simon & Schuster, 2013.

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generation of family. As with the original, the 25th Anniversary edition of The Keeping Quilt features beautiful and highly detailed charcoal drawings of the artist’s family, accompanied by Chagall-like drawings of flowers, animals, and silhouettes in brilliant colors. The contrast is both symbolic and beautiful. The Keeping Quilt begins with the consummate storytelling voice and beautiful artwork of Polacco as she narrates the first years after her great-grandmother Anna emigrated to America. Although free of the vicious pogroms carried out by the czar’s cruel soldiers, Anna still misses both her Russian homeland and the absence of some of her most beloved extended family. Now, more than a quarter century after Patricia Polacco shared Anna’s immigrant story and the genesis of her family’s treasured, storytelling quilt, she revisits Anna’s early years in a glorious picture book, The Blessing Cup, that is both a prequel and companion to The Keeping Quilt. The Blessing Cup opens while Anna is a young girl living in a small Jewish village in Russia along with her papa, mother, and younger sister, Magda. Polacco weaves both history and Russian Jewish observances into her narrative. At each Shabbat, Anna and Magda ask their mother to tell them about the miraculous tea set that is present at special family gatherings. Years before, Anna’s mother Rachel received the storied tea set as a wedding gift from her beloved Aunt Rebecca from faraway Minsk. An accompanying note informed Rachel that the tea set is magical.

the 1989 earthquake in the San Francisco Bay Area. The cup is no longer whole, yet its division into two (equal) parts allows the author-illustrator to share the treasured family artifact equally with both her daughter and her son so that both of them can pass on the powerful magic of the cup to their own families. In an artistic design mode that is similar to The Keeping Quilt, The Blessing Cup features meticulous details in charcoal with brilliant uses of vivid colors reserved for the tea set as a whole, the blessing cup, and Anna’s babushka. Fittingly, Patricia Polacco won the Sidney Taylor Book Award in 1988 for The Keeping Quilt and again received the same honor in 2014 for The Blessing Cup. The Association of Jewish Libraries bestows this honor upon the creator of the best book of the year for juvenile readers. Millions of readers have learned of the hardships as well as the great joys of Patricia Polacco’s Russian and Ukrainian Jewish maternal ancestors in her genealogically-based keepsake books, especially The Keeping Quilt and The Blessing Cup. Her readers also know of her father’s Irish Christian roots from contemporary stories such as My Ol’ Man and Rotten Richie and the Ultimate Dare. However, not until now has this remarkable creator of children’s literature shared a genealogical story celebrating her Irish ancestors. Fiona’s Lace is a tribute to her paternal Irish greatgreat-grandmother Fiona. Fiona’s story opens in a small, poor village, Glen Kerry, near Limerick in Ireland. Fiona and her younger sister Ailish wait every day for their Da’s homecoming from his job in the textile mill that is the sole employer of Glen Kerry’s residents. Supper is a special treat for two reasons. Their mother is considered to be the best cook in their village and family meals are greatly enriched by the grand family stories their Da shares with them nightly. At her mother’s knee, Fiona learns how to make lace and she quickly becomes known for her exceptional lace-making skills. Hard times hit Glen Kerry when the mill closes. Fiona’s family joins a great many others who must emigrate to America where the adults pay back the cost of their passage as servants for rich families. Fiona’s parents, Annie and Mick, choose to settle in far-off Chicago, Illinois. The Atlantic crossing was especially daunting and harrowing. Fiona passed the long days making what seemed to be miles upon miles of fine Irish lace. Having little material possessions or wealth, Fiona’s family first lived in a small flat in what was then a Chicago tenement at 120 DeKonen Street. Both parents were forced to take on second jobs to try to escape from permanent impoverishment. Fiona’s gift of lace-making allows her to earn money from clothiers who used intricate lace to adorn the fine clothing of rich women. All the while, Fiona’s family yearns to purchase a farm in what seemed to be a promise land: Michigan. A disastrous Chicago fire threatens the family’s dream as well as their very lives. In the smoke and confusion of the conflagration, Fiona and her sister Ailish become separated from Mum and Da. The girls escape the fire with little besides their lives, but that “little” is crucial to the family legend of Fiona’s great gift and her ingenuity and braveness. Fiona carries a bolt of lace in her hands and her scissors draped around her neck. In a “Hansel and Gretel” manner she leaves a trail made up of pieces of her finest lace for her parents to follow to reunify the family. Even as the family is reunited, Ailish cries that Fiona’s magnificent lace has been ruined by dark smoke from the conflagration. But, Mum and Da cherish the miracle of Fiona’s trail of lace and Da tells Fiona that future

Anyone who drinks from it has a blessing from God. They will never know a day of hunger. Their lives will always have flavor. They will know love and joy and they will never be poor. Sadly, the counterpoint to the richness of Anna’s shared family love and celebration of their faith is the viciousness of the czar’s menacing soldiers that reaches its most critical point when all Jews are ordered to leave Russia. Anna’s family begins the sad task of packing their few possessions and begins an arduous trek that will hopefully take them to America. During this forced exodus from their homeland, Anna’s father becomes extremely exhausted and seriously ill. A kindly and compassionate doctor provides a safe haven for Anna’s family and begins the rehabilitation of her father. He also uses his medical skills to fit Anna for eye glasses and purchases the precious passage tickets and papers that will allow her family to reach America. Out of profound gratitude for all the things the doctor has done for Anna’s family, her mother gives him the much beloved tea set along with its special promise: to give those who drink from its cups God’s blessings. She keeps just one cup from the set in order that her own family can continue to share in the miracle of drinking from the tea set. Ultimately, Anna’s family reaches America where her father immediately gains work as a tailor in New York City. Later, the family moves to the small farming community of Union City, Michigan (where Polacco now resides). Throughout all their lives, Anna’s family continues to drink from the cup that brings God’s blessings. The single cup from the original tea service becomes known as the “Blessing Cup,” and like the family quilt it is passed from mother to daughter on each recipient’s wedding day. In an end note, Polacco recounts how her family has shared in the miracle of the blessing cup as a priceless family heirloom through several generations. She concludes with a bittersweet note. The precious blessing cup was broken into two pieces during

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generations will always keep the treasure of her soot-covered lace as a testament to her remarkable problem solving skills. In a final commentary, Polacco notes how true Da’s prophecy turned out to be. Each new generation of the Hughes Family continues to cherish Fiona’s lace. The central events of Fiona’s Lace will capture the imagination and respect of all. Younger readers may need help with terms such as “spark” that doubles here for courtship and especially words derived from Irish storytelling and fairy tales that include “Kissing the Blarney,” “Sprookers,” “Pooka,” and “Banshee Screeches.” The artist’s signature expressive faces and exuberant visual storytelling are here, as always, for her fans. The Irish background of Fiona’s Lace allows her to go further with the green hues of her color palette than she has ever done previously.

who researched the real-life Crosswhite Family both before and after the Civil War and who uses her research about Marshall, Michigan’s critical role in the historical reality of the Underground Railroad to enlighten present-day social studies students. Just in Time, Abraham Lincoln is the author-illustrator’s first book of history combined with fantasy, especially time travel. Two middle-school boys, Michael and Derek, incorrectly believe that a trip with their grandmother to a dusty, musty old Civil War Museum in Harper’s Ferry will be boring. After all, isn’t history just a lot of tiresome old stories? Moreover, what will they do to kill the hours of boredom when their grandmother rules out any use of their many electronic devices such as iPods, cell phones, and video games? HISTORY IS BORING Michael and Derek proclaim. But, they are in for a surprise. After a night spent aboard an Amtrak Limited, Michael, Derek, and their Grandmother disembark at Harper’s Ferry, West Virginia and make their way to a Civil War Museum headed by a most unusual director. He shows the boys both Confederate and Union soldier uniforms, historic photographs by Mathew Brady, and some of the weapons of war such as guns, canons, bayonets, and cannonballs. Mr. Portufoy, the museum’s curator, escorts the boys to a special room where they can actually try on genuine soldier uniforms from the year 1862. Once outfitted, the boys are escorted through a special museum door and everything changes. They are no longer contemporary youths and they are most definitely not in an old, dusty museum. Michael and Derek have traveled back in time to Antietam one day after the bloodiest battle of the Civil War. In addition to their Union Blue uniforms they have but one other possession, a gold watch given to them by Mr. Portufoy. They meet Mathew Brady, General George McClellan, and Abraham Lincoln who have come to Antietam to mark a major victory for the Union Army. The boys experience the horror of the battle field that had so recently been nothing more than pastoral acres of corn. After the Battle of Antietam 23,000 soldiers, many just boys, lay dead or wounded. In the narrative, it is crucial to the success of the time travel that the boys return to Harper’s Ferry at a given hour. To fail to do so will place their very lives in great jeopardy. They need to pass through enemy lines to be safe. Their rush to safety is exhilarating. A crucial part of the story also has the boys in a face-to-face discussion with Lincoln who sadly wonders if he can ever win the war and save the Union. Although cautioned by Mr. Portufoy not to reveal anything of their present-day lives, Derek is so moved by President Lincoln’s self doubts that he shares his lucky penny with Lincoln’s portrait upon it as well as the date that amazes Lincoln: 2007. Michael also tells Mr. Lincoln that a black man will one day be president of a unified nation. In an afterword, Polacco, discusses in some detail the critical importance of the horrific battle of Antietam. She outlines the battle strategy of Confederate General Robert E. Lee and the supposed “winning” plan of action waged by General McClellan. Her vivid artwork is action-packed, yet also somber in the face of such an enormous loss of life among the combatants of both armies. She demonstrates special skill in her portrayal of Abraham Lincoln. He evidences both compassion for the young boys on the battlefield as well as melancholy feelings about his awesome responsibility to the Union and to history. Clara and Davie opens on a chilly and snowy Christmas Day in 1821 when Clara Barton was born on her family’s farm in North

History, Historical Fiction and Biography Polacco, Patricia. January’s Sparrow. New York: Philomel Books, 2009. Polacco, Patricia. Just in Time, Abraham Lincoln. G. P. Putnam’s Sons, 2011. Polacco, Patricia. Clara and Davie. New York: Scholastic Books, 2014. January’s Sparrow, at 94 pages, is Patricia Polacco’s longest picture book and it is one of her greatest achievements in the genre of historical fiction. It is also a perfect companion to her memorable and enduring Civil War story, Pink and Say (see below). Whereas Pink and Say chronicles the lives of two teenage soldiers set in the deep South Confederacy during the Civil War (1861-1865), January’s Sparrow begins in 1847 and chiefly chronicles the lives of a single family of slaves, the Crosswhites, who flee brutal servitude in Kentucky and travel to freedom on the Underground Railroad. January’s Sparrow is chiefly narrated by Sadie, the youngest member of the Crosswhite Family. By revealing a harrowing story through the eyes of the youngest member of a runaway slave family, the author-illustrator personalizes the heroic story for young readers. Here is no dry historical recitation of the facts of how the Underground Railroad operated; rather, it is a brave account of one slave family as courageous “passengers” bound for freedom in Canada. The depth of emotions the Crosswhites experience ranges from the unbearable cruelty of owners and masters of slaves in Kentucky to the joys of living free in Marshall, Michigan where former slaves can work openly, their children may attend public schools, and even have white children as best friends. Yet, there is the everpresent specter of abominably cruel slave catchers. Rarely have Polacco’s words and images been more powerful and dramatic. The narration and dialogue are riveting and the over-size visual spreads have an intense immediacy. As with Pink and Say, the virtues and evils of white people as well as the courage of African Americans are detailed. Michigan was a free state at the time the plot of January’s Sparrow unfolds, but federal laws then dictated that runaway slaves could be brutally reclaimed from free states. Moreover, white citizens who came to the rescue of runaway slaves faced stiff financial penalties. Slave owners believed white people who helped escaping Southern blacks were guilty of aiding and abetting the theft of their “property.” Polacco gives credit to the truth of this harrowing saga to attorney and middle-school teacher Mary McCafferty Douglass

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Oxford, Massachusetts. She was the youngest of her parents’ five children. Dolly and Sally Barton were her two older sisters and her two older brothers were Stephen and Davie. From the beginning, a unique bond was fused between the baby Clara and her loving brother Davie. Davie took charge of the young Clara’s education and she adored his attention. Davie taught Clara how to climb trees, sit bareback on a horse, chase summer fireflies, and play in the winter snow. He taught her to love animals and all the beauty the natural world offered such as meadows of wildflowers. Early in her life Clara discovered that she had both a rare gift for caring for all the farm animals plus a special way with flowers and all the beauty of the natural world. She adored Davie and loved to help with farm chores in both the barn and in the garden. However, as well as her gift for healing and caring for God’s creatures, she also learned in her earliest years that she could not enunciate words as others did. Clara had a lisp. When Clara meant to say horse the resulting sound came forth as “horth.” Davie was initially Clara’s only champion. Her older sisters cruelly punished her because they believed her lisp was a direct result of being lazy. The ridicule young Clara suffered even from members of her own family caused her to become ever more reclusive except for her devotion to Davie. He recognized that despite or regardless of her lisp, Clara was an extraordinary miracle worker with animals. She could nurture and heal infant and sick animals like no other person. When Clara attained school age, she was made to go to the local school by her older sisters. There, Clara was ridiculed and tormented whenever she tried to speak. Davie once again came to Clara’s rescue. He convinced their Pa that Clara should be home schooled. With her home as her classroom, she quickly became gifted in reading, mathematics, science, and geography. As Clara grew older, an awareness of the miraculous skills she possessed extended beyond her family. She healed and cared for both humans and animals. Her gardens were the envy of neighbors. She became a self-taught healer by reading medical books she borrowed from the town library. The most dramatic incident in her childhood was when her beloved brother Davie broke both of his legs in a fall. Clara understood more than anyone else the crucial steps to firstresponse healing. The local physician marveled at the care she had given her critically injured brother. She also knew that even though Doc Reynolds set Davie’s broken limbs, he confided in their Pa that Davie’s chances for survival were slim. For the succeeding days, weeks, and months through three long years, Clara tended to Davie’s care. Miraculously, she healed Davie to the point where he could walk on his own again. Upon taking his first steps, Davie expressed his gratitude and told young Clara that she would one day become a very great lady. In her ending “Author’s Note,” Polacco relates just how correct Davie’s prediction was to become. Clara was a Civil War nurse known as “The Angel of the Battlefield.” She became a great healer and a spokeswoman for expert medical care for people all over the world. In 1881, Clara founded the American Red Cross. In her closing words, the author-illustrator of Clara and Davie relates her own family connection to Clara and Davie Barton. With her signature gift for storytelling, Patricia Polacco writes of a brother and sister relationship that is tender and heartwarming for young readers to enjoy. She again reveals the story of how courageous people with disabilities can ultimately triumph. Her illustrations capture the beauty of New England, especially rural

scenes in the nineteenth century; her portrayal of the four seasons is magnificent. Verbally and visually, Patricia Polacco once again shares history with readers that they will not soon forget. Clara and Davie is a truly special book. Children Engulfed in War Polacco, Patricia. Pink and Say. New York: Philomel Books, 1994. Polacco, Patricia. The Butterfly. New York: Philomel Books, 2000. Polacco has written two extraordinarily powerful picture books about innocent children who are caught up in the terrible events of cruel wars. Pink and Say is based upon still another story from Polacco’s own rich family heritage, but it holds none of the joy for life found in such books as The Bee Tree or My Ol’ Man. Indeed, it is perhaps the bleakest, yet the most powerful book she has ever created. Two youths, Sheldon Russell Curtis or Say (Polacco’s great-great grandfather) and Pinkus (“Pink”) Aylee, an AfricanAmerican ex-slave, are both 15-year-old Union Army soldiers separated from their units in rural Georgia. Say has been left for dead when he is rescued by Pinkus and taken to the latter’s home to be cared for by his mother, Moe Moe Bay. A blessedly peaceful interlude allows Say to recuperate as Pink (who, contrary to the laws of the time, had been taught to read by his master) reads to him and Moe Moe Bay from the Bible. Say is embarrassed to be illiterate, but he is proud of the fact that he personally shook the hand of Abraham Lincoln just prior to the Battle of Bull Run. Both Moe Moe Bay and Pink are privileged to touch the hand that shook the hand of Mr. Lincoln. Their tranquility is quickly shattered when Confederate marauders murder Moe Moe Bay and Pink and Say are captured and sent to Andersonville, the notorious Confederate Civil War prison. Because he is black, Pink is hanged immediately. Although nearly half the prisoners at Andersonville died of starvation or infectious diseases, Say miraculously survives and returns to his family farm in Ohio at the end of the war. He passes the story of Pink and Moe Moe Bay on to his family, always with a handshake so that his progeny can touch the hand that shook the hand of Mr. Lincoln just as Pink and Moe Moe Bay did. Polacco’s art has never been stronger nor her storytelling as emotionally powerful as it is in Pink and Say. The book is a masterpiece that personalizes history, racism, and the horrors of war in a manner of excellence rarely seen in the world of children’s picture books. The Butterfly is cut from the same cloth as Pink and Say. It is a tragic story, drawn once again from Polacco’s extended family background that tells of young people caught up in the cruelty of wars they did not themselves make. The gender, age, and specific wars are changed, but the themes of youthful terror, courage, and friendship in times of darkness in the world remain the same. The Butterfly is set in France during the Nazi occupation of World War II. Young Monique awakens one night to see what first appears to be an apparition sitting at the foot of her bed, but is in reality a girl her own age who has been secreted away in the family’s basement by Monique’s mother because she and her parents are Jews in a dark time when to be discovered would mean almost certain death. The ghostly pale little girl, Sevrine, and Monique become friends and playmates, but are young and innocent enough to be unaware of the dangers of being seen by strangers. One night a neighbor does spy the two girls playing in light cast by an open window, an event that necessitates the frantic escape of Sevrine and her family from Monique’s basement. Both the slow, idyllic hours of

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The Junkyard Wonders is based on events that the young Patricia Barber (Polacco) experienced in a Michigan elementary school. “Special Students” reported to Room 206 on the very first day of school. Cruel and insensitive bullies gave Room 206 a derisive label. Room 206 was the school’s “Junkyard.” Incredibly, the “special” kids in Room 206 were blessed with a wonderful, life-affirming teacher, Mrs. Peterson. On the very first day of school, Mrs. Peterson reads aloud the multiple definitions of “Genius” from a mammoth dictionary. She exhorts her students to copy these definitions (which she writes on the chalk board), to review them daily, and to memorize the true meanings of being a genius. Mrs. Peterson is a remarkable teacher with a treasure chest filled with creative teaching strategies that daily build the pride and self-esteem of each student and simultaneously foster group cohesiveness. Despite repeated teasing and bullying by other students, Mrs. Peterson transforms the “Junkyard Kids” into the “Junkyard Wonders.” One special day, Mrs. Peterson takes her class on a field trip to the town’s real junkyard. There, she encourages her students to find other people’s cast-offs which the “Junkyard Wonders” can refashion as brand new treasures: art sculptures, simple machines, a quirky musical machine, and a model airplane that needs love, care, and a bright new beginning. Mrs. Peterson counsels her students about the real meaning of their field trip. “Forget what the object was…imagine what it could be!” Back in their classroom, the students fashion science fair-type projects that ultimately dazzle the tormentors and bullies in their school. Tragedy greatly impacts these special students of Room 206, but with the loving guidance of Mrs. Peterson, the “Junkyard Wonders” ultimately triumph. In a final heartwarming note, Polacco takes readers 25 years beyond the special year of the “Junkyard Wonders” in order to reveal just how uniquely special these cast-off youths became in their adult lives.

childhood play and the frantic escape of the Jewish family are well paced in Polacco’s accomplished storytelling. One example of the fine artwork and superb design of the book is evidenced on the book’s cover jacket. The front cover, created in delicate colors, reveals an innocent child, graceful irises, and a beautiful butterfly, but they give way to the all-consuming Nazi flag in blood-red and black which engulfs the back cover depicting in cruel grays and browns the menacing face of an enemy soldier. The author’s notes provide revealing information about the French Resistance as well as her family connection to the story. She discloses that her greataunt Marcelle Solliliage, Monique’s mother, was a member of the French underground. She also relates that Sevrine survived the Holocaust (although tragically her parents did not) by successfully escaping to Switzerland and then moving on to England for the remainder of the war. Today, she lives in Israel and remains friends with Polacco’s aunt, the child Monique in the story. Exceptional Children Polacco, Patricia. The Lemonade Club. New York: Philomel Books, 2007. Polacco, Patricia. The Junkyard Wonders. New York: Philomel Books, 2010. The fifth-grade year begins joyously for best friends, Traci and Marilyn. They are inseparable both in school and in nonschool explorations. They also are very fortunate to have a loving and compassionate teacher, Miss Wichelman, who greatly values every single student in her classroom. She encourages her students to have hopes and dreams: “If you dream it…then you can BE it!” She gives her students extra-tart lemons, but teaches them how to make lemonade that is sweet and delicious. Traci and Marilyn do exhibit teasing and bullying from older students, but they resolutely stand shoulder-to-shoulder in a show of mutual support. As the school years moves onward both anxiety and sadness impact the lives of Polacco’s two fifth-grade heroines. Marilyn begins to lose weight and energy and Miss Wichelman has the sad duty to inform her class that “Marilyn has cancer…leukemia.” But, there is hope. Marilyn undergoes chemotherapy to kill the cancer cells in her body. In a wonder-filled antidote to teasing and bullying, Miss Wichelman’s entire class demonstrates extraordinary love and support for Marilyn when she returns to school following her chemotherapy regimen. ALL of Miss Wichelman’s students shave their heads so that Marilyn will not feel alone. Marilyn’s teacher and classmates have taken sour lemons and have made sweet lemonade. A particularly strong bonding – The Lemonade Club – develops when Miss Wichelman discovers that she also has cancer just prior to her impending marriage. Patricia Polacco provides an afterword – complete with photographs – that is especially joyful and life- affirming. Her message is emphatic! With hope, love, and faith everyone can make lemonade. Long before “mainstreaming” was both a philosophy and a school practice let alone a recognizable name, students who exhibited a plethora of disabilities were grouped together in “Special” classes where they remained all day and all year long. Moreover, such students were thus categorized because of their observable disabilities. The gifts and talents of the special students were almost always totally ignored.

Extraordinary Teachers Polacco, Patricia. Thank you, Mr. Falker. New York: Philomel Books, 1998. Polacco, Patricia. The Art of Miss Chew. New York: G. P. Putnam’s Sons, 2012. Polacco, Patricia. Mr. Wayne’s Masterpiece. New York: G.P. Putnam’s Sons, 2014. Thank you, Mr. Falker is one of Polacco’s grandest salutes to teachers and their enormous potential to change the lives of students. As previously noted, the book is autobiographical. The core theme that knowledge is sweet and that it is found in the pages of books is taken from her earlier work, The Bee Tree. Trisha loves school at first, but as reading becomes more critical for academic success with the passing grades, she falls farther and farther behind her peers because of her dyslexia. Classmates laugh at her inability to read as Trisha cries and wishes she were back in the loving and accepting arms of her grandmother. When she moves to a new state and school, her hopes soar that all will be different and that she will be able to read letters and numbers just as all the other children do. But, her dreams are soon dashed and she is more miserable than ever. Then, in fifth grade, the school’s newest teacher arrives and recognizes both Trisha’s prodigious artistic

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gifts as well as her learning disabilities. Mr. Falker convinces her that she is not dumb and with the help of a reading specialist, he turns her life around. The book is dedicated to the real Mr. Falker (George Felker, 1933-1998) whom Polacco met again 30 years after her wonderful school year as his pupil. Polacco’s paintings brilliantly convey anticipation, joy, anguish, and a sense of wonder on the faces of Trisha and Mr. Falker. Thank you, Mr. Falker is a compassionate and triumphant book that should be required reading in every program for prospective teachers just as it should be read aloud to all students every school year. The Art of Miss Chew is another of Patricia Polacco’s picture book tributes to superb educators. The author/artist also signals her legions of fans that bullying behaviors are not the exclusive province of students. Even teachers can be bullies! Trisha spends a summer vacation in Michigan with her artist grandmother. It is a very special time in the heroine’s young life. She comes to know more than ever that she wants to become an artist. The time of summer dreams fades and Trisha returns to her California middle school to face a double blow. She receives a failing grade on her first timed test. Her learning disability again surfaces to sink her hopes and dreams. Trisha also learns that her new school has no classes in art. Mr. Donovan, Trisha’s classroom teacher, recognizes Trisha as a twice-exceptional gifted student. He accommodates her learning disabilities by giving her untimed tests and he petitions the high school art teacher, Miss Chew, to cultivate Trisha’s artistic gifts in special twice-weekly classes. From Miss Chew Trisha learns a whole new language – the language of art (e.g., negative space). Trisha’s confidence rises. Thanks to Miss Chew’s remarkable teaching and mentoring, Trisha’s innate artistic talent blossoms. And Mr. Donovan’s classroom adaptations and accommodations to combat Trisha’s dyslexia greatly expand her reading power and academic success. All too soon, however, Trisha’s school year is placed in great jeopardy. Mr. Donovan must take a leave of absence when his father in Ireland suddenly dies and he is replaced by Mrs. Spaulding, a substitute teacher, who is a first-class bully. First, she eliminates all un-timed tests and Trisha is once again faced with repeated academic failures. Further, Mrs. Spaulding believes that no failing student should be allowed to waste time in high school art classes. She promises to put a stop to Trisha’s classes with Miss Chew and initiates a campaign to do just that. Fortunately, Mrs. Spaulding has underestimated Miss Chew’s dedication to her students. Indeed, Trisha is invited to submit her original art work to the Spring Art Show. Further, Mr. Donovan returns and both he and Miss Chew secure for Trisha the special teaching and guidance she needs to succeed in school academically. Polacco closes this fine teacher tribute by noting that for Trisha (Polacco’s alter ego) her initial participation in the Spring Art Show was one of the defining moments of her life. Mr. Wayne’s Masterpiece joins the growing Patricia Polacco library of picture books that feature great teachers, especially those who had a profoundly positive impact on the author in her formative K-12 school years. Polacco’s heroic educators change the lives of the students they teach. Mr. Wayne joins Mr. Falker and Miss Chew in battling less enlightened educators who are short-sighted and isolate or even punish students with learning disabilities who are simultaneously gifted in non-academic disciplines such as drama, art, and dance. Mr. Wayne’s Masterpiece salutes two teachers. Trisha loves

her language arts teacher, Mr. Tranchina, yet she is mortified when he asks his students to read their compositions aloud before the entire class. Patricia, with the guidance and tutoring of teachers such as Mr. Falker and Miss Chew, has learned to love reading and writing but she suffers from severe stage fright. “Mr. T” understands Patricia’s fear of public speaking and introduces her to the school’s drama teacher, Mr. Wayne, who is busily directing his class in a public performance of his original play. Made aware of Trisha’s formidable artistic gifts, Mr. Wayne invites her to use her creativity and talent to paint the scenery flats for the class play. Trisha’s mother is excited for her daughter. She loves performing in plays herself. However, this encouragement only makes the young heroine’s school-life emotions more precarious. Her stage fright is an embarrassment during drama class and now she is going to disappoint her beloved mother who sees Trisha’s participation in a school drama as a “cure” for her shyness. Mr. Wayne’s “masterpiece” is an original play titled Musette in the Snow Garden. As Patricia paints the scenery flats for Musette, she listens carefully to the on-stage actors rehearse their lines. In a short time, Trisha has learned all the play’s speaking parts. Even though she is not a cast member of the class drama, she grows to love the creative dramatics exercises Mr. Wayne uses with all his students. When Mr. Wayne eventually discovers that Patricia has memorized every single line of the play, he gives her the brand new responsibility of being the cast prompter. Disaster surfaces when the family of Trisha’s classmate who plays the lead role of Musette moves. Suddenly, Mr. Wayne has to find another actress to play the heroine of his “masterpiece.” Both he and Trisha’s classmate try to persuade her to fill the now vacant starring role. Again, the specter of Trisha’s terror of speaking or acting for a real audience arises. One-to-one, Mr. Wayne patiently coaches and encourages Patricia to overcome her great fear of speaking in front of others. Her beloved mother also helps her prepare for the drama class opening night. The school’s auditorium is no longer vacant. Every seat is occupied. When her opening lines surface, Mr. Wayne gently pushes Patricia onto center stage with the positive words, “Remember, my Musette, let the play take you.” Providentially, Trisha speaks Musette’s opening lines. She forgets her fears and she is on fire. She is no longer the stageshy Musette. She is the sensational Musette. The drama rapidly unfolds and Trisha and her classmates receive a standing ovation and multiple curtain calls. When the final bows are taken and the stage curtains are closed, Mr. Wayne approaches Trisha. He reminds her that he told the drama class that they were performing his masterpiece, Musette in the Snow Garden. Then, he surprises Patricia by noting that he now has a brand new masterpiece. “It is you, Patricia. You showed courage and grace. You stood up to your fears! Tonight, you are my masterpiece.” In her afterword, Dr. Polacco notes that Mr. Wayne’s confidence in her stage presence has served her well all the rest of her life. Today, as a famous creator of children’s literature, she speaks to auditoriums filled with hundreds, even thousands, of students and teachers. The illustrations that chronicle the story of Trisha’s fears and how she overcame them are brilliantly colorful and ebulliently portray the story’s heroine, her drama class, and her hero, Mr. Wayne. With Mr. Wayne’s Masterpiece, Patricia Polacco sends forth a message of hope and courage to all students who suffer the fears

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of public speaking and performances. It is a perfect formula for enhancing self confidence.

One day, Gramma and Paige go for a walk and meet up with a large round man who sells colorful balloons filled with helium. Paige joyously chooses a large red balloon which comes with a string that she ties to Bun Bun. She lets Bun Bun and the balloon sail to the ceiling when she releases them in Gramma’s house. But Gramma warns her not to release Bun Bun and the big red balloon outside the house or they may float far, far away. Inevitably, this is exactly what happens and Paige is heartbroken that Bun Bun has sailed away beyond her vision, perhaps even up to the stars. Of course, no tale so tender ends on a sad note. Jubilantly, a somewhat frazzled and soggy Bun Bun returns to Gramma’s weeping willow tree where it is snagged on a low branch. Gramma rescues Bun Bun and dries and mends a few scars that result from the bunny’s grand adventure in the sky. When Paige awakens the following morning, she and Bun Bun are reunited. Every living thing in Gramma’s home is thrilled with the special reunion. Even the homey goldfish behaves excitedly. The illustrations are wonderfully colorful and ebullient. The animals and Bun Bun seem to all be tumbling. The motion in the richly hued spreads are especially fitting to accompany the story the artist narrates. With the exception of Bun Bun’s unplanned solo flight into adventure, every image radiates the great happiness that sometimes only children, kitties, dogs, a pet squirrel, and a lively goldfish can totally appreciate.

Stories of Young Childhood Joy Polacco, Patricia. G is for Goat. New York: Puffin Books, 2006. Polacco, Patricia. Bun Bun Button. New York: G.P. Putnam’s Sons, 2011. G is for Goat is a rollicking and delightful look at the celebration of goat keeping and these special creatures, especially in their world of playfulness. The text is simple, as exemplified by the letters “J” and “K.” J is for Jump, What kids do with such joy. Kids are goat children Like our girls and boys. With her trademark colorful folk art of girls in peasant clothes and animals that frolic and gambol on her home farm, Polacco introduces children to the amazing world of goats – kids, nannies, and billys, Nubian and other breeds. The author-illustrator highlights not just the lives of goats but many other farm and wild creatures from good-humored rabbits to singing blue birds to slow-waddling ducks. Readers learn that goats do not always mind their “P” s and “Q” s.

Laugh-Out-Loud Stories Polacco, Patricia. The Graves Family. New York: Philomel Books, 2003.

P is for Push, when goats just won’t go. Q is for Quit when goats just say no.

Polacco, Patricia. The Graves Family Goes Camping. New York: Philomel Books, 2005.

An end note reveals that Patricia Polacco shares her current Union City, Michigan homestead with a family of goats.

The farcical adventures of the Graves Family represent two of Patricia Polacco’s funniest stories. These twin volumes describe the bizarre Graves family who move to Union City, Michigan in an attempt (so far fruitless) to find an accepting community in which to live and be happy. The vast majority of the author’s holiday books focus upon the winter holidays of Hanukkah and Christmas. However, Polacco’s The Graves Family is a perfect book to celebrate Halloween and The Graves Family Goes Camping is a send-up of fireworks and the Fourth of July. The Graves Family is a slightly scary and delightfully gruesome picture book that is loads of fun. Even as it produces giggles and chills, the author provides a life lesson or moral to accompany her trademark storytelling and colorful, high-spirited artwork. Here the message is that differences are more than just OK; they are a cause for rejoicing. One dark night Doug and Shalleaux Graves (Read “Dug” and “Shallow” Graves!) arrive in Union City with their five children. The first thing they do is paint the old house in which they take up residence blood red on the outside and pitch black on the inside. Dr. Graves, an amateur entomologist, allows his rare collection of spiders from around the world to happily roam free throughout the household. Another family pet is Phoebe, a Venus flytrap with an insatiable appetite. The nearest neighbor children, Sara and Seth Miller, attempt to welcome the Graves Family, especially son Hieronymus, to Union City, but acclimation to their new home town is not easy for the family Graves. Mrs. Graves’ gastronomic oddities and her disastrous and riotous initial appearance at the Union City Garden

Few creators of picture books for young readers have celebrated the bonds between young children and grandparents as often and as well as Patricia Polacco. Some of her finest works such as When Lightning Comes in a Jar and Thunder Cake celebrate the very special appeal of inter-generational stories. Bun Bun Button is a simple story of the love between a very wise grandmother and her granddaughter – Paige Elizabeth Darling – that soars and will be loved by preschool children in many repeated readings. Many of the grandparents in Polacco’s intergenerational stories are ever so slightly eccentric and their grandchildren love them all the more for being so. Paige Elizabeth Darling revels in the times she spends with Gramma, whether they are baking cookies, making beds, or feeding the kitties and dogs. The most special of happenings occurs when Paige, Gramma, and Gramma’s menagerie of animals – five kitties, two dogs, a pet squirrel – all gather together in Gramma’s big blue overstuffed armchair, and cuddle and read. Even a lively goldfish joyously watches these precious events from the security of his watery bowl. Indeed, Old Blue Chair is a character in the story. It soaks up so much love from all who sit in it that it is a secret miracle. One cheerful night Gramma goes to her calico chest and fashions a plush toy bunny that she places beside Paige’s pillow as the child sleeps. Paige is ecstatic when she discovers her new love that she quickly names “Bun Bun Button.” Gramma has even created a pocket in one of Bun Bun’s ears that is just the perfect size for Paige to insert a finger so she can hold and protect her newly beloved bunny, even as she sleeps at night.

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Club Tea party alarms some villagers. Dr. Graves’ hair-growing tonic made from hair shed by house cats is yet another oddity. Then, Christopher Joel, the celebrated editor of the phenomenally successful magazine, Ladies Lovely Home Companion, arrives in town and chaos reigns supreme. The pace of the book is frenetic and every illustration is a comic delight as is the hilarious story line. This is a slapstick picture book that is very funny, ingeniously illustrated, and with the added benefit of a worthy message to savor. The continuing adventures of the Graves Family send them on a camping trip that is filled with most unusual creatures and decidedly weird scenery. To complicate matters, the citizens of Union City are counting on Dr. Graves to stage the Fourth of July fireworks for their village. Can the family survive their adventures? Can Dr. Graves still stage the summer holiday pyrotechnics? The Graves Family is Patricia Polacco’s version of Charles Addams’ deliciously macabre New Yorker magazine cartoons of the Addams Family (Gomez, Morticia, Lurch, Thing) of decades past. Both visits with the Graves Family are among Polacco’s most garish artistic send-ups.

home and Grandfather is busy making the farm ready for selling. The new person in their lives is a large, older woman named Kay Lamity which Richie quickly notes sounds just like “Calamity” and that means “Disaster.” To make matters even more saddening for Trisha and Richie’s final Christmas at the family farm, they have no ready money to spend for holiday gifts. Kay Lamity, to their astonishment, echoes the exact same sentiment that their beloved grandmother always used. “You know, they’s gifts, and they’s gifts.” The former are tantalizing presents such as dolls and train sets seen in shop windows and that come with dollar signs. The latter – presents from the heart – are gifts of love that flow from hearts left wide open and cost nothing in their purchase. Is “Calamity” just a very large woman with a great big heart to match or is she a genuine Christmas miracle? Polacco leaves young, wide-eyed readers the special privilege of drawing their own conclusions. The presence of a warm, early 1950s pastoral Michigan Christmas is the nostalgic setting for Gifts of the Heart. There are snow drifts and starry nights on the farm and colorful parades and visits from Santa Claus in the nearby rural village. This lovely pean to childhood anticipation and the true meaning of giving holiday love to others is a beautiful new entry in the Polacco Hanukkah and Christmas library that includes such other gems as The Trees of the Dancing Goats, Welcome Comfort, and An Orange for Frankie.

Holiday Stories Polacco, Patricia. Christmas Tapestry. New York: Philomel Books, 2002. Polacco, Patricia. Gifts of the Heart. New York: G. P. Putnam’s Sons, 2013.

Multiculturalism and New Directions

A unique wall hanging more than 60 years old brings forth miracle upon miracle in Christmas Tapestry, Polacco’s lovely ecumenical homily joining Christmas and Hanukkah and Christians and Jews in a story of supreme faith. Nothing has gone as Jonathan Jefferson Weeks had hoped for and planned. His Baptist minister father has been transferred from a flourishing Memphis church to a run-down Detroit parish. Still, after months of hard work, the family and the growing congregation finally have the old church ready for a beautiful Christmas week when a terrible winter storm strikes and severely damages the sacristy wall where the image of Jesus was to be painted in time for Christmas services. On what first appears to be an ill-fated bus trip to inner-city Detroit to collect Christmas decorations for the church, Jonathan and his father discover an exquisite hand-woven tapestry that will perfectly camouflage the damaged part of the church wall. Waiting at a bus stop in the freezing cold, they meet and befriend a lonely, elderly Jewish woman who shares her hot tea and cookies with them. The chain of events that unfolds would be beyond belief except for the fact that Polacco adds an afterword telling readers of two different ministers who document the same story 30 years apart. She has only changed the location to her native Michigan. Both Christmas and Hanukkah are about miracles and rarely has such an interfaith holiday story been so poignantly beautiful. Polacco creates magic with snow in her paintings and in the well-nigh holy faces of the characters. The tapestry itself seems to come to life in her exquisite paintings. Christmas Tapestry is a remembrance of life, love, sharing, and faith. It’s astonishing! It is going to be a bittersweet Christmas for Trisha and Richie. Their beloved grandmother, their Babushka, has died and their grandfather is going to sell the farm that has been the setting for so many previous Hanukkah and Christmas holiday celebrations of love. It will be their final Christmas at the farm. There is also a strange, new person who cooks, cleans house, and cares for them as their mother has very long days of work a lengthy distance from

Polacco, Patricia. Bully. New York: G. P. Putnam’s Sons, 2012. Polacco, Patricia. In Our Mothers’ House. New York: Philomel Books, 2009. Over the past decade or more, the hugely popular Patricia Polacco has vigorously battled student and adult bullying in her hundreds of school visits and in her colorful and dramatic picture books that well serve students of all ages and grade levels. Two of her most recent books are devoted to multiculturalism, the cruelty of bullying and prejudice, plus the continued celebrations of family and diversity. Lyla, the gifted protagonist of Bully, seemingly has it all. She is pretty, academically talented, and a superb gymnast, but she faces a problem virtually all students dread. Her family has recently moved to the San Francisco Bay Area and Lyla must begin her sixth-grade year in a brand new school. She is quickly befriended by Jamie, “a short round boy with rosy cheeks and a big smile,” who is also a brand new student. Lyla and Jamie quickly realize that their new school is ruled by cliques that are most obvious in the “pecking order” of lunch room seating. The “geeks” and “nerds” eat together as do the rowdy athletes. The apex of this social strata consists of the school’s three cheerleaders, Gage, Kenyon, and Maeve, who daily occupy the Celebrity Table. Gage is also used to winning all the important academic prizes among her classmates. Time passes and Jamie and Lyla become fast friends who spend hours together with Lyla’s younger brother, Jack, discovering their new city and their common interests. Jamie is a technology whiz kid who helps Lyla and Jack program brand new cell phones and laptop computers plus create their own individual Facebook pages. Lyla soon eclipses Gage as the sixth grade’s shining academic star at the same time that she is elevated to the fourth spot on

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the school’s cheerleading squad. She is happy to be invited to join the most charmed social circle in the school, but she is concerned about leaving Jamie behind. She becomes even more suspicious of the rightness of her fit with the Celebrity Table trio when she discovers that her fellow cheerleaders – Gage, Kenyon, and Maeve – spend much out-of-school time posting vicious and cruel verbal and visual insults on the walls of the Facebook pages of their less popular classmates. Worse, the trio of the school’s most popular girls exercise their electronic or online bullying and teasing anonymously and with complete impunity. The plot does thicken as the school year progresses and Lyla dares to leave the Celebrity Table clique. Facebook vengeance is her unjust dessert. Lyla and Jamie survive the sixth-grade bullying but not without paying the high price of disillusionment. Polacco’s colored-pencil and marker illustrations may at first appear somewhat simplistic, but she has the facial mannerisms and bodily gestures of sixth-grade bullies and their victims perfectly nailed. Another virtue of Bully is the illustrator’s portrayal of a student body that represents a vibrant panorama of races, religion, and ethnicity. Sadly, some readers will immediately recognize the same bullies and victims among their own classmates. In her end notes, Polacco talks directly to students about the specific dangers of the newest form of bullying: cyber cruelty. Bullies can perpetrate vicious attacks on fellow students and be almost virtually sure that their cruelty cannot be discovered or halted. School officials find themselves in difficult and precarious situations. Even if school administrators do punish cyber bullies, the parents of such students may counter with threats of lawsuits claiming that their children’s First Amendment Right of free speech is being violated. Current newspaper and Internet news stories reveal that depression and even suicide among adolescents has risen in the past few years. The most likely culprit? Anonymous Facebook bullying. Bully may be a picture book seemingly created for students in the upper elementary grades, but Lyla’s story and Polacco’s message serve as superb catalysts for discussions that focus upon cyber cruelty committed or sadly experienced by students of all age and grade levels. Patricia Polacco creates picture books for many varied audiences. Bun Bun Button is an example of her stories for the very young as is her sole alphabet book, G is for Goat. Other titles such as In Our Mothers’ House and January’s Sparrow are directed toward middle-grade or even older readers and deal with more mature and sometimes controversial subjects such as slavery, racial prejudice, and non-traditional families. Three of Polacco’s favorite themes are to be found in the pivotal story found In Our Mothers’ House: the vital (even reverential) importance of families, multiculturalism, and tolerance for ALL of God’s children. In Our Mothers’ House is essentially a memoir of a very special and unique family that is narrated by an African-American girl who is the first of three children adopted into the family created by two Caucasian women, Marmee and Meema. Three years pass and the two mothers adopt an Asian-American son. Three additional years pass and Millie, a redhead, joins the family. As they grow up, the three children of this remarkable family note that their two mothers are each unique themselves. Meema is short and stocky and of Italian descent. She is a pediatrician and loves to sew for her family. Marmee, a paramedic by profession, is tall and thin and she is a “jack of all trades.” She can fix anything. She is also a great organizer and the mother who assigns family tasks

and makes sure they are completed satisfactorily for the well being of all. Both mothers love to laugh and fill their home with music, dancing, and an extraordinary abundance of love. The family with two mothers live in the family-oriented neighborhood wherein multiculturalism is a given. The family is often at its happiest when they all gather by the family hearth, eat popcorn and apples, and all tell stories. The children’s playroom is sunny and filled with their legion of toys and costumes for dressingup games. Marmee and Meema join in the fun of dressing up in original costumes for a favorite holiday, Halloween. The costume parade is joyous and marred only by a neighbor, Mrs. Lockner, who turns her back on the family and slams shut her door in their faces. When all three children come down with the flu both mothers use their medical career skills to make them well again. An added surprise is the addition of two new puppies, “Miso” and “Wasabi” to the family. A very special tree house is built by the children’s two mothers with the aid of friendly neighbors on Woolsey Street in Berkeley, California that is christened “Thistle House” and is a joy for all the neighboring children. Holidays are particularly special as a virtual parade of grandparents, aunts, uncles, and cousins fill the house with music, joy, and particularly great ethnic foods. One highpoint for the three adopted children of In Our Mothers’ House is the annual block party organized by Marmee. Except for the Lockners, who condemn a family headed by two mothers, all the other families on Woolsey Street joyously participate in the proceedings. The block parties accent games as well as delicious foods that trumpet a miniature microcosm of the United Nations. Later, the children see their mothers in dresses for the first time when the annual school tea party is hosted by Marmee and Meema and their daughters. Time passes and the children grow to maturity, leave home to attend universities, and eventually have heterosexual marriages performed in the glorious backyard of their mothers’ home. The narrator notes that “from the day we entered our mothers’ house, they prepared us for the days we would leave it.” The art Polacco provides for In Our Mothers’ House has a warm, homey quality to it. Spectacular bursts of color accentuate the special joy of holidays and events the children grew up with such as Halloween. Christmas, and the exuberant Woolsey Street block parties. As she has so often done in previous books, Dr. Polacco creates positive portrayals of multiculturalism and diversity. The author-illustrator handles the public disapproval of a family headed by same-sex parents well. When Mrs. Lockner is especially cruel and mean-spirited, Marmee and Meema explain to their hurt and confused, adopted, and multi-racial children that people, particularly adults, often act out of fear of people they do not understand. But, they assure their children that “different does not mean wrong.” In Our Mothers’ House is one of Patricia Polacco’s bravest and most important books. Extensions The library of Patricia Polacco’s picture books is extensive and may be shared with gifted students, including twiceexceptional (2e) youths who must confront such exceptionalities as the distinguished author-illustrator did for at least the first 14 years of her life. The vast majority of Dr. Polacco’s more than 60 picture books remain in print and are available in standard

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print format from both local and online book stores and in school and public library collections. Educators can work with media specialists to collect a substantial number of Polacco’s oeuvre in hard-copy format for classroom author studies. Parents may want to request selected Polacco titles for library and book store story hours. The colorful word choice and joyous storytelling found in the author’s books make them perfect for Read-Alouds at home, in public libraries, or in school. Note that the immense range of Patricia Polacco’s library of picture books can serve multiple age groups. Titles such as G is for Goat and Bun Bun Button may appeal to young readers (or listeners) just as her more mature titles such as In Our Mothers’ House and Bully can be shared with students in middle school and even high school classrooms. A Patricia Polacco collection can additionally fit well with many, varied subject disciplines and topics. At a minimum, some notable curriculum connections include the following. Please note: Complete bibliographical information on reviewed Polacco titles are found throughout the manuscript. Other books referred to in passing such as many of the titles noted below are cataloged in “Additional Titles” at the end of this manuscript.

1-(800)-326-4090. Postal: 195 South White Rock Road, Holmes, NY 12531. Internet Access Online biographical and autobiographical information about the past and present life and work of Patricia Polacco can perhaps best be found at her personal web site: . Her web site is comprehensive and includes facts about the author’s latest books, schedules of school and library visits, “Author Information” sharing, and special links for teachers. Dr. Polacco’s home address is provided for student or classroom letter writers: Patricia Polacco, P.O. Box 68, Union City, MI 49094. The suggested email contact is Traci Polacco: . Student searches of the Internet yield electronic riches such as the Web addresses for the author’s Facebook page, a video interview with the author about banned books – including her own titles – and the Wikipedia or free encyclopedia “Patricia Polacco” pages. On-going and Culminating Activities Students can enlarge their vocabulary bank by reading books by Patricia Polacco as well as critical reviews of her titles. Some of the words students may encounter include “Immigrant,” “Emigrate,” “Icons,” Prodigies,” “Gourmet,” and “Ecumenical,” plus ethnic language terms that include “Babushka,” “Huppa,” and “Spookers.” Direct students to build alphabetically-arranged dictionaries or glossaries of words that are new to them. Students should note the spelling, pronunciation, and definition of all new words and the books where they are first encountered. Students will experience even greater learning by writing sentences that incorporate newly discovered vocabulary. Ask students who have read many of the author’s genealogical stories to define the much-used word “babushka.” The word is a noun in the Russian language that has not one but two separate definitions. A babushka is a headscarf, tied under the chin, and often worn by elderly peasant women. However, a second translation of the word refers to a grandmother. Both uses of the word are correct. Using the information or new knowledge provided on Internet sites devoted to Patricia Polacco, encourage students to write to the author-illustrator as individuals or jointly compose a classroom letter. Sample questions students might want to ask Dr. Polacco include the following: Do you have a personal favorite title among your vast library of beautiful picture books? If so, which one of your books is especially precious to you and why is it so highly favored? A great many of your characters are drawn from your own family, friends, neighbors, and educators or mentors who helped you succeed in school. You have written two of your most famous books in which Illinois’ greatest hero, Abraham Lincoln, is featured. Why have you chosen to honor President Lincoln? Hint: One possible answer regarding the author’s interest in President Lincoln may be found in Still Firetalking, her photo autobiography. Dr. Polacco, in Still Firetalking, you describe your expertise in alternative careers that include the restoration of religious icons and art history. You could have been a great success in many arenas. Why did you choose to primarily devote your professional life to creating picture books for youths?

Literacy Aunt Chip and the Great Triple Creek Dam Affair Storytelling Thunder Cake, Ginger and Petunia, Emma Kate Multiculturalism, Ethnicity Chicken Sunday, Just Plain Fancy Science (Astronomy) Meteor! Science (Animal Behavior) John Philip Duck, For the Love of Autumn Invention The Junkyard Wonders History January’s Sparrow, Just in Time, Abraham Lincoln Biography Clara and Davie Autobiography Still Firetalking Technology Bully Current Events & Sociology In Our Mothers’ House Drama Mr. Wayne’s Masterpiece Genealogy The Blessing Cup, Fiona’s Lace Geography The Butterfly (France), Rechenka’s Eggs (Ukraine) Art The Art of Miss Chew Yet another alternative for sharing many of Patricia Polacco’s best titles is via audio and video formats. Spoken Arts share Dr. Polacco’s belief that literature and language arts are basic to learning achievement. For more than 50 years, the mission of Spoken Arts has been a commitment to provide schools and libraries with creative adaptations of the very finest in children’s literature. Spoken Arts has created DVD editions of 12 of Patricia Polacco’s most popular picture books including The Keeping Quilt, Thank you, Mr. Falker, and the most recent addition, Just in Time, Abraham Lincoln. These audio-visual adaptations represent an especially fine means to present a dozen of Polacco’s greatest works to twice-exceptional students who cope with the author’s very own disability, dyslexia. Parents, librarians, and educators can locate details about the Spoken Art editions of Patricia Polacco’s works by using the following contact information. Electronic: Spoken Arts . Telephone:

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Just in Time, Abraham Lincoln. Encourage students to add many more locations across the nation and around the world that have a Patricia Polacco connection. G is for Goats is Patricia Polacco’s sole alphabet book. Students most often encounter the 26-letter English language alphabet in ABC books, but books need not be the only way to use this handy and most useful rubric. Boost creativity by urging students to fashion alphabetical tributes to Patricia Polacco and her vast treasury of beautiful books. Students may work solo or with others to create Monopoly-type board games that feature 26 squares based on titles, characters, and settings from the talented creator’s many books. Twenty-six fortune cookies, alphabetically ordered, may reveal the same number of distinctive Jeopardy-like questions about Dr. Polacco’s extensive literary works. Imitation is not stealing or cheating. According to the classic proverb, it is “the sincerest form of flattery.” After creative and talented youths of all ages have become familiar with the life work of the esteemed author-illustrator, Patricia Polacco, encourage them to create their own picture book story about their own families, the richness of diversity in any society, a favorite holiday, larger-than-life characters, and countless other themes and subjects using many of the artistic materials (e.g., colored markers and pencils) and styles (e.g., folk art) that Dr. Polacco utilizes. When their masterpieces are complete, challenge these students to enter their compositions in the Torrance Legacy Creativity Awards. Find information on this exceptional competition via the Midwest Torrance Center for Creativity at The Center for Gifted, a Northern Illinois University Partner using the following options. Electronic: and info@centerforgifted. org. Postal: 1926 Waukegan Road, Suite 2, Glenview, IL 60025. Telephone: (847) 901-0173.

Further induce students to take a page from one of Dr. Polacco’s most recent volumes, Mr. Wayne’s Masterpiece. Using the techniques of creative dramatics and television talk shows, encourage pairs of students to portray a program host and Dr. Polacco as a potential celebrity guest. Each team studies Still Firetalking and Internet sites devoted to the author. Student partners create questions for the actor portraying the interviewer to address to the companion actor pretending to be Patricia Polacco. Using either answers directly received from the author via print and electronic communications or answers found at Internet sites devoted to the guest author, each team “broadcasts” their celebrity interview in either small groups or before the entire class. (Remember Trisha’s fear of public performances!) If possible, film these creative and imaginative interviews and send the results to Dr. Polacco at the Union City, MI address shared above. Invite student use of Internet resources such as Amazon.com that feature both professional and customer reviews of books written and illustrated by Patricia Polacco. Ask students to note vocabulary and writing styles utilized by book reviewers. Based on examinations of such literary criticism, direct students to write their own review(s) of a new or recent book(s) by the authorillustrator. Recently, Universal Studios has created two new theme parks – “The Wizarding World of Harry Potter” – based on the novels by J. K. Rowling. Give creative students a nudge. Can they design a theme park based on the works of Patricia Polacco? Which titles might be especially ripe for adaptations via theme park rides and sites? Students can draw pictures or even build scale models of the many venues in a proposed Patricia Polacco live entertainment experience. Hint: In Still Firetalking, Dr. Polacco describes how she purchased an old farm house in her home community of Union City, MI and converted it to a “haunted” house based on her book, The Graves Family. She further writes that she portrays Mrs. Graves on Halloween when nearly 3000 children and their families from at least five surrounding counties visit the Graves House. It is virtually impossible to think of another children’s literature author-illustrator who has so often featured her family and especially her family genealogy in a large library of picture books. Her first genealogically-based picture book is the muchhonored The Keeping Quilt that celebrates her maternal Russian and Ukrainian Jewish ancestors. Her most recent book, Fiona’s Lace, similarly honors her paternal Irish Christian roots. Ask students to pool their knowledge of Patricia Polacco’s ancestry from the many books they collectively read. Then, using genealogical forms found in library books devoted to the subject of family roots or free family tree guides found on the Internet, challenge classes to construct a Patricia Polacco family tree of both her ancestors and the two newest generations that succeed her. An alternative to the creation of a family tree for Patricia Polacco might be a world map that signals locations revealed in her autobiography, Still Firetalking, plus locations depicted in her family and genealogical tales. Union City, Michigan and Oakland, California are vital locations in the author-illustrator’s own life as are Australia, England, France and Russia. Her superb picture books highlight many unique stopping places. The Butterfly unfolds in Choisy-le-Roi, France; The Blessing Cup keepsake originally comes from Minsk in Russia. Fiona’s Lace cites Limerick, Ireland; January’s Sparrow takes place in Marshall, Michigan; and Harpers Ferry, West Virginia is the key location in

Conclusion Patricia Polacco is an author-illustrator whose works belong in any curriculum for gifted, talented, and creative students for many reasons. She is a superb role model of a twice-exceptional individual who is incredibly gifted and who has triumphed over the adversities of extremely severe learning disabilities. Secondly, she has shared her superb storytelling ability to entertain children as well as to inform them about history, ancestors, family traditions, religion, culture, nature, a love of learning, and the value of hard work. Thirdly, Patricia Polacco has communicated values to today’s young people through the characters and situations in her wonderful picture books that will help them make a world community of the future that will be truly democratic, completely tolerant, and uniformly respectful of all of God’s creations. Her books herald the dignity and effort of hard work and project a profound love for learning. In her writing, she honors truth and justice, believes in fairness and complete tolerance, takes pride in family, respects the past, and shows why kindness to every person and creature on God’s great earth is paramount. Patricia Polacco’s greatest gift as an author and artist is that she is an extraordinarily compassionate and caring human being with loving messages well worth sharing with young people everywhere all the time. Additional References Polacco, Patricia. Aunt Chip and the Great Triple Creek Dam Affair. New York: Philomel Books, 1996. _____. The Bee Tree. New York: Putnam, 1993.

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_____. Chicken Sunday. New York: Philomel Books, 1992.

_____. Some Birthday! New York: Simon & Schuster, 1991.

_____. Emma Kate. New York: Philomel Books, 2005.

_____. Thunder Cake. New York: Philomel Books, 1990.

_____. For the Love of Autumn. New York: Philomel Books, 2008.

_____. The Trees of the Dancing Goats. New York: Simon & Schuster, 1996.

_____. Ginger and Petunia. New York: Philomel Books, 2007.

_____. Welcome Comfort. New York: Philomel Books, 1999..

_____. John Philip Duck. New York: Philomel Books, 2004.

_____. When Lightning Comes in a Jar. New York: Philomel Books, 2002.

_____. Just Plain Fancy. New York: Bantam Books, 1990. _____. Meteor! New York: Dodd, Mead, 1987.

Jerry Flack is Professor Emeritus of Education and President’s Teaching Scholar at the University of Colorado. He is a reviewer of children’s literature for various publications, author of 10 books as well as numerous articles on creativity and curriculum development. He is the 2003 recipient of the E. Paul Torrance Award from the National Association for Gifted Children.

_____. My Ol’ Man. New York: Philomel Books, 1995. _____. An Orange for Frankie. New York: Philomel Books, 2004. _____. Rechenka’s Eggs. New York: Philomel Books, 1988. _____. Rotten Richie and the Ultimate Dare. New York: Philomel Books, 2006.

Tolkien and Gifted Students: Blending Creative and Critical Thinking By Adam Kotlarczyk In “The American Scholar,” Emerson warns against letting books become tyrants. As education “reformers,” political forces, and other special interests continue to pull modern teachers in so many different pedagogical directions, Emerson’s warning is increasingly powerful. Books tyrannize, Emerson says, when we use them passively by simply absorbing information from them, rather than actively by catalyzing our own thinking and actions with them. In effect, he claims that books are not something simply to be learned, memorized, or analyzed, but should help us to create. Today’s gifted student, her schedule usually overflowing with work and co-curriculars in an environment often hyperconscious of grades, may be more susceptible to “book tyranny” than others, and may even seek to impose it on herself: “Just tell us what this book ‘means,’ teacher, and whether it will be on the test.” Learning is thereby reduced to information collection, a subordination further simplified by the preponderance of online study guides, summaries, and ready-made essays that are just a Google search away. In the English classroom, the evaluation, analysis, and synthesis of writing a paper start to move students toward a model of learning in which they engage high-order thinking skills and don’t just collect information, but these assessments stop short of actual creation. Analyzing symbolism in “Young Goodman Brown” is not the same as writing an original short story containing symbols. Creativity deserves its own place atop the taxonomic heap, as anyone who has created a lesson plan probably can attest. It can be difficult, however, to encourage creative and critical thinking simultaneously in the classroom. Even in English departments, where creativity is often valued more than it is in other disciplines, creative activities can be relegated to wholly separate classes – a creative writing course, for example – while it is nearly abandoned in others. But it isn’t impossible to blend creativity and critical thinking

in the curriculum. In fact, following Emerson’s thinking, critical thought can (and, I would argue, should) facilitate creativity. I recently designed and taught an elective course at the Illinois Mathematics and Science Academy that attempted this sort of blending of critical and creative thinking; the unique subject matter of the course helped enable merged learning to take place: the works of J.R.R. Tolkien. Tolkien himself serves as a model of a blended style of critical and creative learning. Of course, most know him primarily for his creativity – The Hobbit and The Lord of the Rings – but it wasn’t until he was in his forties that he first earned major recognition for his fiction with The Hobbit. Before that – and indeed, long afterward – his critical side prevailed: he was a professor of English and Anglo-Saxon at Leeds and Oxford, and his best known publication was a long, analytical piece dissecting the Old English poem, Beowulf. “Books,” Emerson wrote, “are for nothing but to inspire,” and Tolkien seemingly took that to heart, with the ancient texts he taught and analyzed in his discipline often inspiring his own work. Many of the character names and personalities from The Hobbit, for example, are inspired by the Old Norse poem “Voluspá” Durin, Balin, Nain, Dain, Bifur, Bofur, Thror, Thrain, and Thorin, to name just a few (Tolkien & Anderson, 2002). Some of the plot can be attributed to Tolkien’s bewilderment over an “elvish” name – “Gandálfr” (an Old Norse compound of “Wand” or “Staff” and “Elf”) – appearing in a list of dwarf names (Shippey, 2000). Likewise, in much of The Lord of the Rings we see the influence of Tolkien’s critical study of Anglo-Saxon verse, particularly Beowulf. From the names in Rohan like Theoden (from AngloSaxon þeoden, or “king, leader”) to the arrival of Aragorn at Meduseld (which closely mirrors the arrival of Beowulf at Heorot) to the overall theme and mood of lamentation, the Geat’s influence is evident (Tolley, 2012).

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Tolkien’s diverse creative and critical writings are highly suitable for a rigorous gifted English curriculum. Don’t be fooled by the few lingering protests that his work is not “serious” literature. While there always may be those who think, as famous critic Edmund Wilson once wrote, that The Lord of the Rings is “balderdash” and “juvenile trash,” that prejudice is quickly being outpaced by the high opinions that have put Tolkien in high school and college course catalogs across the country and world, from the University of Chicago to the University of Cambridge. This isn’t to argue, of course, that Tolkien should supplant the traditional classics, but only that his work is a worthy supplement to them – and an excellent way to spark creativity and engage critical analysis in students. As any teacher can attest, it helps to have subject matter in which students are already interested. And whatever you think of Peter Jackson’s film adaptations of The Lord of the Rings and The Hobbit, they have grossed billions (yes, with a “b”) at the box office and given us a Tolkien film in six of the last fourteen years, making Tolkien a household name to students if he wasn’t before. But, as Carol Jago (2004) writes, “Selecting literature for your class isn’t a matter of finding books that students like. It’s about teaching stories that make them think” (p.59). In Tolkien’s writing, we’re lucky to have both.

and suggest that gifted students really need even more outlets for their creativity. Instead of the 8.5 by 11 scribbles I was expecting, I received scrolls, parchment, 3-dimensional efforts, even a map that was hand-sewn from scraps of cloth—the people inhabiting that world hadn’t invented paper, the self-analysis informed me. The other analyses were no less thoughtful. Language Of course, most maps require labels, and labels require language. So the map assignment bridged to their second creative assignment, in which they created the rudiments of a language. We often discussed the influence of languages, especially Old English, on Tolkien’s work. Again, creativity begins with critical analysis. We studied Old English briefly, enough for them to be able to translate (with the use of crib sheets) a short passage from Beowulf and some of the Old English poem fragment “The Wanderer” – a piece from which Tolkien borrows Aragorn’s “Where is the horse and the rider?” chant in The Two Towers (2012, pg. 497). We didn’t focus on memorizing vocabulary (I always provided glossaries and crib sheets of declensions and conjugations) so much as understanding structure and syntax, principally the use of conjugations, inflections, and declensions. But we didn’t stop with this understanding, as a traditional foreign language class might. In an end-of-year course survey, one student commented “This class has taught me more about the fundamentals of language than probably all my previous English and French classes together. Creating a language definitely teaches you so much more than just studying for it.” I believe that creating their own languages compelled students to consider anew many of the elements and rules of language. In the first language creation assignment, each student created an alphabet (with pronunciations), basic inflections (plurals and present tense verb conjugation) with the option to

Maps Creativity as a learning tool has to begin with critical thinking, and my class on Tolkien was no exception. We began with the relatively simple exercise of analyzing his maps. We tried to understand what these representations of space teach us about cultures and cultural differences. Focusing on Thror’s map from The Hobbit (usually at the beginning of the book), we contrasted it to the map of the Wilderland (usually at the end). Thror’s map is the product of a dwarvish (as Tolkien would say) culture, while the Wilderland map likely is the product of Bilbo’s hand, by and for hobbit culture. With Thror’s map covered in runes, there are obvious linguistic differences, but it’s also worth discussing with students that even the orientation of Thror’s map, where up is not north but east is different in dwarvish culture. The difference in scale may also be telling. Bilbo’s map, concerned with a larger world outside the Shire, shows a much broader scale, while Thror’s is focused, almost obsessively, on the Lonely Mountain and its immediate surroundings – leaving no doubt as to what is the center of the universe of the expatriate dwarves. The labels of Thror’s map likewise tell us that it is the product of a culture hyper-aware of its past: “Here of old was Thrain King under the mountain,” says one label; “Here was Girloin Lord in Dale” says another (emphasis mine). The past tense shows us a culture seemingly past the zenith of its influence. Once we’ve discussed how much a map can reveal about the culture that produced it, I challenge the students to create a map of their own fictional place. My only requirements are that it have both physical and political features, at least six of which are labeled. I also require a brief (approx. 250 word) self-analysis in which the student explain choices in scale, size, and style. I allow either hand-drawn or computer-generated maps. The only safeguard I put in place is to forbid maps that resemble real places (or, since I work with high school students, body parts). I wasn’t sure what to expect from this assignment with gifted students – would they think it silly? Could they come up with something original, or would it be a bunch of Hobbit clones? The results amazed me,

write additional inflections for things like gender, honorifics, or to indicate possession. I encouraged students to look to Appendix E of Return of the King or to consult Ruth S. Noel’s The Languages of Tolkien’s Middle-Earth (1980) for inspiration. I warned them only to keep it simple at this point, for example, by using mostly the Roman alphabet – Old English is a good model. Still, some invented entirely new alphabets (this isn’t recommended; it creates headaches in later assignments). Students also completed a vocabulary of about 35 words. For some of these terms, I asked for specific words translated from English (see Table 1.0 for an example), but for others, students chose which words they wanted to translate from English to their invented language, with the only requirement being a mix of different parts of speech. In our analysis of languages, we noted that they all had some words that were unique and not easily translated, so I also asked students to create one word that did not have a direct equivalent in English. Like their maps, this unique word would tell us something about the culture they were creating. In their second language assignment, students expanded on this concept, taking their language and developing a basic syntax. English sentences (like this one) favor subject-verb-object. But Latin was often subject-object-verb, and Welsh even uses verb-

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Critical Analysis and Creativity Peter Jackson’s films have rekindled public interest and provided a great opportunity for English teachers to capitalize on Tolkien’s name recognition and popularity with students. Units and courses centered on his work provide an ideal ground for analysis and creativity. Because of his career and publications, Tolkien is an ideal subject around which to build a pedagogy that blends critical and creative thinking. His critical writings like “The Monsters and the Critics” (on Beowulf) and “On Fairy-Tales” provide models and are worthy of study as essays (or informational texts, as they’re called by some), while his creative works provide subjects for analysis in themselves. And, if Emerson is to be believed, they provide the inspiration to springboard students into their own creative pursuits. But this technique need not be limited to studies of Tolkien. Indeed, it is limited only by the creativity of teachers themselves and the constraints placed on them by others. Creative assignments can blossom from any area of literature from which key identifying elements can be analyzed and synthesized. One might, for example, in studying the verse of Whitman, analyze and discuss his use of free verse, his use of cataloging lists, his themes of democracy, beauty, and the cycles of life and death. And one might also ask students to create their own free verse pieces modeling his themes and techniques. Creativity as a product of critical thought demands that students understand, analyze, and apply the ideas of the texts they read. Properly implemented, creativity is a high-order – and maybe the highest – manifestation of critical thinking.

subject-object. Students also had to create two idioms – expressions unique to their language that tell us something about the values and mindset of the people who speak it. Finally, in this assignment, students were asked to translate some basic English sentences, the vocabulary of which I’d already asked them to complete in the required words of the prior assignment, into their own language. This provided an outlet to test the rules of grammar and syntax they were developing. Creative Writing The final creative assessment of the course is perhaps the most obvious: creative writing. Because fiction writing is only part of the creative engagement of the course, students learn it in a fairly limited way, producing only one short story. This story comes near the end of the semester, providing a capstone to the earlier creative projects by asking students to intertwine their language and map assignments, as their story takes place in the world they’ve created. Because the course is not purely a creative writing course, we provide a lot of peer support and feedback. For crafting their stories, students are divided into small groups of about three or four and named their “Inkling” groups after Tolkien’s peer-sharing group of the same name, which included C.S. Lewis. They convene in the last ten or fifteen minutes of class to discuss and workshop characters, plots, and progress on stories. The writing is scaffolded by brief lessons and practice in character creation and peer review of plot points. And, like the creative activities of making a map or a language, it is first grounded in a critical analysis of the quest story. We start with W.H. Auden’s six elements of a quest adventure, from his essay “The Quest Hero”: 1. A precious Object and/or Person to be found and possessed or married. 2. A long journey to find it, for its whereabouts are not originally known to the seekers. 3. A hero. The precious Object cannot be found by anybody, but only by the one person who possesses the right qualities of breeding or character. 4. A Test or series of Tests by which the unworthy are screened out, and the hero revealed. 5. The Guardians of the Object who must be overcome before it can be won. There may be simply a further test of the hero’s arête, or they may be malignant in themselves. 6. The Helpers who with their knowledge and magical powers assist the hero and but for whom he would never succeed. They may appear in human or in animal form. (1968, p.44) We discuss the degree to which The Hobbit and The Lord of the Rings fit Auden’s formula. Students also enjoy a discussion on high vs. low fantasy, noting particularly how in high fantasy, the hero almost never wins his goal through direct combat or force. Although the story assignment itself is very short – my recommendation is in the neighborhood of five pages – I encourage the students to provide an outline, treatment, or summary of a more epic plot into which this short story fits. This enables them to create stories with more befitting themes, like power politics, the birth and death of nations, the end of the world, good vs. evil, etc. At the same time (and almost paradoxically), I encourage them to keep the story itself simple, as it is in many myths (or, as Joseph Campbell argues, in all of them): a simple journey and return home.

Works Cited Auden, W.H. (1968). “The Quest Hero,” in N.D. Isaacs & R.A. Zimbardo (Eds.), Tolkien and the critics: Essays on J.R.R. Tolkien’s The Lord of the Rings. Notre Dame, IN: University of Notre Dame Press. Emerson, R.W. (2000). “The American Scholar,” in B. Atkinson (Ed.), The essential writings of Ralph Waldo Emerson (pp. 43-59). New York: Modern Library. Jago, C. (2004). Classics in the classroom. Portsmouth, NH: Heinemann. Noel, R.S. (1980). The languages of Tolkien’s Middle-Earth. Boston: Houghton. Reader and educator guide to The Hobbit and The Lord of the Rings. (2012). Boston: Houghton. Shippey, T. (2000). J.R.R. Tolkien: Author of the century. Boston: Houghton. Tolkien, J.R.R. (2012). The Hobbit. Boston: Mariner. —. (2012). The Return of the King. Boston: Mariner. —. (2012). The Two Towers. Boston, Mariner. Tolkien, J. R. R., & Anderson, D. A. (2002). The Annotated Hobbit: The Hobbit, or, There and Back Again. Boston: Houghton Mifflin. Tolley, C. (2012). Old English influence on The Lord of the Rings. In J. Allard & R. North (Eds.), Beowulf and other stories: A new introduction to Old English, Old Icelandic and AngloNorman Literatures (pp. 38-62). Second Edition.  London: Routledge; New York: Longman. Wilson, Edmund. (April 14, 1956). “Oo Those Awful Orcs!” The Nation. Downloaded August 1, 2014. http://www. scifiwright.com/2014/03/oo-those-awful-orcs/

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Adam Kotlarczyk earned a Ph.D. in American literature and has taught English at the Illinois Mathematics and Science Academy since 2009; prior to that, he taught college composition and literature. Adam works to design curricula that adhere to the Emersonian principle that education should seek less to drill than it does to create. He uses his knowledge of American literature

to design interactive lesson plans emphasizing experiential and problem-based learning. He enjoys finding new and engaging ways to approach traditional American literature. Adam also initiated and coordinates the English Department’s Award for Excellence in Expository Writing, and founded an IMSA group to participate in National Novel Writing Month.

More Than Just a Video Game: Tips for Using Minecraft to Personalize the Curriculum and Promote Creativity, Collaboration, and Problem Solving by Cathy Risberg JT had been looking forward to this year at school as being the best year ever. So it was a very good sign for how the year would progress in his 4th grade classroom when his teacher gave him the “thumbs-up” in September. JT would be given class time to use his iPad to share what he had created at home in Minecraft. And during this class sharing time, as he went through all the steps involved with imagining, planning, and building in Minecraft, JT exhibited a new sense of confidence in speaking in front of his class. There was no doubt that JT’s passion and expertise for Minecraft helped him to overcome any earlier hesitancy he felt in communicating with his peers. It’s hard to describe the excitement that JT and his parents felt when he was allowed to share his love for Minecraft or the sense of encouragement they all felt knowing that JT’s intense imagination, curiosity, and creativity were being supported in the classroom. Like JT, so many other gifted students, their teachers, and parents have all discovered that Minecraft is more than just an incredibly engaging and enjoyable video game. It is, as current educational research concludes, a highly effective classroom tool for personalizing the curriculum and promoting creativity, collaboration, and problem solving.

dismiss because there are no instructions which makes it a bit difficult at first to readily figure what is actually going on within the game (Commonsense Media, 2014). How Minecraft is Changing Our Classrooms That’s exactly what happened to me when I first learned about Minecraft by watching my then young grandson play it with such extraordinary focus. As I watched him play, I could see how children would love this game. This love of the game by so many players, according to Keith Stuart, author of The Guardian online article, “Minecraft at 33 millions users – a personal story” can be attributed to the fact that it “is utterly malleable.” Stuart writes that Minecraft is more than a game – it is a “tool, a gamified design application – an imaginative conduit that stamps only a fraction of itself onto individual’s projects” (Stuart, 2013). Yet, even though I could see how frequently I found myself invited into a discussion of Minecraft with my grandson, I certainly had no idea that this video game would ever end up in our classrooms. Nor did I envision the fact that it could ever be responsible for changing how our students learn. Perhaps the reason I could not envision the impact of Minecraft in our classrooms was that I really didn’t understand the whole purpose of it or feel too drawn to learn much about it. All I knew was that my grandson was having a lot of fun with it – hours of fun! That’s simply all I saw. But my feelings towards Minecraft changed quickly this past spring. I came across an article by John Keilman in the Chicago Tribune on how teachers in classrooms across the U.S., including Quest Academy in Palatine, IL, were beginning to successfully incorporate Minecraft into their classroom curricula. Keilman describes how “ . . . more and more teachers are tapping its creative power to educate students in everything from history to engineering to biology” (Keilman, 2014). This creative power of Minecraft has been harnessed at one Los Angeles school, the New Los Angeles Charter School, where 7th graders have been building their own civilizations and inhabiting them – thanks to the endless creative capabilities and building options available in Minecraft. According to Anthony Perez (with Jed Kim), author of the article, “Minecraft blowing up the classroom; educators say the game can teach everything from math to genetics,” these students have been creating their

What Is Minecraft? If you are anything like I was a few years ago, when you hear the name Minecraft, you might have a vague awareness of its popularity but not know much else about it. So here is a bit of information from Common Sense Media about Minecraft that will equip you with basic knowledge – and allow you to talk with your own children or students about Minecraft. According to Common Sense Media, Minecraft is “a sandboxstyle game with open online play (that) fosters creativity. There is no story or any commentary and each player is on his/her own. The focus of the game is on discovery and creativity. Both are needed as players build structures from materials obtained from the open landscape that seems to extend endlessly in all directions.” While players all have an avatar, avatars do not speak but spend all of their time building and collecting useful materials. If playing in the Survival Mode instead of the Creative mode, avatars also must defend themselves from attacks from monsters. Minecraft is a deceptively simple game that adults frequently

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the use of Minecraft could be administrative or teacher resistance to the use of video games in general in the classroom. No one will disagree that it is essential to listen to and understand the perspective of educators who might hesitate in approving the use of video games in schools, yet it is equally important to share with every school the current research that supports the use of video games to promote student learning. According to the New York Times article by Nick Bilton, “Disruptions: Minecraft, an obsession and an educational tool,” “research has shown video games can have a positive impact on children.” Bilton writes that, “A study by S.R.I. International, a Silicon Valley research group that specializes in technology, found that game-based play could raise cognitive learning for students by as much as 12 percent and improve hand-eye coordination, problem-solving ability, and memory” (Bilton, 2013). As JT and his parents discovered, it often is a student’s enthusiasm and personal request to the teacher that makes a difference in whether or not Minecraft will be welcomed as a potential educational tool. It certainly was most fortunate for JT that his teacher was open to allowing him to demonstrate to his peers how he used Minecraft at home. Hopefully, a brief time for students to share their Minecraft creations can be the first step towards the use of this video game in the classroom as an educational tool. 2. Student Fascination/Obsession with Minecraft Another barrier for Minecraft use in the classroom could be the potential for some students to want to rely on Minecraft as their main project tool. This can be addressed by teachers requiring/ encouraging students to cycle through a variety of options for presentations/projects. One parent, Rob Patrick, interviewed for Menachem Wicker’s Deseret News National article, “Could Minecraft help kids get smarter?” commented that “His grade three teacher told us how tired he is of every boy in class doing their presentations or projects on Minecraft” (Wecker, 2013). An additional perspective on dealing with the extreme Minecraft focus is offered by MIT’s Director of Teacher Education, Professor Eric Klopfer. He shared this advice with parents and teachers: “While the game is clearly good for kids, it doesn’t mean there should be no limits. As with anything, I don’t want my kids to do any one thing for overly extended periods of time. Whether Legos or Minecraft; having limits is an important part of learning” (Bilton, 2013).

own economies and trading systems--in fact, creating all aspects of a civilization. In addition, teacher Dan Thalkar (interviewed in the same article) indicated that students have learned about power structures in societies by staging a coup against one player who had been attempting to exert too much control in his group. So what do teachers think about this less-than-traditional approach to teaching history? Teacher Dan Thalkar commented that “Minecraft is useful in the classroom because you can use it for pretty much anything you want.” He attributes Minecraft’s versatility to the open-ended sandbox design aspect of the game which is allowing him and other teachers at his school to use Minecraft “to teach concepts in math, science, and the humanities.” Teachers at New Los Angeles Charter Schools have also discovered that Minecraft can be used to “teach scale, breed virtual bees to teach genetics . . . create electrical circuits and complex machines.” The endless possibilities of Minecraft do not just end with the curriculum. In fact, what is most impressive about Minecraft is its ability to teach students how to be successful learners. “ ‘Part of what it creates is habits of mind, kind of a sense of how to be a learner . . . ’ said Linda Polin, a professor of Education and Psychology at Pepperdine University who researches how students learn through video games.” Another teacher, Joe Levin, who co-founded TeacherGaming, LLC, found Minecraft so useful and popular with the students at the private school where he teaches in New York that his company created a school-friendly version of Minecraft, MinecraftEdu, which is currently used to stimulate learning and develop creativity and problem solving in 1,700 classrooms around the world (Perez, 2013). Tips for Getting Started with MinecraftEdu to Personalize the Curriculum Understand the Benefits According to James Drzewiecki, author of the online Education World article, “Why educators should use minecraft in the classroom,” MinecraftEdu is a game modification, referred to as a mod, which truly makes Minecraft classroom friendly. It allows teachers to “incorporate their own curricular content and run a custom server for each of their classes” (Drzeweicki, 2014). Here are just a few of the many benefits for students when teachers use MinecraftEdu in the classroom: Freedom to create – students can push their imaginations to the limit to become “creative in ways not possible in the real world.” Development of critical thinking/problem solving skills – students must tap into these skills to move forward with their constructions and acquisition of vital resources needed to survive. Facilitation of communication/collaboration skills– students often need to rely on others for help in order to survive in this very social game. In this way, a positive classroom climate is built and teamwork develops organically as students work together in an imaginary world where each person’s unique skills and abilities are recognized and appreciated.

Start with Essential Skill Building: Use Minecraft Survival Skills to Strengthening Executive Functioning Skills Deep down every gifted student, like JT, wants to succeed and do well while still having fun at school. Yet, many students face challenges with setting goals, long-term planning, organizational skills, and sustaining effort and attention. And as every teacher and parent knows, extreme frustration is felt by everyone--students, teachers, and parents--whenever a child feels overwhelmed with what needs to be done. Even though there are tutors, academic coaches, and books to help with teaching these essential life skills, it is worth considering how Minecraft, might just be able to be the answer to strengthening every gifted student’s executive functioning skills. That’s what Patrick Elliot, writes in his LearningWorks for Kids online article, “Minecraft, executive functioning and ADHD.” He includes the following tips when using Minecraft to teach or strengthen executive functioning:

Address the Barriers 1. Administrative/Teacher Resistance Although it is easy to build enthusiasm for the benefits of using Minecraft as an educational tool, it also is important to take a look at the obstacles that might exist. One important barrier to

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1. Set strict play time rules – This reduces the chance for video game addiction, reinforces proper planning and sustained attention. 2. Set some goals – These might be basic goals like collecting mined materials, building a workbench, constructing shelter. Elliot stresses the importance of discussing all the steps needed for each goal and the need to focus to achieve the goal before nightfall--when monsters arrive. 3. Set bigger goals – Bigger goals could include exploring uncharted lands or traveling deep into a tunnel. When setting bigger goals, a discussion of the benefits of good planning, focus/attention, and breaking tasks into smaller steps in achieving the goals will increase the likelihood of success. 4. Re-create something from the real world – Pick something to create that is available at home or online. This will make it possible to easily check the accuracy of the virtual creation. Create a list of the materials needed, pick a place to build it, and start building.

interviewed Sara Grimes, “an expert in children’s media culture at the University of Toronto, who shared, ‘ . . . it’s the elemental requirement for creativity – you need to build from scratch to survive your first night (in Survival Mode) – that provides the main clue to the game’s appeal.’ ” Hall also included this comment from Grimes: “But I think the really cool thing about Minecraft . . . there’s an invitation to be creative and an invitation to be customizable and an invitation to engage at that level that’s much more accessible and much more on the surface” (Hall, 2013). And students who already possess a high level of personal creativity and intuition are rewarded, according to the article, “Playbook: Minecraft,” found online at Learning Works for Kids. For these students, “the backward approach to item creation rewards intuitive and creative players with tools, weapons, furniture, items and dozens of other objects they can use in their world” (LearningWorks for Kids, 2014). In the world of Minecraft – this is a significant and confidence building reward. Common Sense Media says this about the creative potential of Minecraft: “The experience is wholly compelling for those with a creative itch. Mining resources from the earth and turning them into easily usable materials employed in the construction of nearly anything the player can imagine is enormously satisfying” (Commonsense Media, 2014). This sense of satisfaction is repeated in the words of a dad who has seen Minecraft in action in the comfort of his own home. In talking about the impact of Minecraft for his two sons, one of whom is living with autism, writer, Keith Stuart, says, “Everything (in Minecraft) is about personal creativity . . . it bends – unlike so much else in their lives – to their will” (Stuart, 2013).

Elliot makes the case that by using Minecraft to strengthen executive functioning in students, students will soon see “the benefits of goal- directed persistence and preparation” (Elliot, 2014). By seeing these benefits, while having fun playing Minecraft, gifted students, especially those who are 2e (twice-exceptional – gifted with learning differences, including ADHD), will hopefully move from simply fighting for survival in the classroom--whenever there is a lack of planning, focus and organization--to thriving, succeeding and reaching their true learning potential.

Encourage Students to Build Complex Structures and Create Videos to Develop Creativity and Foster Collaboration It is this incredible flexibility of Minecraft – and its popularity – that has led to the building of a variety of structures from the simplest of buildings to mechanical computers that actually work. Scott Smith, in his article, “Could Minecraft be the next great engineering school?” describes how “Players can build houses, castles and caverns, but also edifices of Pyonyang-scale immensity and absurdity, like sky-high apartment towers, huge working beatboxes, recreations of favorite buildings in painful detail or giant abandoned strip malls.” In terms of video creation, Smith comments that “Minecraft has become a kind of massive open online course (MOOC) all on its own . . . Part of the proliferation is due to user-created video, particularly on YouTube, where a quick search (in 2012) yields 7.5 million mentions. Video podcasts, recordings of buildings in progress and most importantly, walkthroughs, or videos of players demonstrating how to master levels or particular construction techniques, keep the global Minecraft horde digging and trying to impress or teach one another . . . ”(Smith, 2012). By creating walkthrough videos to teach, players of Minecraft are both learning on their own and putting into practice the skill of collaborating to share knowledge and creativity--an essential skill for 21st century learning.

Consider the Role of Blended Learning in Personalizing the Curriculum with Minecraft Some schools, described by Ross Brenneman in his online Education Week Teacher article, “Betting big on personalized learning,” are discovering that adopting a blended learning approach works well, especially utilizing the classroom station model under which different groups of students work on different projects. By adopting this model, not only can the curriculum be personalized but more teacher interaction is encouraged and the use of “student experts” is promoted (Brennenman, 2014). And in the process, student creativity and problem solving can be encouraged when Minecraft is utilized as a classroom station for specific curriculum units. Tips to Promote Creativity, Collaboration, and Problem Solving Provide Students with Opportunities to Be Creators Every Day Teachers and parents can be assured that when they encourage their students and children to leverage the creative possibilities inherent within Minecraft that they will be encouraging deep learning through what looks like and is “child’s play.” Researchers who have studied the use of video games in the classroom all acknowledge the benefits provided by the inherent and highly creative nature of Minecraft. According to Joseph Hall, author of the article, “Minecraft game being hailed as a teaching tool,” many leaders in the field of educational media see the creative potential in Minecraft. He

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Give Your Students a Chance to Problem Solve on a Global Platform and Learn How to Code In addition to developing creativity and fostering collaboration, Minecraft promotes problem solving on various levels from the

most basic. This problem solving happens whenever players figure out how to build simple structures--just like the ones built by the two early elementary students who recently talked to me about their absolute love of Minecraft and all the building they get to do while playing it. Yet, as students develop their problem solving skills, Minecraft also allows for players to move way beyond the building of simple and even complex structures such as their own home or their school. With Minecraft, students can become involved globally in the real-time collaborative re-design of public spaces and learn the complex skill of coding--all while they become deeply engaged in learning that is more fun than work to any true Minecraft fan. The re-design of public spaces is the focus of a project that Minecraft creator Mojang has developed “in cooperation with the UN Habitat called Block by Block, which will engage Minecraft players in an effort to redesign 300 different public spaces over the next three years in locations such as Nairobi’s Kibera slum” (Smith, 2012). While the existence of this global application of Minecraft is certainly an attention-getting bit of news to anyone not familiar with the potential of this game, the fact that students can now learn to code and receive college credit is also quite surprising but true. According to Klint Finley, author of the online Wired article, “New Minecraft mod teaches you code as you play,” . . . thanks to a “new tweak to the Minecraft game, called LearnToMod,” students can learn programming basics at the same time this educational add-on helps them to create tricks and tools that will help them accomplish their Minecraft goals. Available in 2015 to the general public, LearnToMod has been tested by 150 students and has the potential for being an effective pathway for leading more students into the world of computer programming. ThoughtSTEM, the creators of this educational add-on, started a class for avid Minecraft players who ranged in age from 8 to 15 after realizing that . . . this video game could be harnessed to teach the players to “code their own modifications to Minecraft . . .” Besides offering this new tool to the whole world, the ThoughtSTEM team is also planning to make available, for an additional fee, an online course that will enable any student – like the students who tested LearnToMod – to earn college credit at UC San Diego (Finley, 2014). So, parents and teachers can relax a bit over the outrageous number of hours that their children and students spend on Minecraft. They can be assured that Minecraft truly does matter and is teaching our students valuable life lessons like the one JT shared with me: “I have learned that sometimes you want to give up but you can’t because you need to persevere to accomplish what you want or need to do.”

community, along with my grandson’s passion and excitement over Minecraft, have reminded me of what we already know and don’t always put into practice. As educators and parents, we need to slow down, sit down, pay attention, and listen closely to our children and our students. They are the inventors, creators, and leaders of tomorrow’s world getting an early start in realizing their dreams by learning valuable skills in Minecraft. And as students like JT and my grandson continue to play Minecraft, they are envisioning, building, and collaborating in ways that clearly demonstrate that Minecraft is more than just a video game. It is the current educational game-changer that can help every teacher personalize the curriculum for our gifted and 2e students and promote creativity, collaboration and problem solving. Resources and References: More Than Just a Video Game: Tips for Using Minecraft to Personalize the Curriculum and Promote Creativity, Collaboration and Problem Solving Resources Blocklandia (a family-friendly server for kids): http://www. blocklandia.com/ GamingEdus (created by teachers from Toronto, Canada): http://www.gamingedus.org/who-we-are/ MinecraftEdu for Education: http://minecraftedu.com/ Minecraft on Pinterest: http://www.pinterest.com/mcma/ minecraft-classroom/ MinecraftEdu on Twitter: https://twitter.com/MinecraftEdu Official Minecraft Wiki: http://minecraft.gamepedia.com/ Minecraft_Wiki References Bilton, Nick. (September 15, 2013). Disruptions: Minecraft, an obsession and an educational tool. The New York Times. Retrieved on September 14, 2014 from: http://bits.blogs.nytimes. com/2013/09/15/minecraft-an-obsession-and-an-educationaltool/ Brennenman, Ross. (June 18, 2014). Betting big on personalized learning. Education Week Teacher. Retrieved on October 1, 2014 from: http://www.edweek.org/tm/articles/2014/06/18/gp-iredell. html Common Sense Media (2014). Minecraft game review. Common Sense Media. Retrieved on October 29, 2014 from: https:// www.commonsensemedia.org/about-us/our-mission#about-us Drzewiecki, James. (2014) Why teachers should use Minecraft in the classroom. Education World. Retrieved on October 4, 2014 from: http://www.educationworld.com/a_tech/benefits-minecraftclassroom-students.shtml Elliot, Patrick. (February 10, 2014). Minecraft, executive functioning and ADHD. LearningWorks for Kids. Retrieved on September 5, 2015 from: - http://learningworksforkids. com/2014/02/minecraft-executive-functioning-adhd-howminecraft-can-help-with-adhd/ Finley, Klint. (August 18, 2014) New Minecraft mod teaches you code as you play. Wired. Retrieved on October 26, 2014 from: http://www.wired.com/2014/08/learntomod/ Hall, Joseph. (May 31, 2013). Minecraft game being hailed as teaching tool. Toronto Star – Insight. Retrieved on September

Conclusion Now that JT has had a chance to share some of his Minecraft creations and accomplishments with his teacher and his classmates, he wants to study global warming and space exploration. Fortunately, he will be able to experience real-world project-based learning in both of these areas of intense personal interest. Thanks to the help of Minecraft and its various STEM partners, JT is considering working with his local community to address recent and recurring problems with flooding. That’s a pretty ambitious and impressive goal for a 4th grader. These immediate plans of JT to make a difference in his

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Stuart, Keith. (September 5, 2013). Minecraft at 33 million users – personal story. The Guardian. Retrieved on October 29, 2014 from: http://www.theguardian.com/technology/2013/sep/05/ minecraft-33-million-users Wecker, Menachem. (May 29, 2014). Could Minecraft help kids get smarter? Deseret News National. Retrieved on October 27, 2015 from: http://national.deseretnews.com/article/1498/ Could-Minecraft-help-kids-get-smarter.html

23, 2014 from: http://www.thestar.com/news/insight/2013/05/31/ minecraft_game_being_hailed_as_teaching_tool.html Keilman, John. (April 28, 2014). Video game ‘Minecraft’ finds a home in schools. Chicago Tribune. Retrieved on October 26, 2014 from: http://articles.chicagotribune.com/2014-0428/news/ct-minecraft-education-met-20140428_1_minecraftthrones-legos LearningWorks for Kids. (2014) Playbook: Minecraft. LearningWorks for Kids. Retrieved on October 15, 2014 from: http://learningworksforkids.com/playbooks/minecraft/ Perez, Anthony. (August 14, 2013). Minecraft blowing up the classroom: educators say the game teach everything from math to genetics. So Cal Education Pass/Fail. 89.3 KPCC. Retrieved on October 1, 2014 from: http://www.scpr.org/ blogs/education/2013/08/14/14502/minecraft-blowing-up-theclassroom-educators-say-t/ Smith, Scott. (November 30, 2012). Could Minecraft be the next great engineering school? Quartz. Retrieved on September 15, 2014 from: http://qz.com/32868/could-minecraft-be-the-nextgreat-engineering-school/

Cathy Risberg, M.A., is an educational consultant. As the owner of Minds That Soar, LLC, www.mindsthatsoar.com, she specializes in providing academic advocacy services for gifted and twice-exceptional children and their families. She is an adjunct faculty member for the Technology in Education program at National-Louis University in Wheeling, Illinois. She can be reached at [email protected]. You can also follow her on Twitter, @illinois2e, or on Facebook at Cathy Risberg’s Minds That Soar, LLC.

Let It Ring! Creative Music Making— Motivating and Inspiring Musicians of All Ages to Love What They Do and Do It Well By Sarah Hodges Sherban “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” What Plato wrote centuries ago is still true today. For our music-hungry students, rigorous training is a must; but more often than not students are not getting the comprehensive music education they deserve. In new educational programming and private lessons, there is an opportunity to address the quality and methods we use to teach music, fostering creativity through improvisation and composition.

to perform at a professional level. Little wonder that few music students get to experience what is most natural to all—to create. Classical music education traditionally is focused on technical ability; time is not given to musical exploration until more advanced training, often after students have been taught to eschew creative insights. When music students only perform and regurgitate music, how can they learn to develop autonomy in their music making, let alone the skills to make something original? It is more than a bit ironic that we put classical composers such as Mozart and Bach on pedestals, often forgetting that they were performers and master improvisers. Why are students taught to perform or compose rather than perform and compose?

Why Creative Music Education All too often, when children have the chance to take music lessons, they lack the opportunity to create music. In my experience as a private music teacher, many of my students take lessons with me as a last ditch effort by parents to keep them interested in playing. Perhaps a school band class was too easy, or the music too repetitive. When students begin lessons with one foot out the door, it is my goal to help them experience music making—rather than music regurgitation—for the first time, when they’ll display a genuine curiosity and excitement about learning to play their instruments and make music. There’s something fundamental missing in today’s music education, from the earliest training to the pre-professional level. But with so many challenges facing today’s music educators, it’s hard to place blame: music teachers and administrators must compete for scarce funding; mandated standards and testing often get in the way of good programs; professional musicians aren’t trained to teach; and music teachers aren’t always trained

Advocates of Creative Music Education Two leading music educators advocating for creativity in reforming music education using improvisation and composition are Mark O’Connor and Maud Hickey. O’Connor is a prodigy violinist and fiddler known for straddling classical and folk music styles, and for developing the O’Connor method, a string pedagogy series that trains beginning string players to improvise, arrange and compose, while embracing traditional American folk music. Hickey is a professor of music education at Northwestern University and one of the few music educators today addressing the lack of creativity in the American music system. Her book, Music Outside the Lines, not only explains the need for integrating improvisation and composition into the curriculum, but also lays out specific examples of how to do so. Mark O’Connor in his Manifesto points out that current

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teaching methods are based on the European curriculum. He writes, “The European educative methods these academics imported were flawed. In attempting to churn out new Bachs, Mozarts, Beethovens, Brahmses, and Mendelssohns, they forgot an important fact: The European masters were not only brilliant composers—they were also adept performers. ‘Specialization’ became the new paradigm in the classical music industry. Academics, record companies, arts management companies, and impresarios shoved a wedge in between composers and performers” (O’Connor, 2011, p. 9). Few music schools in the United States embrace performercomposer training and fewer still encourage improvisation in classical music training. This leaves a lack of creativity in the music education model; musicians are developing a far narrower creative ability than would have been the norm even 300 years ago. Hickey believes that “through music composition, the creative intelligence can be stimulated and nurtured in music classrooms and studios” (p 11).

He means that music teachers have a difficult time teaching it because they don’t understand it themselves. Mark O’Connor writes, “Teaching creativity in the early stages of string playing has been considered one of the most difficult concepts for teachers to comprehend. Most methods…have assumed that musical technique and skill can be ‘taught’ but that ‘creativity’ is largely a matter of chance” (O’Connor, 2012, p. 1). One big problem with integrating this kind of creativity in music-making is that many music teachers are not ready to take this on. We seem to be trapped in a “self-perpetuating cycle... as the music teachers themselves have never composed through their education and therefore avoid it in the classroom” (Hickey, 2012, p. 1). Hickey writes that “there is still a long way to go to make music composition and improvisation an integral part of music education (preface).” This is unfortunate because, as she points out, “making up music is as natural to children as making up stories or games, or creating original artwork with finger paints and crayons” (p. 1). Learning the fundamentals of a musical instrument may only keep certain students interested for so long. That’s why it’s essential to balance technique with improvisation and composition. Hickey writes, “If the value of music composition lies, at least partly, in the idea that it may promote creative musical thinking, then more time needs to be dedicated to problem-finding and exploratory activities” (p. 10). If students don’t get past the bare-bones of playing an instrument, they won’t reap the rewards that come when one learns to actually make or create music. Learning to play an instrument and not how to make music is like learning to read but not how to write. Hickey explains, “Although one might have tremendous talent to perform flawlessly a range of technically difficult etudes on an instrument, creative thinking in music involves producing new ideas” (p. 7-8). One of my private flute students, a 7th grader, was thinking of quitting music before she started taking private lessons—she was bored with the music in school and the approach that was being taught. When we started experimenting with free improvisation, she lit up; it was a relief to her to play music without going through all the traditional “steps” for a new piece. When I asked her about her experience with improvisation, she said, “It’s fun not to have to think about what you’re doing and still make beautiful music.” In particular, applying improvisation to learning a piece of music can be the link to help resolve musical challenges such as, slicing or “chunking” measures of the music and then using the parts of that “chunk” in an improvisation. When the “chunk” has become your own, you can put it back into context and use it with little difficulty. Just as one might read a novel and then write a response to it in an English class, improvisation can help music students interpret written classical music by trying to say it with their own voice.

Composition and Improvisation in Music Teaching Hickey suggests introducing students to composition using activities that explore the two questions: What is music? and What is music composition? In her carefully structured lesson plans, students are guided through group listening, discussions, journaling, aural imagination, and sound exploration activities. These improvisatory activities lead students to create their first composition. Easy to use and complete with multiple resources for teachers, including tiered levels and fun creativity exercises, Hickey’s book is a great source for any music teachers wanting to expand their horizons. In my teaching, I use free improvisation as a fun warm-up activity, a way to practice or interpret a difficult piece of music, or as the first step for my students to approach composition. Improvisation comes in many different styles. Most people think of jazz when they think of improv; yet, free improvisation is not limited to a single style of music. Although difficult to define, as Derek Bailey (1992), a leading figure in the free improvisation movement points out, “the characteristics of freely improvised music are established only by the sonic-musical identity of the person or persons playing it” (p.83). In other words, improvisation can be anything and sound like anything, depending on who you are and your abilities -- which makes it available to any curious music student! Free improvisation is “open to use by almost anyone -- beginners, children and non-musicians. The skill and intellect required is whatever is available” (Bailey, 1992, p. 83). The combination of free improvisation (music games, exploration and experimentation) and rigorous classical training (reading music, technical fundamentals, ensemble and performance practice) encourage students to be fluent musicians. They learn to improvise, listen, write, explore with their instruments, and break down repertoire in new or interesting ways. Improvisation is a pathway to uncovering hidden depths in written music as well as to personal discovery.

Process Over Product We need to shift our thinking away from aiming for a performance “product” and instead find ways to appreciate the process of learning music. Mastery of a musical instrument can be achieved by aiming at a product (a performance, test, or competition). However, mastery of musical fluency takes time, effort, care, and practice! Practice is one of the most dreaded words for a music student. Can practicing be fun? If music students were given the opportunity to explore their instruments as creative tools, take ownership of their musical voice, and encouraged to develop

Benefits of Improvisation Improvisation is an essential skill that needs to be practiced and developed just as one might practice technique or intonation. Bailey states that the problem is that “improvisation enjoys the curious distinction of being both the most widely practiced of all musical activities and the least acknowledged and understood.”

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their musicianship, it would make practicing easier. Why? Because students would be intrinsically motivated to practice. Practice logs, timers, and reward incentives can work, but free improvisation and composition can create a deeper intrinsic motivation to practice. But not only professional musicians benefit from music improvisation. It’s common knowledge that Albert Einstein played both the violin and the piano; it isn’t as well known that he practiced music improvisation regularly as a tool to get his creative juices flowing. In his book, Conversations with Einstein, Alexander Moszkowski (1970) reported that Einstein told him, “improvisation on the piano was a necessity of his life. Every journey that takes him away from the instrument for some time excites a home sickness for his piano, and when he returns he longingly caresses the keys to ease himself of the burden of the tone experiences that have mounted up in him, giving them utterance in improvisations.’

Style bending performer-composer Frank Zappa said, “Without deviation from the norm, progress is not possible.” It is my hope that we continue to challenge the norm in our own music making and teaching studios, try different things, experiment with free improvisation, and seek new ways to foster joy and a comprehensive understanding of music. Sources Bailey, D. (1992). Improvisation: Its nature and practice in music. Cambridge, MA: Da Capo Press. Hickey, M. (2012) . Music outside the lines, Ideas for composing in K-12 music classrooms. New York, Oxford University Press. Moszkowski, A. (1970) Conversations with Einstein. New York, Horizon Press. O’Connor, M. (2012). 20 Points of Creativity, For the O’Connor Method Book One. http://www.oconnormethod. com/20 Points of Creativity 1 10 12.pdf O’Connor, M. (2011) Mark O’Connor Manifesto, A reemerging American classical music: Mark O’Connor Musik International (https://docs.google.com/file/d/0B1JmHgbonuhZm I2NTkwODYtZGQwOS00NGQ1LWJhZTItOGJkOTEzOWE5N 2Q3/edit?hl=en&authkey=CJvEjKEK)

Conclusion Creative music making can teach students to communicate, phrase, lead, support, and explore music in a fundamentally deeper way. Improvisation gives teachers the key to apply creativity to music learning. Regular improvisation can make practicing more fun, paving the way toward composing, improved sight reading skills, and fine tuned listening and communication. Hickey draws on a definition of music composition from John Cage, one of the most influential 20th century composers and thinkers. He said, “The material of music is sound and silence. Integrating these is composing.” Hickey goes on to say, “this simple definition makes it clear that any person is capable of composing music, and that playing around with sound is central to this process.” (Hickey, p.7) When asked if playing the flute is creative, my student answered, “Yes! You can use so many techniques to make your music fun and creative.  Learning music is the best.  It is super fun and challenging.” Free improvisation gives my flute students an opportunity to experiment, play, and eventually look at music in a different way. But ultimately, improvisation allows them to develop a personal mastery and fluency that they can apply not only to music but to everyday learning, to any class in school or job in later life.

Sarah Hodges Sherban is an innovative musician, educator and program administrator, currently based in New Haven, CT. She is involved in a number of creative arts projects both as a flutist and a project facilitator. Currently, she is the Operations Manager for the Waterbury Symphony as well as a member of the New York-based Sparkitivity team, nurturing children’s innate creativity through classes and program design. Previously, she was the Director of Education and Community Engagement for the New West Symphony in California, where she was instrumental in building the award-winning Harmony Project in Ventura, a program that creates social change through music education. Sarah received a Master of Fine Arts in multi-focus flute performance from California Institute of the Arts and Bachelor’s of Music from University of Colorado at Boulder, College of Music. For more information, visit www.creativemusicwithsarah.com.

Fostering Ownership of the Democratic Election Process in the Primary Grades Through Creativity, Analysis, and Self-Reflection  by Carol Sandberg Howe   I was recently watching a talk show interview of a very famous actor who announced that he was temporarily postponing his movie projects in order to focus on public speaking tours at major college campuses and other prominent venues. His topic: the urgent need for educational institutions to make United States social studies education a major priority presented incrementally in ageappropriate concepts at each grade level. This would include facilitating a thorough understanding of the “nuts and bolts” of American history and government and emphasizing each student’s responsibility as a United States citizen to participate in every phase of the democratic process.  While acknowledging the critical need for students in the

United States to be competitive with other countries in reading, mathematics, and science scores, the actor further pointed out that other world countries have been singularly united by their unique roots of a common language, customs, and traditions for many, many centuries. The United States, on the other hand, has always been a “melting pot” of many ethnic backgrounds, each with their own languages, customs, and traditions. It is the only country in the world originally founded on the principles of democratic self-government, a unique set of ideas, and laws created by active citizen participation as cited in the Declaration of Independence and recorded in our Constitution as the “glue” that holds this country together. Without this essential foundation

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1.    What is an Election and What does it mean to “vote?”An (election) is an event where people make a choice (vote) between two or more people or things. The students also came to understand that voting was much like the graphing activities they were used to, which recorded and measured their choices (e.g.,“how many students prefer red apples, yellow apples, green apples?” or “how many students prefer chocolate ice cream, vanilla ice cream, or strawberry ice cream?”)

and education as responsible citizens being thoroughly ingrained in each successive generation, he predicts, we will ultimately lose our national identity.  I visit many classrooms throughout the week, and as an experiment, I sometimes ask 3rd through 8th graders to write out the words to the “Pledge of Allegiance” that most students robotically recite every morning at the beginning of the day.  I ask them to also write the meaning of nine of the key words in the pledge, including:  pledge (my solemn promise),  allegiance (my loyalty),  the purpose of the United States flag(it represents the honor and identity of our country), republic (a country that allows its citizens to vote, nation (a country united by similar customs and laws), indivisible (cannot be separated), liberty (freedom), and justice (fairness) for all. (I’m sure it’s not surprising that many students, even in the 7th and 8th grades, do not know the words’ meanings until we review them as a lesson.) After the lesson, I get comments such as,“Wow! Now, I know what I’ve been saying every morning!”  Similarly, I sadly find that most students in classrooms I visit rarely understand the meaning and heritage behind the words of “The Star-Spangled Banner,” which has just been celebrated by our country in its 200th anniversary. I briefly explain that Francis Scott Key wrote the poem in 1814 (which was later set to music) as he witnessed the 25-hour bombing of Fort McHenry in Baltimore Harbor by the British during the War of 1812. He described “the rockets’ red glare, the bombs bursting in air,” giving “proof through the night that our flag was still there.”  But he had to wait until “the dawn’s early light,” of the morning to see if the American Flag flying above the fort “was still there,” to signify that the British had not won the battle.  The flag, though tattered from the bombing, was still flying and is preserved to this day for viewing at the Smithsonian Institute.  Again, I received the students’ gratitude that they now understood what they were singing.  .One United States social studies activity I found particularly useful for promoting self-reflection, responsibility, analysis, and creativity in the primary grades is a simulation of the democratic voting process.  There are those who have expressed the opinion that primaryage children are only capable of understanding the voting process on the most elementary level (e.g., a class vote, which refreshments to bring to a party, what special game or activity to play, or what reward to receive for good behavior). But those of us who have the privilege to work with gifted primary students know better.  If our students are actively asking “what, how, and why” questions, they are ready to learn about the subject and to explore it in a creative and reflective way.  And we, as teachers of the gifted, are the facilitators of that creative process; we are here to fan the flame of inquiry and to help students keep the project on course.  I chose a second grade gifted class for this project and I began this process with a KWL chart to assess just how much the students might already know about the election process (i.e., What I Know, What I Want to Know, What I Want to Learn).  We all know that this can be one of the best ways to generate a class discussion that might lead to a student-developed class project.  My intent was not only to encourage my students’ interest and curiosity but to arm them with a basic vocabulary and the steps (process) it takes to conduct any type of election. The following are election definitions developed by the students during our class discussions:

2.    What is a President?— and What does he do? He is elected by the people to lead and guide the country and makes important choices that affect the good of the people.  3.    What does a Leader do? After much discussion, the students made the connection that: a President is a leader and a leader is like the teacher in a classroom. Leaders (teachers) must know how to tell people to do certain jobs in order for the work to get done. Leaders (teachers) must make the decisions that affect the class.  Leaders (teachers) help people obey the laws. Leaders must be able to communicate clearly their ideas by speaking and writing. Students concluded that whoever was elected President of their class would be a responsible person and have to exhibit those same leadership qualities.  4.    What is a Candidate? He is a person running for an elected office, such as President.  5.    What is a Ballot? During an election, people write the name of the person (candidate) that is their choice for the job.  6.    What is an Election Speech? It is a presentation read by the candidate with a list of reasons why they are the best person for the job.  7.    What are Election Posters? Election posters are pictures and words printed on large cardboard to advertise why people should choose that candidate.  8.    What are Polling Places? A polling place is a room where people come to vote or choose their favorite candidate. It contains ballot boxes and ballots for people to write their choice for class president.  9.    What are Election Judges? Election judges are people who hand out and collect the ballots and watch that everyone votes the correct way and only once for each candidate.   Expanding the students’ election vocabulary was rewarding, but my chief goal was to help my primary students discover and embrace a class project where students felt they had a personal stake in the outcome by directly participating in the campaigning, voting, and administration of their own classroom election process.  Once students understood the vocabulary and the basic processes of an election, the students creatively decided that they would like to hold their own presidential election in their classroom and instead of choosing only two people to run for the office, they ALL wanted to run for Class President.  Each student would design his/her own campaign, including designing their own personal posters to advertise, and writing and performing thoughtful speeches on “Why I Should Be Elected Class President.”  Before writing their first speeches, the students developed a two-column chart to record what each candidate talked about during their speech explaining “Why I Should be Elected Class President.”  One column of the chart was labeled “personal promises or presents” to classmates; the other column of the chart

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was labeled “helping classmates or classroom service.”  On their first speech attempt, many students listed purely selfcentered observations about themselves (e.g., “I am nice,” “I like to play baseball,” “I like to wear nice clothes,” “I will give candy to my friends,” “I will be your friend,” “I will give longer lunch hours and longer recess.”).  After the first wave of more selfish, self-serving speeches by the students, the class engaged in a long discussion to review “What does it mean to do some type of service to help someone in the class or meet some students’ needs or provide some service to the class vs. their first self-centered speeches?  This was positive peer-pressure at its best—as students evaluated each candidate on their charts—judging: how selfcentered are each candidate’s speeches?  How service-serving are their campaign promises? Were these the words of a class leader?  Then, after personal “self-reflection,” students were asked to write a second revised speech draft and present it to their classmates.  It was so gratifying to observe my primary students mature both socially and emotionally--to dig down deeper within themselves and hear their speech content evolve from purely selfcentered observations to more desirable and responsible character observations, such as these:  “I will help my teacher by keeping my desk and aisles clean,” “I will volunteer to clean the chalkboard,” “I will not talk in class while my teacher is explaining a lesson, so that it will not stop the lesson,” “I will write down homework assignments for a classmate who has been out sick, so he/she can catch up,” and (with the teacher’s permission),“I will watch to see that used paper and so forth has been placed in a recycle box.” “I will organize a fund-raising event (such as selling candy bars) to buy supplies for our classroom.”  The social-emotional development in this exercise was fourfold for each student:

The creative design of the classroom “polling place” was outstanding. Each group took responsibility for different areas of the voting area, including colorful posters with thoughtful pictures and slogans; some students invented clever poems or songs; there were colorful banners, flags, hats, and ballot boxes; student “election judges” performed accurate counting of the ballots and the winner was announced through a “student-designed newspaper.”  Another student group took responsibility for inviting parents to the classroom and organizing a celebration party at the end of the election. The entire process was deemed an “unqualified success.” We can no longer continue to exclusively rely on traditional “crash courses” for the upper grades in preparation for passing the required “Constitution” test as the only effective way to carry on our nation’s heritage.  As a ray of hope, it has recently been announced that a number of states are currently proposing a future requirement: all upper grade students must pass the same “Citizenship” test administered to all naturalized citizens as additional reinforcement of the democratic process.   But what about better reinforcing our country’s heritage during the earlier years? In all fairness, as dedicated teachers, we know that every moment of our teaching day presents an almost overwhelming challenge to teach the essential concepts and skills of reading, writing, mathematics, science, and the arts, while attending to the individual needs of our students. We also know that teaching the basic principles and processes of United States government and the responsibility of citizen participation deserve the same age-appropriate repetition throughout all eight grades as all the other subjects. We must fight to somehow “fit these lessons in”--perhaps by linking these concepts daily with our socialemotional lessons on “following school rules, showing respect for classmates, making wise choices, and students taking responsibility for students’ actions.”   At least it might serve as a beginning . . . .   CAROL SANDBERG HOWE is a classroom teacher in gifted education and differentiated instruction in Chicago and suburban schools. In addition, she has also participated in gifted programs at National-Louis and Northern Illinois Universities through the Center for Gifted Programs affiliated with the Midwest Torrance Center for Creativity. She has also held several positions at WTTWChannel 11, Public Broadcasting, Northeastern Illinois University, and has served as an editor on a number of notable magazines.

 1. Stimulated by class discussion, my primary students began to develop a maturity that reflected a sense of “self-reflection and honesty.”   2.  Students began to understand that running for Class President required the candidate to exhibit a “strong sense of personal responsibility, leadership, and dedication to service,” which required a careful evaluation of each candidate’s qualities and reliability for the job.  3. The process awakened students to what it meant to be a contributing member of the classroom community and a deeper understanding that “whatever behavior a student exhibits (be it good or bad), affects all students.”      4. My students began to understand emotionally what it means to “take a stand for something that they strongly believe in; a greater sense of confidence and personal pride.” In other words, “I AM a worthy person.”  Additional “election campaign” dividends were delightfully apparent as I observed how much each student’s writing skills and speaking confidence had evolved through creating his/her individual campaign speeches.  Now that students began to “own” the election process, it was time for them to work cooperatively in groups to creatively design and set up a “polling place” and supervise the election process of voting for their favorite candidate for class president:  Note: no student was allowed to vote for him or herself. 

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Connecting The Dots: c.c.c. “Bringing Rail to Higher Education” By Christine Ohtani-Chang, President, Hawaiian Gifted Association

History Lessons:

Introduction The objective of the “Bringing Rail to Higher Education”curriculum was to develop a template for an online gallery while collaborating with higher education and various communities. The platform in which the art images would be presented and developed with the assistance of the University of Hawaii School of Architecture will utilize technology tools to develop the lessons learned. A call for art work images would be open to 5 levels: K-5/ 6-8/ 9-12/ University/college and Professionals. Through this exhibit we hope to demonstrate the creative “genius” involved in creating the image and the critical thinking behind each image. We also aimed to use this exhibit as a curriculum piece while developing the online gallery of the Hawaii Gifted Association (HGA). This year HGA is going “high tech” and streamlining the presentation of the artwork. We are very fortunate to have an intern student from the University of Hawaii School of Architecture who has taken on this project and assisted in developing the gallery platform in which the online gallery will be presented. All artists submitting their images will be included in the online gallery via the web site ( www.higifted.info) until 2015 when HGA will once again have their annual call for Artists’ works. Previous to the 2014 online gallery, HGA Artists have shown their work at KCC (Kapiolani Community College) Lama Library. Previously to that, a small private gallery setting opened up the first HGA Show with its featured Artist, Johan Bosgra. This year, the online “traveling gallery” will debut at the National Association of Gifted Children (NAGC) Convention in Baltimore, Maryland from November 1316, 2014. The online gallery will also preview at the Streetcar Museum and B & O Rail Museum in Baltimore, Maryland. The initial idea was implemented in late 2014 in response to the rail transit system that would lay the foundation of the online gallery. The curriculum will be presented by a pictorial history of images of how artists see rail and their interpretation of its future here in Hawaii. As controversial as it is, it is the future of the times. We bring learning lessons to the classroom to discuss education, history, technology and a readiness from college to career in this curricula. The visual presentation will complement the lessons learned through team research, data collection, and community resources.

Research included Hawaii Rails found on the island to provide a brief background of a once known way of transportation for those living In Hawaii (featured artist: Barbara Smida presented her interpretation and rendition through an Artist’s perspective). -Oahu Rail / OR&L … -Hawaii Plantation Village; Train Puuloa #7 located in West Oahu; Ewa Historic Site (currently closed) that includes village scenes, train, tracks etc. Additional research can be found via websites focusing on history of locomotives, rails, etc. www.nyhistorymuseum.org www. NTHP.org www.MTA.org ushistory.org/us/25b.asp aar.org touristrailways.org sdrm.org/history/timeline Heritage_railway_in_Kauai Amtrak.com Metrolinktains.com/i5 *** Hawaii Authority for Rapid Transit (HART) intends to seal a time capsule to be opened in 25 years. Currently an open invite to the general public to submit letters for the Time Capsule commenting on their current day commutes and challenges is being solicited marking another milestone in transportation history. Education/ Methodology: The methodology for assessing creativity and visual art is not primarily based on activity but also on the criteria of principles, curricula, design, and technical skills. Such key thinking skills must be blended into the curriculum by a more cognitive activity,

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with questions and thought provoking patterns. This research was supported by Tay (2014) in the Talents Unlimited Model which “mirror[s] the artistic creative process, and a differentiation strategy known as tiered assignments.” In the tiered process, thinking skills surface throughout the lessons and within the framework of its theory and artistic process. The Talent areas of Productive Thinking, Decision Making, Planning, Forecasting, and Communication all focused on higher order thinking and help to develop thinking skills and appropriate challenges for the artistic task that they envision. The Talents Unlimited Model developed different perceptions and insights for the students while also supporting the educator’s use of the TU Model in their lesson plans. The results and differences of a student’s work were exemplified by a more in depth understanding of the principles, its intricacy, and originality. This mind set is a learned thought process and once achieved, students will have a “stronger sense of self autonomy and ability to take charge of their creative works.” Visual images submitted for the online gallery reflect a mix of thoughtful play and imaginative thought process on varied levels. Of the “schools” or art groups that submitted works to the online gallery specific attention was given to technique and skill building of the artist within the “7 elements of art; line, shape, color, value, texture, form and space”. Classes experimented with different types of media and learned basic techniques. Pending on age group, different mediums were used for projects. There were art pieces done that were theme related or shared a common technique offering more of a thought provoking process. This is also reflected in some self portraits included in the online gallery. The art educators there work collaboratively with the Honolulu Museum of Arts. *Torrance Test and assessment is recommended to evaluate creativity in an individual. Torrance also has a call for submission for annual scholarship for visual as well as creative writing skills each summer.

or self represented; hence, quality and sharpness may vary. The creator Phap remained attentive to this criteria and considered the best in selection of images. Due to this factor, links and web sites are provided to view artists’ works from their own web sites (see collaboration list) as well. Submission of images began on May 15th, 2014. Images of specific groups, themes etc. were submitted to the online gallery creator intermittently throughout the process. Due to the creator of the online gallery and prior commitments, the deadline had to be pushed further up, so HGA made efforts to accommodate the timeframe and solicit entries/ registrations by the end of June. HGA is grateful for the support of the School of Architecture for their volunteer hours and continued work within their time restraints. The online gallery would remain on the web site until the following summer when a new call for artists would start and the images refreshed. Artists will be given an option to leave their works online year to year, as HGA builds the online gallery. Prospectus/ Call for Artists Elementary to High School Students were encouraged to submit works. Their works would NOT be for sale and any sales will remain the responsibility of each (Minor& Parent/Guardian) student artist and handled independently of HGA’s online gallery. Schools and art groups were also encouraged to submit artwork images. University/college and professional level artists were encouraged to participate and submit images. They had to register and then submit a minimum of at least two jpg. images Works at this level are for sale with 15% commission to HGA’s Scholarship. A pricelist would also be available at each venue should attendees be interested in purchasing. A waiver covering liability of the original artwork (if it is exhibited) and/ or image on the registration would have to be signed. It would remain the responsibility of each artist to conduct sales ( be it original, reprints, images etc.) and forward the 15% commissions to HGA. HGA Scholarships are awarded to students, educators, and Professionals wishing to attend or supplement, workshops, conferences, conventions and tuition.

Implementation: Technology Tools were proposed to develop the platform for the 2D/ 3D online gallery such as Adobe,Topaz, 123 catch, Final cut etc. 2D Images were requested to be sent 150 dpi in jpg. Files. All 3D files were recommended to go to www. 123dapp. com/catch program. This digital imaginary program provides an easy, simple-to-use process for taking several angles of one’s 3D artwork and combine the images together producing an accurate and clear 3D file to send for the online gallery. The creator of the gallery was done by School of Architecture student Phap Vu is currently working on graduating in 2015. Recently, Phap Vu was recognized for his architectural futuristic concepts and idealistic designs (Honolulu Star Advertiser 5/18/14 in a proposed mixed use building concept in Honolulu as a student project). His innovative approach in presenting the online gallery concept was creative and refreshing with a local flair that keeps the viewer attentive throughout the time period. Several “groups,” art clubs, communities, etc. were approached during the process whom HGA felt may have more of an interest in having their works represented online. HGA was looking for a broad spectrum of age groups (elementary to adult), ethnicities and geographic areas that would submit varied mediums of artwork. These Images were then requested to be photographed, demonstrating the best of their work either professionally done

Collaboration: Entities supporting “Bringing Rail to Higher Education” online gallery: AHA/ Association of Hawaii Artist www.associationofhawaiiartist.com Baltimore Gifted Association www.mcgate.org Baltimore Streetcar Museum www.baltimorestreetcar.org B & O Railroad Museum www.borail.org CAL/Coastal Art League, Ca. www.coastalartsleague.org Creative Arts Program www.rehabhospital.org Cycle Manoa www.cyclemanoa.org DASH/Digital Art Society www.digitalarthawaii.org

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Hawaii Mission Academy, Ka Lama Iki www.hawaiinmission academy.org www.kalamaiki.org Hga Featured Artist/ Engine I: Barbara Sumida www.papoh.com Hga Featured Rail Artist/ Engine II: Frank Oliva www.frankolivaislandart.com Honolulu Country Club Gallery www.honolulucountryclub.comn Illinois Association for Gifted Children www.IAGF.org The Salvation Army KROC Center Hawaii Art Program www.kroccenterhawaii.org City and County ; Kapolei Hale www.honolulu.gov Korean Artists Association of Hawaii/ The 23rd Korean Children & Youth’s Art Contest (2014) www.koreanartshi.org NAGC & Affiliates www.nagc.org Plein Air Arists : Hawaii’s Plantation Village www.hawaiiplantationvillage.org UH School of Architecture ww.arch.hawaii.edu Featured Artists: 2014 Barbara Sumida www.papoh.com 2013 Warren Stenberg www.warrenstenberg.com 2012 Ann Bingham www.binghamfreeman.com 2011 Johan Bosgra www.imagekind.com www.beachhousepublishing.com Online Artists: Pua Barinitos Carter Black www.carterblack.net Joan Dubanoski www.digitalarthawaii.org Priscilla Hall http://paintingsbypehall.blgspot.com Sue Noon www.artofsuenoon.weebly.com Frank Oliva www.frankolivaiislandart.com Ohtani-Chang www.digitalarthawaii.org Rebecca Snow www.rebeccasnowart.com Jenee Wonderlich www.associationhawaiiartist.com

Higher Education Rail Report” at the 2014 NAGC Convention in Baltimore. Source: Star Advertiser 6-18-14/Hawaii Authority for Rapid Transit $222.2 M. Total budget to acwuire right-of-way properties for rail project $861.2 M. Spent YTD $161M. Budget Balance 213 properties needed 67 properties acquired 146 additional properties needed. College to Career Transportation will affect the pace at which we move more than a million people on this island of Oahu. Currently, a population size for communities in the West can be anywhere from 3700 people per square mile to 12,000 people per square mile. The density of these communities per square mile combined with the aging of the young adult population will make the need to commute with alternate means to work and higher education campuses a priority. The following findings reflect high school to university level and beyond of those currently attending or will be entering a college or university in Fall of 2013 18 yrs.+ 75.6% (15-19 yrs/ 6-7%) 21 yrs + 71.6% (20-24 yrs / 6.9% and 25-34 yrs/ 14.1%) Of these seeking a way to commute to other locations for one reason or another, be it attending classes or work, some factors to consider were: - household with 2 or more cars - 2 working members in household - attending higher education Institutions, inter -campus commute etc. HS+ 84.6 BA+ 26.2 MA+ 8.4 (2000 census) (Younger students may travel by car or other means providing a door to door drop off closer in proximity due to age and parental preference )

Future Star Advertiser, Editorial Page; INSIGHT headlined: “RAIL transit gets real” As progress continues on the structure of the rail, Hawaii Authority for Rapid Transit’s oversight of the “largest public works project” to date continues to keep the community informed and as well as the community being visibly aware of its growth, column by column from west to east. Some images you see in the online gallery have already sneaked its way into galleries here and there from admirers of the rail. A recent call to submit a 150-word letter to be placed in a 25 year time capsule has also appeared in the newspaper as of June first. HGA’s themed online gallery is working towards completion column by column, and as you can see even editorial columns. (star advertiser/6/1/14, E1&E4) c. As of 7-17-14 Congressional action via HR 2419; “REBUILD AMERICA’S BRIDGES AND ROADS” Has brought attention to funding needed in each state. See also additional articles via Star Advertiser raising community concerns, budgetary issues in HGA’s “Bring Rail to

Factors to consider in the future as we consider current 2012/2013 data findings: Tech Establishments: + 5.3% Creating New jobs 31,472 Tech Wage Emp.: + 4% New skills/ Education 485,548 U.S. Select Indicators and Subcategories: (The Condition of Education 2014) Attainment: age 25-29 earned Bachelor +34% 2013 Economic Outcomes: earnings w/Bachelor Degree 57% 2012 Postsecondary Enrollment Degree Programs 57% since 1990 (projected increase of 3.6 M by 2023 compared to 2.9M in 2012)

Undergrad Degree

Bachelor



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39%

2001/02 2011/12 (1.3M to 1.8 M)

Collaboration with Higher Education: The collaboration between the School of Architecture and the Hawaii Gifted Association brought about a unique relationship between several entities within the communities. The University student who was key in bringing the creative vision of the online gallery and the dedicated labor that was put in assisting HGA in pulling in images and formatting them were greatly appreciated. The particular “student intern” is a 3rd year student who balances a job, college, and extra curricula activities within the community, such as HGA Online Gallery. He remains instrumental in future development, planning, as well as future presentations of HGA’s online gallery. His partial ownership to this project will assist in developing and furthering his career goals and building a well rounded resume for potential firms and businesses where he would seek employment within his profession .

giftedness, leadership, public awareness, psychology/emotions, scholars and scholarships, talent, technology etc. We should say the c.c.c., abc’s or 123’s of the beginning of “Rail” while we also keep on track that we were always heading to Higher Education, incorporating creativity, critical thinking and curriculum! Rail will bring the “commuters” to higher education by the very means many thought otherwise. The future doesn’t look so negative as we create another efficient means of transportation new opportunities, and skills to accommodate the growth in population while moving with the future. References Condition of Education, 2014 Hawaii Authority for Rapid Transit (HART), 2014 Hawaiian Gifted Association (HGA), 2013, 2014 HR2419; Building Bridges and Roads Act National Association for Gifted Children (NAGC), Teaching for High Potential (THP) , Spring 2014 Oahu Railway and Land Sabol, 2006 Star Advertiser, 2014 Juliana Tay, Doctoral Student, Purdue University, 2014 Torrance Center for Creativity and Talent Development, 2013, 2014 US Census, 2010 Washington Post, 2013, 2014 whitehouse.gov/REBUILD-AMERICA All rights reserved 2014

Conclusion: Submission of works came from grades kindergarten through 12. The online gallery remained free (optional donation) to submit a minimum of two pieces per individual with the anticipation of registrations from adult population of artists. The registration fees would cover limited overhead expenses and fund the HGA Scholarship. The end product was completed in June, producing two online gallery videos (copyright 2014) one approx. 8 minutes and the other approx. 10 minutes in length. Intentions are to have these viewed in the museums as part of a curriculum presentation to support this collaboration. As we “connected the dots : c.c.c.” through the process and of this project, HGA had the opportunity to interface with several entities, community groups, gallery venues, professions, non profits and alike to develop the final online gallery. The intent was to have this perpetuate year after year and refresh the images, bring in new participants while laying down a template or foundation to start the HGA online gallery, all the while remaining attentive to the cost of supply and demand . Our goals were two fold, in that we wanted to meet the community’s need and also raise the online gallery to a higher level with national exposure while emphasizing issues that go beyond the themed” Bringing Rail to Higher Education” . We feel we have cautiously touched current issues of concern across the board from arts, budget, career, copyrights, demographics, development, education, government , funding,

Christine Ohtani-Chang, currently the President of the gifted association of Hawaii, works with gifted education as a consultant and advisor. She has done direct service to gifted and talented students from grades K to the College level. Christine has presented at a number of workshops and conferences as well as chaired several conferences and gallery venues that highlighted individuals in the visual arts. She has done fundraising and grant writing for the Hawaii Gifted Association. Her Master’s Degree supports her in her interest in gifted and talented research and higher level education.

My personal experience as a parent... By Michele Foote

I believe that all children are special, have their own unique gifts, and are here in this world for a distinct purpose. It is our job as parents to really see our children for who they are, love them unconditionally, and support their gifts. During this journey of parenthood, I’ve realized that we are still learning and that our children have become our greatest teachers. Children offer so many gifts – love, kindness, laughter, empathy, compassion, curiosity, presence, and creativity. They inspire me and bring me so much joy. I am so grateful to be a parent. Becoming a mom has been one of my most rewarding experiences. We do not fully know what to expect in becoming

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parents, but what I have learned throughout the last seven years is that the most important thing I can give my children is unconditional love for who they are in all their moments of life. I believe that every experience in life is a teachable moment. I also think it’s important to let kids be kids. Kids need to play, imagine, create, make mistakes, express their feelings, and be themselves. I read a quote by Albert Einstein that said this: “Logic will get you from A to B. Imagination will take you everywhere.” It brings me so much happiness to witness my children at play. And I am so grateful for our simple moments and adventures

together. I wake up excited to see them, grateful to take care of them, and know that this moment right now is what life is all about. And then, after they have spread their wings, we let them fly.

errand of grocery shopping. As we were walking into the supermarket, I was thinking of my grocery list. My son then looked up at the sky and said, “Mom, look at those clouds! They are so fluffy, I wish I could play in them! “ It brightened my day in that very moment. He reminded me, as children often do, to enjoy the moment! I took a nap one afternoon after my daughter’s birthday party. I woke up to my children playing with one of their new cooking sets. They were pretending to be Hibachi Chefs. We had just taken them to a Japanese restaurant for dinner earlier that week. They were smiling and giggling - each of them had on aprons and they lined up small tables as cooking stations. One table had spices, one table had bowls and utensils, and the other table had their creation of miso soup. As I awoke, they were serving me soup and appetizers. I felt so happy and grateful to witness such play and wake up to these happy people. One day as we arrived home from a sixteen hour drive in the car from our spring break trip of sunshine and the beach, we came home to cool, gray weather. As I was unpacking our bags and everyone was just out of the car, I looked out the front window of our house and our kids were making a “beach” in the front yard with our beach umbrella, beach chairs, and blanket. They still had this incredible energy to play. Another morning before school, our kids were pretending they were puppies. They had taken the laundry hampers from everyone’s rooms, lined up three hampers in a row, and put pillows across the top to make the roof. They were underneath the pillows pretending they were puppies and eating their breakfast. One afternoon, we were getting ready to go to the gym. My kids came out of their bedrooms dressed in all black clothing and said they were spies. They each then ran off to their closets or “offices” and were making pictures of maps with codes. They were so engrossed in their play, they had forgotten we had plans to go to the new kids’ class at the gym. Another evening, I was making dinner and I looked out the kitchen window to check on our kids playing in the backyard. They were busy running back and forth throughout the yard, pulling together chaise lounge chairs, small tables, sticks and leaves, and the water hose, tying jump ropes together, and carrying our small outdoor fire pit near everything as the “cage”. They were building a trap for any wild animals that came through our yard that night because we had recently had a raccoon in our trash. When given free time to play, kids will create, imagine, invent, explore, and enjoy the moment of the day. I now try to be careful and allow as much free time as possible in our week. I understand the importance of play and that it is the catapult for creativity, learning, and problem solving. When kids have time to play, they are free of any pressures and can just be themselves. I believe, they are not caught up in the “doing” of life that can make them tired and irritable and drain them of their creativity. From being super heroes to princesses or witches, they have endless energy and imagination. My hope is that this creativity and curiosity for learning stays with them forever along with wonderful childhood memories. They have taught me that no matter what you are do, try to be in that very moment and you will experience more joy. They inspire me. And when you are inspired, you feel excited; when excited, motivated; and when motivated, happy. My wish is that they continue to be inspired by whatever it is they want to do or be in life.

Let Them Fly A poem by Michele Foote Morning sunshine is coming up, Coffee brewing for that cup, Pitter patter of feet coming near, Giggles and giggles is what we hear, Cuddles so sweet, we cannot stop, Down to breakfast we will hop, Eating our cereal, it will pop, Giggles and giggles is what we hear, Pitter patter of feet coming near, Time to get dressed and start our day, Curious of learning and time to play, Buses and cars are zooming by, Some are walking, some stop to say hi, Teachers are smiling and lead the way, Let’s listen closely to what they say, Growing, growing, every day, Hear your voice and find your way, Raise your hand and ask a question, Give a helping hand or suggestion, Giggles and giggles is what we hear, Pitter patter of feet coming near, It’s time to go home, the bells are ringing, Clubs, activities, and play time for creating, Homework, baths, and story rhymes, Nothing better than family time, Giggles and giggles is what we hear, Pitter patter of feet coming near, The weekend is here and it’s time for fun, Out to the soccer fields, watch me run, Birthday parties fill us with cheer, It’s wonderful to celebrate that we are all here, Playgrounds are busy with kids everywhere, The sun is shining, we could be anywhere, Kids on swing sets, they are swinging, Filled with happiness, we feel like singing, Let’s swing so high and touch the sky, Comfort them, see them, and honor them – let them fly. Let them fly. What my children have taught me… My children have taught me so much, but here is what they’ve taught me the most – the delight of enjoying the moment, the natural curiosity and love of learning that we all have, and the gift of creativity. When I observe my children, I find myself smiling for many reasons. One of those reasons is that I’m reminded of being a child myself and the excitement and dreams I had each day. Children bring a special kind of magic to life. Whether my children are brushing their teeth while singing in the bathroom, taking apart their closets to build forts, sweeping the driveway because it’s fun, going on a nature walk to collect fall leaves, or feeding their stuffed animals before they are off to school, they are fully in the moment and their creativity is contagious. One Monday morning, I was taking my son to our regular

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What Should We Be Today, Mommy? A poem by Michele Foote

it’s our job to help guide our children toward their passions and be careful not to push them towards our own dreams for them because they excel in academics. I wonder about those children who have learning disabilities, but still have many creative gifts. These children need our support more than anyone, so they are certain to build confidence and pursue their dreams. In my generation, it was considered a success to go to college and find a job—any job as long as it had a good salary. And the higher the salary, the more admirable the job. During this process, I don’t think we often heard – follow your passions, do what you love and this will bring you success in life. I believe it’s time we say this to our children as they go through their school experience. It’s important to take risks and find your passions. Sir Ken Robinson said these words in his Ted Talk: “If you are not prepared to be wrong, you’ll never come up with anything original.” I believe that if you pursue what you love from the beginning of your career, you will have financial security and be successful in all areas of your life. A successful individual is financially stable, but also available to live a balanced life of professional career, personal interests, and time for family and friends – and genuinely happy doing it all. I always admire those that say their work does not feel like work. We need all types of professions to make the world run smoothly. We should teach our children to respect each and every kind of work. I believe that success should not be judged solely by job title, income, or social status. Life has enough ups and downs and I think our passions are what pull us through it all. My opinion is that children, whether average or gifted achievers, need to follow what makes them happy. I read a wonderful book recently entitled The Conscious Parent by Dr. Shefali Tsbary. In my reading, I learned that we parents have to be whole in order for our children to be whole. Otherwise, we can accidentally impose our unconscious selves and sought-after dreams onto them. It is not our children’s job to fulfill our dreams in life. We brought them into this world and they need to fulfill who they are and their own unique purpose. I couldn’t agree more. As a stay at home mom for over seven years, I know for a fact that the most creativity comes from my kids when they are given free time to play, are having fun, are exposed to interesting experiences or classes that not only challenge them, but engage them. I agree and understand that we need standards and benchmarks such as the Common Core within our school systems across the United States. However, it’s also important that we are not measuring every child in the same manner. Teachers and parents should work together to help our children strengthen their gifts or talents, pursue their passions, and offer differentiated learning curricula. Children spend six hours a day at school and need time each day to focus on their passions or talents. This enables them to discover their passions in life before spending thousands of dollars on a college education. My husband and I grew up in a wonderful community and respected school district with many happy childhood memories. However, I have some memories of being in high school and seeing many kids besides myself half asleep at their desks. Or we would be in class and confused by an assignment, but we were too intimated by the teacher to ask a question. It is definitely a

What should we be today, mommy? A puppy, a princess, a witch, or a fairy? A super hero, a cowboy, a monster that’s scary? A chef, a spy, a robot that’s smart? A singer, an actor, or the Tin Man without a heart? A scientist, a hairdresser, or maybe a doctor? A pilot flying a big helicopter? A gardener, a police officer, a swimmer who is wet? A doctor that loves animals – yes, a vet! A teacher, an astronaut, an artist at heart? A mom who is shopping with her baby and grocery cart? A fisherman, an architect, a fire fighter? A designer, a lawyer, a children’s book writer? A barista, a dentist, a pet shop owner? A librarian, an acrobat, a philanthropy donor? Or maybe a kid who is happy just being a kid. Yes, that’s me and my imaginary friend named, Sid. The importance of creativity and passion… My biggest hope as a parent is that my children not forget these gifts of enjoying the moment, their zest for learning, their creativity, and their passions and motivation for life. I believe these gifts are the keys to a lifetime of peace and happiness as an adult. I read a quote by Julia Child that said the following: “Find something your passionate about and stay tremendously interested in it.” I hope for our children to really know themselves, to follow their own dreams, to have their own internal drive, to be kind and pass on what they’ve learned to others. Life is precious and it’s important to enjoy it. Life is also hard, complicated, not always fair, fast paced, and confusing at times. I hope they know how to problem solve and stay resilient, like a child. I hope for them to own their feelings, be comfortable expressing themselves, and learn from their mistakes. We are human beings and we are not perfect and I want my children to know this. And it is often times when life is not so perfect that we receive our greatest gifts of creativity. I recently came across an old Ted Talk and video by Sir Ken Robinson, How Schools Kill Creativity. I love this Ted Talk and find it so funny. It was recently voted one of the top twenty Ted Talks of all time. The Talk focuses on the point that creativity should be as important as literacy and that children have extraordinary talents and we squander them. He references this quote from Pablo Picasso: “All children are born artists. The problem is how to remain an artist once he grows up.” It is a fascinating talk. I personally am in awe of the wonderful doctors, dentists, and lawyers in this world. But we must begin to be in awe of our creative children. The kids who love stories and enjoy music can spend hours drawing or painting, or have daydreams of being an actress, a photographer, a designer, or an inventor. Creativity is unique and not something that can be taught out of a book or memorized as information for a test or even measured by a test. And it can only be expressed properly if given time to access and nurture it. I have learned over my reading of several books on gifted children by Joan Franklin Smutny that gifted kids may excel in several areas or be profoundly gifted in one area. I believe

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joint effort between parents and teachers for children to get the most out of their school experience. However, if kids are asleep in the classroom and they don’t feel connected to their teacher, something is missing. Teachers and parents can empower children and bring out their greatest potential. I am so grateful that our family lives in a community with an excellent school district—one that supports differentiation amongst students, employs principals and teachers that not only meet but exceed our expectations in every way. Our schools not only teach academics, creativity, critical thinking, and problem solving skills, but social and emotional learning and respect for all. We are very grateful and fortunate to be a part of our wonderful school and community. I know not every family has this opportunity, but every school can continue to make improvements and innovate so that our children reach their greatest potential. I recently read a journal that addressed this need of giving children and especially those who are gifted and creative, the opportunity to engage in subjects outside of Common Core. They called this time Genius Hour and I believe it is an excellent idea. As a parent, I hope this out-of-the-box thinking will be accepted amongst many schools. Genius Hour is a time where students can pursue their interests by selecting a topic that intrigues them, choose to work alone or together, thoroughly research the topic, and present their findings to as large an audience as feasible. The projects would not be graded but rather self-assessed and also critiqued by adults and peers. Children then have an opportunity to reflect on what they’ve learned and what they might do differently the next time. This concept was based off of Google’s 20% Time, where employees had time each week to pursue personal passions, so long as they were of benefit to Google. I can’t imagine any kid not being excited of this concept, which seems to support the entire idea of education – to instill a love for learning. I think many times we have more than one passion. This concept may open the doors to many passions and areas in life that kids don’t have time to explore after school with homework, sports, and clubs. Kids these days are overwhelmed with hours of homework after school and barely any time for play or family activities. I believe it is when we are alone with our thoughts and given quiet or free time that we hear our inner voice guiding us to our passions and our calling in life. Over the years, I have come to learn that this inner voice is our true self. I recently watched Steve Job’s Stanford Commencement Address. In his speech he said, “Don’t let the noise of others’ opinions drown out your own inner voice.” ~ Steve Jobs And what an impact he made to society by following his own inner voice. I love his personal story.

to think of rhymes that put a smile on my face as they captured our day. And before I knew it, I had written my first children’s book. It felt exciting. I often found myself with my kids in the children’s section of bookstores. It was cozy and calming to all of us. I was in awe of these beautiful children’s books, the messages, morals, and lessons they told, and the enthusiasm my children had for reading together and story time. I realized that the joy I was experiencing was being fully present and engaged in something that I love. At first I thought to share this book with only my family as a special keepsake, but I then realized it would be important to share what I had learned with others. A mentor of mine and Editor of this IAGC Journal, Joan Franklin Smutny, once said to me, “If we cannot help one another, then what good are we?” And this is exactly how I feel about my book experience. It makes me think of another famous quote by Maya Angelou, “If you get, give. If you learn, teach.” I am blessed to be reminded of this valuable life lesson and experience of being in the present moment. Not only did this experience of being in the moment bring genuine joy to my life and a great connection with my children, but opened me up again to my true passions in life. My passions of writing and inspiring others, helping others, and the joy I feel when I’m doing anything that’s creative and imaginative. When you have passions, you feel happy. And when you are happy, you make better choices and make this world a better place for everyone to live. I am thankful to Joan Franklin Smutny who encouraged me and gave me insight into publishing. I was then lucky to meet my friend, Valentina Belloni, an amazing illustrator, who accepted my book project and brought my story to life with her beautiful illustrations. I hope my new children’s picture book What Should We Do Today, Mommy?—created through this journey of motherhood— will bring a smile to your face, and inspire and remind parents and children everywhere to try and enjoy the present moment in life, no matter what they are doing. Hopefully, your children will take this lesson with them throughout their lifetime. It sounds so simple, yet can be so difficult in our world of many distractions. I hope this valuable lesson will have as positive an impact on your life as it did mine. My book may also offer some playful ideas on how to spend the day together with your child for any new parents. Whether walking to the park on warmer days, driving to the toy store on rainy days, or stopping at the neighborhood bake shop for a special treat to start the day, children remind us of the delight of enjoying the moment. I truly believe that every moment in life, every adventure, and every person we meet, whether positive or challenging, is here to teach us something about ourselves and help us grow into our greatest potential, if we look from that perspective. To end this article, I would like to mention a quote I recently saw by Quincy Jones while visiting our local children’s museum. “What a harmonious world it could be if every single person, both young and old, shared a little of what he is good at doing.” Quincy Jones Whatever inspires you, whatever excites you, and whatever makes you shine bright, just remember to always follow your light!

How being in the present moment leads to joy and why I wrote my children’s book… Over the last several years, I found myself so happy in the moment with my children. I am in awe of them – their pure delight in every moment. They have no judgments, are not distracted by yesterday, do not think of tomorrow, and fully engage themselves in whatever they are doing. It is wonderfully refreshing. From games of hide and seek to making soup in our kitchen to visiting our favorite museums, I am constantly in gratitude for each experience. It inspired me to begin a journal of my daily adventures with my children. I had not kept a journal since my childhood. I would read my journal at night and begin

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My children’s picture book What Should We Do Today, Mommy? is available from my personal website, www. michelefoote.com, the publisher’s website, www.authorhouse. com , or through your favorite bookseller or preferred on-line retailer such as Amazon or Barnes and Noble. I welcome your feedback. I hope my book will inspire you and bring you, your family, and friends many moments of joy!

You Can Never Have Too Many Sparkles A poem by Michele Foote You can never have too many hugs or kisses, Too many dreams or worldly wishes. You can never have too many laughs or smiles, Too many friends or family within miles.

978-1-4918-6492-0 (SC ISBN) 978-1-4918-6493-7 (eBook ISBN)

You can never have too many tears of joy or sorrow, Too many shoes that will get you through tomorrow. You can never have too many salty or sweet treats, Too many comforts when you are feeling weak.

What Should We Do Today, Mommy? by Michele Foote A child is in awe of life and brings wonder, magic, and laughter to every day. A little girl, Ashley, asks, What Should We Do Today, Mommy? From using our imaginations inside the house on cold winter days, walking to the park on warmer days, driving to the toy store on rainy days, or stopping at the neighborhood bake shop for a special treat to start the day, she reminds us of the delight of enjoying the moment. Ashley’s enthusiasm will bring a smile to your face and excitement for the day through the eyes of a child!

You can never have too many questions about who, what, where, when, and why, Too many details that teach us how to get by. You can never have too many days of rain or sunshine, Too many birds or butterflies giving you a sign. You can never have too many prayers for the day, Too many thank yous of gratefulness to say.

Michele Foote – Biography Michele Foote cherishes warm childhood memories of growing up in Grand Blanc, Michigan. Motherhood has brought her so much joy and has been one of her most rewarding experiences in life. After a few years into the journey of motherhood with her first child, Ashley, the main character of the story, she turned her daily journal into a children’s picture book. Ashley was born in Chicago, where they explored the city together in this wonderful new phase of life. Michele Foote is available for story time and speaking engagements at your local school, library, or business. Please contact Michele Foote at 312-371-7226 or michelefoote20@ gmail.com or through her personal website, www.michelefoote. com.

You can never have too many adventures or experiences in life, Too many unknowns that take courage and strife. You can never have too many walks, runs, or bike rides, Too many fireflies that light the night sky. You can never have too many lyrics that you’ve said, Too many songs or daydreams in your head. You can never have too many forms of art, Too many miracles that warm the heart. You can never have too many inspirations or ambitions, Too many pathways and roads that will teach you life’s missions.

A special thank you to Joan Franklin Smutny, a mentor and inspiration to me. Thank you for your contributions to our gifted and creative children.

You can never have too many thoughts or ideas that are new, Too many chances to let everyone see you. You can never have too many sparkles that make you shine bright, Too many reasons to follow your light. Follow your light.

CREATIVE UNDERACHIEVERS CHILDREN WHO ARE TOO “OUT-OF-THE-BOX” By Sylvia Rimm Educators in the field of gifted education attempt to not only accelerate curriculum for their students, but also to encourage and expand their critical and creative thinking. They often explain this creative approach to students as “out-of-the-box” thinking. “The box” is an effective analogy to help children understand how to shift their thinking and learning styles toward taking initiative

and being more original, questioning, and imaginative. As a psychologist who specializes in gifted children, I sometimes work with students who do indeed enjoy learning and working “out of the box,” but instead struggle with “in the box” assignments even when they are at appropriate challenge levels. They say things like, “I would enjoy math if 6 plus 4 could equal

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something different each time, but we always have to put down the same exact answer. It’s boring.” These children usually have uneven abilities (2008a) so that they may enjoy talking, but prefer to write little and specifically find repetitive study unpleasant even when it is helpful for their mastery of information. Many underachieve in school (Rimm, 2008). Underachieving children are not always creative, and creative children are not always underachievers. However, an alarming number of highly creative children do not achieve to their abilities in school. Parents of those highly creative children frequently conclude with a certain amount of pride that “their children have always seemed to march to the beat of different drummers (Rimm, 2003).” Here’s a case example [pseudonym used]: Jack’s parents brought him to me in first grade after his teacher referred him for Special Education. She could not motivate him to even attempt his reading workbook assignments, although she recognized that he was an excellent reader. He repeatedly explained that “workbooks were too boring” for him and refused to do them. He had also explained his boredom problem to his father, who had told him he should do his work but also added that, “School hadn’t been creative enough for him either.” Unfortunately, Jack heard his father’s message as support for his wish not to do “boring” workbooks and continued to defy his teacher. Jack’s IQ score was 138 and his GIFT (Group Inventory for Finding Creative Talent)(Rimm, 1976) creativity score was 99%-ile. Reading and math scores were also 99%-ile. Jack loved reading, talking, and computers, but did not like writing and hated repetitious work. A combination of parent support for teacher direction, explanations to Jack of the rationale of importance for the work, curriculum changes that provided more challenge, and teacher rewards for accomplishment of the more arduous and boring tasks of writing quickly reversed Jack’s primary grade underachievement. Jack continued to see me in therapy occasionally throughout his school years. His creative needs were always crucial to him, but he also learned to work “within-the-box” when required. He became an excellent student and adjusted well socially. In college, Jack first majored in physics and then changed his major to computer science, but adventure and creativity were always important in identifying his career goals. He completed a nature-video photography Master’s degree program specifically based on his science undergraduate major. Today, Jack is an Emmy Award winning nature photographer who works both in and out-of-the-box to make video productions available on the Discovery Channel, National Geographic, and other media formats. He continues to “march to the beat of a different drummer,” earns a good living, and makes a positive contribution to society. Both creative achievers and underachievers have been given early messages about the importance of creativity by at least one parent. The messages come most simply from the praise given to them for their creative ideas, talk, actions, and/or products. They learn that when they do something unusual or if they have a funny or different idea, it brings them positive attention. Creative thinking becomes a personal motivational goal, which won’t necessarily lead to underachievement if home and school environments cooperate to foster the creative process. They

identify themselves as creative people, and they feel creativity as a crucial part of their persona. An early indicator of a potential problem will appear in the differential valuing of the child’s creativity or escape behavior by two parents. If one parent defends the child’s behaviors as creative, and the other parent views the creativity as opposition or avoidance of responsibility, the seeds of underachievement can be planted. EARLY TELLTALE SIGNS At elementary school level, these creative children may be seen as achievers, although the telltale signs of creative opposition are sometimes already visible as they were with Jack. They often voice complaints about boring math facts or workbooks, teachers who don’t like them, or arguments they win with teachers! Sometimes, caring parents ally with them against a teacher, ask for less busywork, or request unnecessary extensions for assignments. Parent conversations with other adults that take place within children’s hearing (referential speaking) about the lack of creativity in schools, the inadequacy of teachers, or the invidious comparison of routine schoolwork with the more creative, out-of-school activities in sports, drama, or music add to the opposition problem. One parent typically blames the school, teacher, or other parent for the child’s occasional (at first) irresponsibility. As a parent allies with the child against the school, the child learns to avoid school responsibility and to blame the boring school curriculum or teacher for his or her problems. In the alliance of child and parent, the child gains too much power and becomes engaged in a subtle struggle with one or another teacher in the name of creativity. There are good years and bad years at first. Within this struggle are the seeds of the pattern of determined and oppositional nonconformity. The child has begun the march to the beat of an ever different drummer. PRESSURES CREATIVE ADOLESCENTS FACE Creative young people are faced with paradoxical pressures. Their now internalized value system says to “be creative.” They translate that to mean “don’t conform.” Achievement in school requires considerable conformity. Peers also demand conformity for acceptance. Conforming to teachers or friends seems antithetical to these children’s wishes to be creative or different. During the early adolescent years, creative underachievers can become quite unhappy and often feel unappreciated by parents, teachers, and peers alike. By high school, opposition is firmly entrenched and has become a way of life. While the parents refer to the problem as adolescent rebellion, the teen considers him or herself as only independent and different. The opposition that began as an alliance between parents or one parent against a teacher, has expanded to become opposition against one or both parents and any number of teachers. Sometimes, the adolescent will be successful in getting Mom on his/her side against Dad or vice versa. Either or both parents may share in their protest against the school. The most likely alliance group of all, however, will be an oppositional peer group, preferably one that identifies itself as “different.” The creative underachiever can finally find acceptance by friends who value, most of all, nonconformity and opposition. Even within that peer group, Creative Chris both struggles with and revels in being “the most different.” Grades are often poor, assignments are

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missing, and disorganization plagues the creative underachiever. Mood swings are common, as they feel intense successes and failures. Some search out drugs, which enhance their excitement about feeling different. WHAT PARENTS AND TEACHERS CAN DO TO HELP CREATIVE UNDERACHIEVERS Ideal home and school environments that foster both creativity and achievement include parents and teachers who value creativity within the limits of reasonable conformity. That is, children are praised and encouraged to work hard and also for unusual and critical thinking and production. The creative thinking does not become a device or a manipulation for avoidance of academic or home responsibilities, even when they are not as exciting. If, in any way, creativity takes on a ritualized position of avoiding a parent’s requirements or the school’s expectations, creativity becomes used as “an easy way out” for avoidance of responsibility and achievement. Here are some recommendations for parents and teachers for the prevention and reversal of underachievement in creative children (Rimm, 2008b): •

As a parent, don’t, if at all possible, ally with children against a teacher in the name of creativity. Parents should communicate their concerns to teachers, but it must be done carefully so the teachers or school are not disempowered in the process, and children don’t view their creativity as an excuse for not fulfilling school expectations.



As a parent, don’t ally with children against another parent in the name of creativity or permit children’s creative needs to be the excuse for not doing what the other parent requests. When one parent allies with children against another parent, it overempowers children.



Encourage creative children to be productively engaged in at least one area of creative expression, and help them to find audiences for their performances (Rimm, 1996). Children who are happily and productively involved in creative arenas are less likely to use their energy to fight authority. Whether their choice of creative expression is art, drama, music, or science, a creative outlet frees them of some of their internalized pressures to be nonconformists in other areas.



conformity. Mentors should be achieving, creative people who work both “in-and-out-of-the-box.”

Be sure not to permit children to use their creative outlet as a means of evading academic assignments. Demanding music practice or impending art show deadlines are reasons for flexibility in academic requirements but not excuses for avoidance of responsibility.



Don’t label one child in the family “the creative child.” It causes that child to feel pressured to be most creative all the time and causes other siblings to believe that creativity is not possible for them at all.



Find appropriate models and mentors in areas of children’s creativity (Rimm, 2008b). Creative children, particularly in adolescence, too easily discover inappropriate models who may also be creative underachievers. Appropriate models should share their creative talent area, but must also give messages of responsibility, self-discipline, hard work, and reasonable



Find a peer environment that combines creativity and achievement. It should be one that permits creative children to feel comfortably accepted by other achieving and creative young people. Gifted resource programs frequently provide a haven for creative underachievers, provided the identification process has not eliminated them from participation. There are many summer opportunities for drama, music, art, photography, computers, science, math, or foreign languages that provide excellent creative outlets.



Encourage intrinsic motivation while also teaching competition (Rimm, 2005). Children should learn to enjoy the creative process for the joy and satisfaction of their personal involvement. However, they should not be permitted to entirely avoid the competitive arena. They should experience a balance of winning and losing to build confidence and resilience.



Use creative strengths to build up weaknesses. Children don’t have to be equally strong in all areas, but they do have to accomplish, at least minimally, in school-required subjects so that they don’t close educational doors for themselves. Artists who don’t like math or creative writers who don’t like memory work can use their creative strengths as a means of adjusting to their weaknesses. For the creative writer, unique mnemonic devices will often make dull memory tasks more interesting. Artistic or unique folders, assignment notebooks, or technology may help the nonmathematician remember to do assignments, particularly if the artist is encouraged to share these artistic creations with peers. Creative children can often find their own solutions to dealing with their weaknesses, and some flexibility and encouragement on the part of teachers will foster their creative solutions.



Avoid confrontations, particularly if you can’t control the outcomes. This is not an excuse to avoid firmness and reasonable consequences, but it is a warning to prevent overreaction, overpunishments, and the continuous struggles and battles that often plague creative adolescents’ environments. Modeling and sharing positive work and play experiences can keep parents, teachers, and children in an alliance.



Help creative adolescents to plan a creative future. Though they are underachievers at this time, it is critical that they understand that most creative careers are open only to achievers. If they’re unwilling to compromise and conform to reasonable requirements, they’re likely to close doors to future creative opportunities.

There is a precarious balance between creativity and oppositionality. Creative children often feel so internally pressured to be creative that they define their personal creativity only as nonconformity. If they’re unwilling to conform at least minimally, they risk losing the opportunities to develop their unique talents. If parents and teachers don’t encourage avoidance of responsibility in the name of creativity, creative children can channel their important talent toward productive contributions,

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feel better about themselves, and share their creative contributions with society.

Rimm, S.B. (2008b). Why Bright Kids Get Poor Grades and What You Can Do About It. Scottsdale, AZ: Great Potential Press.

References: Rimm, S.B. (1976). GIFT: Group Inventory for finding creative talent. Watertown, WI: Educational Assessment Service. Rimm, S.B. (1996). The arts are important for your children. How to Stop Underachievement, 6(4). Rimm, S.B. (2003). Marching to the beat of a different drummer. Sylvia Rimm on Raising Kids, 14(2). Rimm, S.B. (2005). Teaching healthy competition. Sylvia Rimm on Raising Kids, 16(3). Rimm, S.B. (2008a). Learning disabilities. Sylvia Rimm on Raising Kids, 18(4).

Sylvia Rimm is a psychologist, the director of Family Achievement Clinic in Cleveland, Ohio, and a clinical professor at Case Western Reserve School of Medicine. Her books, How to Parent So Children Will Learn and Why Bright Kids Get Poor Grades, were both 2008 National Best Books award winners from USA Book News. Sylvia has authored many other notable books, including Keys to Parenting the Gifted Child, Raising Preschoolers, See Jane Win®, How Jane Won, and See Jane Win for Girls. She is also co-author with Gary A. Davis and Del Siegle of the textbook, Education of the Gifted and Talented, now in its 6th edition.

Safe Haven: Parenting Creative Children Amidst Abundant Conformity by Kathryn P. Haydon Parenting: one of the hardest jobs in the world. Parenting creative children, depending on how you experience it, can be in the top tier of difficulty. It is well documented that there is a societal pull toward conformity—in school, in extracurricular activities, in thought patterns. But creative children buck these trends. The way they think naturally does not tend to conform to the way the world is, nor to the way the world expects children to be. This can lead to parental embarrassment, isolation, or downright frustration. It can also induce worry that there is something wrong with the child when his nonconformity is mistaken for a deficit or diagnosis. For a parent who prefers to live with a set routine, organization, and order, a highly creative child might seem like an enigma or a threat to the system. Consider the experience of this spontaneous, idea-filled child and her mother, who didn’t know what to do with the intensity . . .

but popping out of my mouth before it got there “KATHRYN!” until I learned to wind those ideas around me like a straitjacket strapped to my chair. Then they just sat pretty and I trained them to be still and shut up and my mind went numb with multiple choice tests and spelling words that I already knew. Until I found the poetry, and one by one the ideas began to move again,

Raising the Creative Spirit When I was born I crashed into my mama. Well, it wasn’t really me but the ideas hovering around me like a force field connecting and fusing in a continuous motion of energy and chatter and “what ifs,” and the sparks would shock my mama all day long like sudden zaps when you touch your car door in winter while you’re wearing woolen mittens.

form pictures and strands, filing or swarming onto the page, captured and tamed in a way that some could understand. But I still crashed into my mama. I didn’t mean to after all day at school with duct tape over my mouth they came pouring out again, sparking and puttering and shocking my mama and raising her hair like I rubbed a balloon on it.

I crashed into my teachers, too, the ideas shooting my hand up in the air

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When my baby was born, he didn’t cry. His eyes were wide with awe, and I saw the ideas twinkling about him like constellations. He may have crashed into me but I didn’t feel it, for what’s another spark among the thousands? Together we carve space for the ideas so they can ignite make a fireworks show and he doesn’t have to sit in school and numb his mind but can play with them all day long (quietly), come home, and strike a match.

Map. Sit in a location for one hour. Document all the sounds you can hear and the times you heard them. Mark the approximate location of the sounds in relation to you on a map.” You place the exploration on the kitchen counter. A few days later, you happen to notice your child sitting outside in the yard mapping the sounds of the birds, wind, and passing cars. In other words, it can be very effective to place interesting books, items, or activities around the house for your child to discover on his own rather than engaging in them together or trying to direct the play. Red RaceCar One by one they take their places on the track. “Children, start your engines,” roars Ms. Bondrilka, the kindergarten teacher. One after another keys click motors sputter wheels turn. Thirty tiny cars begin their journey with gusto, shouting, smiling, pictures of grand adventures flooding their minds like dangling carrots. Four laps equal a mile, round and round they go. Scattered at first, they quickly lock step, concentric circles steadily moving at the metronome’s pace. “Fall into line, Johnny!” the maestra suddenly shouts, nervously glancing over her shoulder. But one red dot has already breached the horizon, - a minor note in a major scale blurring a zigzagging course, swirling and skidding figure eights and pirouettes, alone; free.

Embrace Curiosity and the Spirit of Play If you are a parent of such a firecracker child with an independent spirit that likes to do things her own way, whose ideas spark from her all day long, and who thrives in exploration, discovery, imagination, and originality, what can you do in the home to support her and to avoid crashing into one another? Curiosity is the fuel of creativity, a characteristic that has shown up in lists of traits of creative people throughout time (Davis, 2004). To nurture a creative child, it is essential to allow for curiosity and exploration in the home. The first and easiest step is to give the child flexibility to pursue her interests. Make sure she has plenty of materials that she needs to create her inventions, build structures, imagine scenes, float off to other worlds in books, take apart electronics, or explore in nature. Ensure that your child’s day has plenty of unstructured time for her to be home and do these things, uninhibited by schedules, pre-planned activities, adults, and even friends and siblings at times. These moments or hours of self-directed exploration and discovery are precious to your creative child, and provide rejuvenation and regeneration especially after many hours at school. The second step is to embrace curiosity and a spirit of play yourself. Find your own interests and inspirations, and share these with your children. You might share a YouTube video, a smooth stone that you picked up on your morning walk, or a question that you’ve been pondering. Maybe you point out a surprising shape in the clouds, or marvel at a radiantly colored leaf. When you are excited about a discovery or a new idea, you validate your child’s creative spirit, demonstrating solidarity and understanding. As noted earlier, creative children are often intrinsically motivated to pursue their own interests, but they don’t always appreciate being “instructed.” For example, as you are embracing curiosity yourself you might have found a wonderful book with open-ended, whimsical creative missions called How to be an Explorer of the World by Keri Smith. You might think your creative child will love doing these explorations with you. But when you produce the book and suggest it, your child looks at you suspiciously and says, “No thanks, Daddy, I’m going to go outside and dig a river in the yard.” You can’t believe that your child, who loves to do these open-ended sorts of things, doesn’t want to join you. You might feel hurt or mad! But instead, you decide to rip a few pages out of the book and place them around the house. You tear out “Exploration #14” which says, “Sound

Sometimes Your Child Stands Out Is your child the one in the class that charts his own path? One parent accompanied her highly creative three-yearold son to a weekly Mommy and Me preschool class at a local indoor/outdoor preschool. While all of the other children happily participated in the activities laid out by the teacher, her child preferred to wander the playground doing his own thing. She sometimes felt a little embarrassed and isolated because she was on the playground following her zigzagging child while the other mothers and children visited in the classroom. One day, a more seasoned mother saw her frustration and said kindly, “You know, the qualities of independence and individual curiosity that your son has are difficult to parent, but will serve him well in life. I’m trying to teach those qualities to my own little boy, but yours has them naturally.” What a vote of confidence, and a refreshing perspective. Over the years, the mother often thought back to that moment with gratitude especially after she’d had a particularly difficult experience with her creative children. But how do you

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cope with the 20 years before adulthood, when these qualities might be quite irksome to teachers and to other children? How do you preserve these behaviors in a world that tries to normalize them? Again, allowing your child freedom to be him- or herself at home goes a long way. This provides a safe zone, and confirmation to your child that he is all right and accepted for who he is. Here are some ways that creative children might appear in school: • Seem to be playing around when they should be working at assigned tasks. • Engage in manipulative and/or exploratory activities, many of which are discouraged or even forbidden. • They enjoy learning, which looks to the teacher like play rather than work. • They are intuitive and imaginative; enjoy fantasy; see unusual uses in ordinary objects; are flexible, inventive, original, perceptive, and sensitive to problems. • They have vital energy (Goertzel et al., 2004).

lift you like a hot air balloon over clouds to where the sun always shines no mist to cover who you are your passion your purpose and most of all your joy. Ignore the box man and keep singing your song.” Keep Your Child Out of the Box(es) Sometimes it can seem like the box man is after your outof-the-box thinker. You can feel the whispers as you walk down the street, or when you drop your child off for a class. You can hear the scrutiny in innocent-sounding statements like, “Sarah has quite an imagination,” or “Sam is exuberant in class.” As you filter through the common beliefs and attitudes of how to deal with non-conforming children, please consider the following facts. In a 2010 survey of over 1500 CEOs around the world, IBM found that creativity was the number one leadership quality leaders sought in employees (ibm.com/ceostudy, 2010). The world is changing at a more rapid pace than ever in all of human history. The number of life-altering inventions from the beginning of time until the year 1900 was 10. The number of lifealtering inventions between 1900 and 2000 was 25 (Henry, 2001). Richard Florida defined the new “creative class,” which consists of people who have jobs that produce new ideas and products (such as scientists, writers, and designers), or those who employ creative problem solving in their work (such as lawyers, high-tech workers, and business managers). Florida asserts that in 1900, less than 10% of the U.S. population worked in creative jobs. In 2000, more than 30% of the U.S. population worked in creative jobs (Florida, 2012). Students in U.S. schools today are likely to hold more than 22 jobs before they retire from the workforce (Trilling & Fadel, 2009). Many of our children will also have to create their own jobs in order to respond to changing needs and changing times. Do these statistics reinforce your commitment to preserving, protecting, and nurturing your child’s creativity, even at the expense of ridicule, or onlookers that imply that you’re doing it wrong? Creativity is a precious commodity. We need highly creative children to stay mentally in tact; we need them to have creative self-efficacy (Beghetto, 2010) so that they may be confident in employing their abilities to make unusual connections, to be original, and to look at things differently. As they apply these abilities to personal, community, and world problems, they will become change agents for a brighter tomorrow. But how to help your child gain creative self-efficacy? Help her begin to observe and think about her thinking. Simply defined, creativity is “the production of original ideas that are made useful” (Gryskiewicz, 1987). It necessarily involves a combination of divergent thinking (idea generation, imagining, fantasizing) and convergent thinking (analyzing the ideas and filtering them to choose the best, most appropriate solution). Any creative act, from building a block tower to painting a picture to discovering something new, involves these two dimensions of creative thinking.

It has been well-documented that creative children are not always appreciated in school; research and studies have revealed that teachers tend to view compliant, conforming children most favorably (Beghetto, 2010; Goetzel et al., 2004; Torrance, 1963; Wallach & Kogan, 1965). Beghetto (2010) reports that recent studies have found that many teachers link creativity with “nonconformity, impulsivity, and disruptive behavior” (p. 455). What does this mean for your creative child, and what can you do about it? The Box Man’s Prowl Don’t kid yourself. I see you lurking in that corner eyeing me, your straight, flat rulers and yardsticks neatly lined in rows, scrutinizing, ravenous to see how I measure up. It’s no big secret that you’re trying to trap me in one of your tiny straight-edged boxes squish me into one dimension like a lab rat, unworthy of your kitchen scraps. I see your narrow spyglass trying to follow me as I twirl and sing and paint with words that you can’t catch because they float and scatter happiness like summer rain showers and sunrays to anyone who’s listening and they shout “ignore the box man and make your rainbows anyway, let your smile

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Torrance (1966) defined creativity as “a process of becoming sensitive to problems, deficiencies, gaps in knowledge, missing elements, disharmonies, and so on; identifying the difficulty; searching for solutions, making guesses, or formulating hypotheses about the deficiencies: testing and retesting these hypotheses and possibly modifying and retesting them; and finally communicating the results” (p.6). Observe how your child senses gaps, and goes on explorations or experiments to fill them. Point out to him that he is doing this, and that this is creativity. We might also describe creativity in terms of characteristics, such as curiosity, independence, originality, risk-taking, high energy, sense of humor, ability to fantasize, attraction to complexity or ambiguity, artistic, open-mindedness, need for alone time, perceptiveness, emotionality, thoroughness, and a strong sense of justice (Davis, 2004). When your child is in the midst of a creative act, notice the facets of her thinking. Describe the definitions of creativity, and communicate real-life examples of how you have seen her employing these processes and characteristics. Share with her some statistics and facts about the importance of creativity, and how it is wonderful and useful for her to keep thinking the way she is thinking. Guilford, the psychologist that catalyzed the field of creativity with a seminal speech in 1950, encouraged people to learn about how they think. He wrote, “. . . knowing what you do intellectually gives you some control over your mental functioning” (Guildford, 1977, p. 10). Being aware of their own creativity and its usefulness, highly creative children (who likely know that they think differently from others) will gain confidence and strength in the expression of their abilities.

by their shadows instead of their light, they may even want to fix them. As parents, we know our children best. Even with all of the experts out there knocking at the door to help us, we are the ones with the children day in and day out. Some might call us biased, or blinded by love. But who’s better than a parent to seek out our children’s creative strengths and support them, helping them to grow into the best people that they can be so that they might give their light to others? We are our children’s advocates, confidants, nurturers. If we can provide a safe haven of creativity where they are able to explore, discover, imagine, and pursue their curiosities; if we can help them see their own strengths; and if we can help them apply these strengths, we have done our job well. And we don’t even have to be perfect at it. Good faith effort, flexibility, and a whole lot of love are sufficient in nurturing our creative children. References Beghetto, R. (2010). Creativity in the classroom. In J.C. Kaufman, & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 447­-463). New York, NY: Cambridge University Press. Davis, G. (2004). Creativity is forever. Dubuque, IA: Kendall/Hunt. Florida, R. (2012). The rise of the creative class revisited. New York, NY: Basic Books. Goertzel, V., Goertzel, M.G., Goertzel,T.G., & Hansen, A.M.W. (2004). Cradles of eminence. Scottsdale, AZ: Great Potential Press. Gryskiewicz, S. S. (1987).  Predictable creativity. In S.G. Isaksen (Ed.), Frontiers of creativity research: Beyond the basics (pp. 305-313).  Buffalo, NY: Bearly Limited. Guilford, J. P. (1977). Way beyond the IQ: Guide to improving intelligence and creativity. Buffalo, NY: Creative Education Foundation. Henry, J. (2001). Creativity and perception in management. Thousand Oaks, CA: Sage. Smith, K. (2008). How to be an explorer of the world: Portable life museum. New York, NY: Perigree. Torrance, E. P. (1966). The Torrance Tests of Creative Thinking-Norms-Technical Manual Research Edition-Verbal Tests, Forms A and B-Figural Tests, Forms A and B. Princeton, NJ: Personnel Press. Trilling, B. & Fadel, C. (2009). 21st century skills: Learning for life in our times. San Francisco, CA: Jossey-Bass. Wallach, M. A. & Kogan, N. (1965). A new look at the creativity-intelligence distinction. Journal of Personality, 33, 348-369.

Radiance “You’re a beautiful shadow, they say, dark cast of a tree, branches and stems spread regally upon the snow and particularly stunning on this perfectly moonlit night.” But they don’t understand. I am a warm sun ray that the moon reflects and the tree blocks to create the elegant shadow by night and by day, I warm the earth I melt the snow

Kathryn P. Haydon is the founder of Ignite Creative Learning Studio and Sparkitivity. A former second grade and Spanish teacher, she designs innovative creative learning experiences for schools and individual students; works with teachers to deepen critical and creative thinking in the classroom; and has written and spoken widely on the topics of creativity, creative learning, and supporting creative and gifted students. She co-authored Discovering and Developing Talents in Spanish Speaking Students (Corwin Press, 2012), and her current research centers around developing innovative creative learning infrastructures. Follow her blog on The Creativity Post at http://www.creativitypost.com/ authors/list/152/khaydon

I am not the shadow, I am light. See Your Child’s Light Out in the world, people sometimes mistake the shadows of highly creative children for their true identities as creative thinkers. It’s not that they are unloved or disliked; it’s just that sometimes even well-meaning people mistake them for something they are not. Sometimes when people identify creative children

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IS STEM FOR ALL? Perspectives of Black and Latino Students on STEM Motivation By Adrienne Coleman and Kayla Ingram Is Science, Technology, Engineering, and Mathematics (STEM) truly for all? According to the literature, it is rare to find gifted and talented Black and Latino Students who are engaged in STEM (C. G. Wright, 2011; LSA, 2005; Scott, 2010; Speight & Weatherspoon, 2009). They are virtually invisible in these majors and careers. While Caucasians and Asians view STEM careers as a world of opportunities, Blacks and Latinos see them as challenging and inaccessible (The Center on Education and Work, 2008).  This results from a lack of exposure to STEM in K - 12 education, mathematics phobias, students’ misperceptions of what science is, lack of real-life application of science, lack of motivation to succeed, and peer pressure that devalues high achievement (Flores, 2007; PEW, 2005; Scott, 2010; QEMN, 2010). Black and Latino students tend to pursue familiar areas, such as the arts or athletics where they are sure they can excel because their role models have excelled in those areas already (Schlesinger, 2005). When Black and Latino students from the Illinois Mathematics and Science Academy (IMSA), a residential high school for students gifted in mathematics and science, were asked why a STEM gap exists, they stated that many Black and Latino students lack a STEM vision for themselves and have not been exposed to these fields. This is a result of being in under-resourced schools, being stereotyped, and being more exposed to non-STEM areas; as evident in their comments below:

in STEM. Because a lot of kids love science because there are no boundaries to it, you know. You can blow up something and you can just be yourself. So that is why I feel like, it’s not that many of us in STEM field. Latino Male:

I think one of the big things, definitely, I think we also touched on is the environment in which these Hispanics and African American students live in. There are resources in the communities that Hispanics and African Americans that aren’t necessarily affluent or rather more poor. I think that definitely contributes to it just because they can’t pursue STEM because it’s just not a possibility. And if it is, it’s not easily accessible. And another thing is historically, I feel like African Americans and Hispanics have been affiliated with things that aren’t academic, like gang affiliations and different stereotypes of that variety which makes it easy to go along with the stereotypes because I’m not expected to do anything else. So that’s definitely one thing that I think is a big contributor because historically they aren’t expected to do anything.

So before I came here, I came from a selective enrollment school in Chicago so one of the better schools in Chicago and predominately Black and students were motivated. Their parents were motivating them to be great and do great things in life; but the big thing in that school was the arts. Students were getting $20,000 scholarships to the Art Institute of Chicago, that’s the direction we were going. And I think that’s what’s popular in our culture, the arts and humanities, because that’s what we have as a Black community; that is part of what we give back and that’s part of how we continue to thrive. I don’t think it has to do anything with motivation; it’s about what we have and who we are as a people.

Latino Female: So I think the common thing throughout what we are going to be discussing is in terms of information and how knowledgeable the student is in terms of if you’re Latina you are given, since you were young, a stereotype based off of which race you were. I feel like that’s a really big thing because studies have shown that kind of changes your sense of motivation, your priorities, so say they, “Oh Hispanics don’t do that well in STEM education,” well if you’re badgered with that stereotype, that start to feel like “Oh well what if they are right,” what if you don’t really feel comfortable in this situation because people keep on putting you down. So I feel like a very big component and especially in this institution, it’s kind of the knowledge and de-establishing the hype of stereotypes.

Black Female: I feel like our education system isn’t leveled like it should be. A lot of what you get in school is based on your zip code. Unfortunately a lot of black and Latino students are in schools that don’t provide them with enough resources or they don’t have the budget or they are just living in not the best environments. Going along with us being minorities, it also hinders how many of us are in these fields. I feel like if kids were exposed to everything as their Caucasian and Asian peers then, you would see an increase

Although this STEM gap exists, Black and Latino students currently enrolled at IMSA, suggest STEM is for all. They are motivated to engage in STEM, and they plan on majoring in STEM as well as entering STEM careers. These 45 students were asked “What factors do gifted and talented Black and Latino students identify as motivating them to engage in Science, Technology, Engineering and Mathematics (STEM) at the Illinois Mathematics and Science Academy, a residential academy for gifted/talented students?” The trends that all students agreed upon include: personal drive to learn, obligation to Black and Latino community in an effort to break negative stigmas about Black

Black Male:

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and Latino students, and solve problems to advance humanity. Consistent with the literature on motivation, these trends demonstrate that these students are motivated to engage in STEM because they feel obligated to give back to their community and ancestry that provide them with the opportunities they have with hopes of contradicting negative stereotypes and breaking stigmas about their race/ethnicity. Their motivation also originates from their personal drive to learn more of the subjects they are interested in and this curiosity inspires them to solve real-world issues in order to advance humanity. The factor that is new and contributes to literature is Black and Latino students’ motivation stems from their aspiration to solve problems in order to advance humanity. For these students, their motivation is simply about the acquisition of knowledge; learning and discovery of new information impelled them to engage in STEM. They discussed their desire to want to know everything and how there is so much information to know as evident in some of their comments: Black Male:

so much that is available to you. Whereas other fields are kind of closed off. Latino Female: I think something that has helped me throughout my entire education, ever since I was a little girl. I think what has helped me is that I am very energetic. As in I can’t sit still. Whenever I do not do anything I feel like I am worth nothing. I feel like I always have to be doing things, I would say I am antsy. That has driven me to be involved in activities and when it comes to school, learning. I can’t just sit there and waste time so essentially what I do is get the most I can with the time that I do have do not like to bored I like to do things and school I like to learn things and seek more out of it so very curious along with antsy. So that has helped me when I am in school to make sure I am focused and I am doing worthy of my time and do things right and I am learning the subjects that I should be learning and then the curiosity has driven me further more as a high schooler now to make sure that I have understand what I need to understand and learning what I need to learn, that has helped me.

It’s not so much motivational, but I do want to find out as much as I can. But I fell into STEM education; there’s something unique about it that is not really relevant or apparent in any other aspects of learning. There’s this knowledge that no matter how much you know, you will never know all of it; so being part of STEM education drives me to know. . . . It’s inspiring to know that I’ll be finding new things possibly, but there is always more to know.

Besides a personal desire to learn, the Black and Latino students also are motivated to engage in STEM by their obligation to the Black and Latino community to break negative stigmas. These students believed that their ancestors and parents worked hard to ensure they received a good education; thus it became their responsibility to be successful. They also believed that negative stereotypes exist in society that suggest they don’t value education. Thus, the students’ motivation to engage in STEM lay in proving society wrong and breaking those negative stigmas as the following comments show:

Black Female: I have developed a passion for biology specifically and for the medical field and microbiology both. So what my motivation at this point is just getting through whatever else will get me to a place where I can really pursue that passion and develop it and eventually, I’ve always had that childish dream of “I want to save the world with learning” so just kind of see what the abilities I’ve been given what I can do to help out with them so just being able to pursue that passion and being able to see where I can take it. Latino Male:

Black Male:

I think that STEM still has the most unknown attached to it. We know a lot of basic math, we know a lot of basic scientific concepts but it’s always evolving. And I think with a lot of other fields we kind of hit our peak or at least it’s not as evident when you make a change. With reading and writing and things like that, that’s kind of set in stone. You’re going to learn new techniques as you grow older but if you look at the past fifty years even a hundred years some of the basic strategies with that stuff, it hasn’t changed. But STEM has evolved so dramatically and it has the potential to evolve so dramatically and ….it is fundamental in just about everything we’re doing because it’s so unknown. You know if you’re going into STEM you’re going to find some area of importance, you’re going to find some way to apply it to your life because there’s

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I feel like a big external motivator is to break negative stigmas about the African American male population; to put myself out there in a position in which I know other young African Americans who are younger than me can see what I’m doing and know that they can do it as well. And not only African Americans but other cultures as well; especially Caucasians so they know African Americans are just as good as they are, and I feel like for me to be successful I need to be in a position where I can represent my population. Black Female: It’s more of an obligation and not necessarily to anyone around me, but to my ancestry. As I have gone through my education and gotten older, the struggle of African Americans in America has grown more and more important to me as a person; and I feel like the opportunities that I’m offered no matter how good or bad they are, they are education. The more that I am offered these opportunities and I know I need to do well because the people before me did not have these opportunities, and they paved the way to make sure I did have these opportunities.

So when I do get the chance to learn something new, I take it as chance to take advantage and appreciate what other people have done for me. When I get out into the world I know that what I’m doing was someone else’s dream. I know that the work that I am doing and the knowledge that I have is because someone worked for me. Latino Male:

questions, collaborative relationships, personalized experiential learning, global networking, generative use of technology and pioneering outreach.” This suggests that not only are the students interested in real life problem-solving, but also that IMSA’s mission has contributed to STEM development and motivation in Black and Latino students: Black Male: During my junior year I worked in a lab at the University of Illinois, Chicago, doing research on prostate cancer. I was surprised to learn that Black men had the highest prostate diagnostic rates. Throughout my experience I focused my work on molecular and cellular biology. I was reading articles and running statistical analysis to find out why Blacks are at such a disadvantage of prostate cancer. That motivated me throughout the summer and the next year I did more research and overall my lab manager, the professor, and all others that worked with me guided me towards STEM. That and my parents pushing me towards hard science motivated me to try to accomplish something that would benefit a large amount of people.

A big thing for me is I want to be able to give back to my community and give back to the people who gave to me. Specifically, my parents, I want to be able to support them when they can no longer support themselves because they’re old or whatever. I want to be able to give my children, not only the same but better opportunities. And I want to be someone who, not only kids but anyone can look up to, I guess going back to the role model thing. Not only do I strive to be like my role models but I want to be a role model, one day. I want to be somebody that people can look up to so they can say, “I could do that.”

Latino Female: I say that my drive would be the, like whenever I was in middle school my mom would be like “si se puede” which is “yes you can” “yes I can” stuff like that and that’s always been in my head since that time because she would be like “oh, look at how hard your dad worked for all five of you even me” even her, because my mom has like carpal tunnel so she can’t really work right now in the moment. She has I believe seven years without working and my dad has been working ever since they both got married. I feel like I can do anything I set my mind to. And my dad says the same thing, “si se puede” “you can do that, you can see how hard I’ve worked” and like him telling me that he doesn’t care as much as like how hard he works or how much his back hurts, cause he has back issues stuff, if his back goes out or anything or that sort of stuff, he doesn’t care for it, because he says that he knows we will take care of him, that what I like. To have them rest and know that we did well. They worked so hard to get us to get to the right path, to get us like, more out there to have that opportunity as they did growing up.

Black Female: Seeing other people, not being able to help in this whole health care thing, I think that’s the outside factor that really pushes me to go into medicine. I don’t have an idea of what I want to do to help them right now but I know I want to do something. So that, women especially would be able to get good health care, while they are pregnant and they know the right person is taking care of their babies. Latino Male:

This obligation to the Black and Latino communities, especially family, has been a significant factor of motivation for these students to engage in STEM. An additional factor of motivation that has not been evident in professional literature is to solve problems in order to advance humanity. The students want to accomplish this by addressing the vital questions of this world. The interesting aspect of this factor is that it is consistent with the mission of the Illinois Mathematics and Science Academy: “The mission of IMSA, the world’s leading teaching and learning laboratory for imagination and inquiry, is to ignite and nurture creative, ethical, scientific minds that advance the human condition, through a system distinguished by profound

I think that STEM education is kind of, not necessarily the content, but the way you have to learn when you study like science, math, technology and all that good stuff the way you learn the connections you make, sets you up to solve problems which is what you’re eventually going to have to do. That’s the goal, that’s what you do when you’re older, you solve problems. Regardless of what those problems may be that’s what you’re doing, you’re solving problems. Studying STEM sets you up to solve those problems. It teaches you how to solve those problems. It teaches you how to think about things at a lot of different angles. That’s why studying STEM it prepares me with what I want to do with my life even if what I want to do doesn’t have to with STEM.

Latino Female: I think what motivates and what keeps me going, especially when I get down is my willingness to help other people and make a difference. That is the one reason I wanted to become a doctor is because I wanted to help people so it keeps me going if I understand the material and I can just accomplish at least one thing then I can help others do it too and I can make a difference by know that other people can do it just as well or

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even better than me. What keeps me motivated is the fact that I can help people examples will be not only in the working but also in the service trips that IMSA has even the small trips like shoveling snow you can save some from falling on the ice and dying. Something as simple as that is keeps me going knowing that I made a difference somehow. That keeps me motivated to get better grades so that I can become a doctor so that I can help people and that what I love doing and I know that’s what I want to do for the rest of my life. STEM is definitely for all! Even though some of the literature suggests that many Black and Latino students are not motivated to engage in STEM; students at IMSA have disproven those findings. So educators, if you want to motivate Black and Latino students to engage in STEM, follow the 5-Step program below:

2. Historical and Current News/Issues Discussion a. In addition to using the STEM immersion technique during these learning experiences, the curriculum should also include historical and current Black and Latino news and issues. This allows Black and Latino students to understand societal perspectives which would nurture their obligation to their community and the world. Awareness of themselves and those around them will grow which could entice their desire to develop as students. Recognizing this could increase their ability to understand themselves: who they are students, how they think and learn, and what is important to them. This process not only builds self-confidence but promotes resilience.

1. Early STEM Exposure a. The earlier Black and Latino students are exposed to STEM learning experiences and are consistent throughout their academic careers, they will develop the necessary skills and eventually nurture their passion for STEM. In doing so, they will instill a future vision for themselves that involves STEM by raising awareness for it.

3. Personalized Assessment and Evaluation a. Black and Latino Students should be regularly assessed to understand their strengths and weaknesses; then personalized evaluations should be created to emphasize their strengths and inform the development of strategies to address their weaknesses. This demonstrates to them the importance of collaboration by showing how a diversity of strengths and weaknesses can assist in solving problems. In terms of competition, showing some success in certain areas will ultimately help build self-confidence and enhance the students’ awareness of areas that need improvement. This enhances the will to do better amongst the Black and Latino students. Furthermore, it establishes a support system for the student with the teacher because the teacher will intimately know what each specific student needs to progress.   4. Leadership Opportunities a. The STEM areas in which Black and Latino students have demonstrated strengths need to be complemented with problemsolving activities where they can

1. IMSA as a Model a. There are components about IMSA’s approach to teaching and learning that are essential to STEM motivation for Black and Latino students. For one, the participants should not only be culturally but also intellectually diverse, allowing the students to learn from each other due to a variety of perspectives while in a collaborative group. The curriculum should immerse the students in STEM, introducing them to all areas. In addition, the teaching and learning should be exploratory in nature in order to mold the students into inquirybased thinkers. The activities should include realistic problemsolving elements that promote participant collaboration and support. The students should work with Black and Latino mentors engaged in STEM who help and encourage them to solve problems and advance humanity, further enhancing the STEM vision.

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lead. Then the students should be provided with leadership opportunities outside of STEM and encouraged to be versatile. This will allow them to develop leadership skills needed to be successful STEM leaders in a global world.

The following tables show a comprehensive perspective of gifted 10 and talented Black and Latino students currently attending IMSA, thoughts of why a STEM gap existed, why they engaged in STEM, what their STEM motivation was, and how they would motivate other Black and Latino students to engage in STEM: Table 1 Gifted and Talented Black Male Motivation (n = 20)

Table 1 Gifted and Talented Black Male Motivation (n = 20) Why a Black/Latino STEM Gap

Why STEM for Gifted and Talented Black and Latino Students

Gifted and Talented Black/Latino Student STEM Motivation

Enhances Motivation, n = 11(55%)

Lack of STEM vision, n = 6 (30%)

Enjoy STEM, n = 5 (25%)

Lack of parental support n = 6 (30%)

Good at STEM, n = 4 (20%)

Learning: Discovery of knowledge, n = 10 (50%)

Negative stigma of/misperception about Black males, n = 3 (15%)

STEM is a prominent, progressive field, n = 3 (15%)

Solve problems/to advance humanity, n = 9 (45%)

Solve problems/to advance humanity n = 2 (10%)

Money, n = 7 (35%)

Pursuit of scientific knowledge n = 1 (5%)

IMSA's Contribution to STEM motivation

STEM is a progressive field that leads to future success, n = 6 (30%) Competitive nature of STEM, n = 6 (30%) STEM Passion/Enjoyment, n = 5 (25%) Obligation to Black community/break to negative stigmas about Black males, n = 4 (20%)

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–Immersion in STEM –Challenge –Diverse Environment –Self-awareness

Motivate Black/Latino Students to Engage in STEM More Black Males as Mentors & Role Models n = 5 (25%) Early STEM exposure, n = 1 (5%) Nationwide STEM intervention for Black males, n = 1 (5%)

Hinders Motivation, n = 2 (10%) –Loss of STEM enjoyment –Realization of not being good in STEM –Competing with other students in STEM

Educate parents, n = 1 (5%)

Table 2 Gifted and Talented Black Female Motivation (n = 11) Why a Black/Latino STEM Gap

Negative Stigma of/Misperception about Black and Latino students n = 4 (44%) Lack of STEM vision for themselves, exposure to STEM, n = 3 (33%)

Why STEM for Gifted and Talented Black and Latino Students

Gifted and Talented Black/Latino Student STEM Motivation

Motivate Black/Latino Students to Engage in STEM Early STEM Exposure n = 3 (60%)

Enjoy STEM, n = 6 (60%)

IMSA, n = 11(100%)

Future success n = 2 (20%)

Future Success n = 8 (73%)

Lack of parent support, n = 3 (33%)

Solve Problems/To Advance Humanity n = 1 (10%)

Solve Problems/To Advance Humanity n = 7 (64%)

Unaware of future STEM/ benefits n = 3 (33%)

Parents Support n = 1 (10%)

Personal Drive to learn and be successful n = 6 (55%)

There is no gap n = 1 (11%)

IMSA's Contribution to STEM motivation

Obligation to Black Community/Break to Negative Stigmas about Black students n = 7 (46%) Money n = 2 (18%) STEM Passion/Enjoyment n = 2 (18%) Contentment n = 2 (18%) Good At It, n = 1 (9%) Challenge n = 1 (9%) Instilled Values n = 1 (9%)

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Enhances Motivation, n = 11 (100%) –Immersion in STEM –Challenge –Diverse Environment –Self-awareness

Hinders Motivation, n=0

Improve Curriculum by making it more fun and relatable n = 1 (20%) Improve racism in school system n = 1 (20%)

Educate them on future STEM benefits n = 1 (20%)

Table 3 Gifted and Talented Latino Male Motivation (n = 5) Why a Black/Latino STEM Gap

Why STEM for Gifted and Talented Black and Latino Students

Negative Environment / lack of community support, focus is on supporting family not education n = 3 (60%)

IMSA's Contribution to STEM motivation

Motivate Black/Latino Students to Engage in STEM

IMSA, n = 5 (100%)

Lack of parental support n = 6 (30%)

Obligation to Latino Community/Break Negative Stigmas about Latinos n = 4 (80%)

Negative stigma of/misperception about Latino Students n = 2 (40%)

Enhances Motivation, n = 5(100%)

Parents are flexible giving child freedom to decide future n = 1 (20%) Lack of STEM vision for themselves, exposure to STEM n = 1 (20%)

Gifted and Talented Black/Latino Student STEM Motivation

Seeks Parental / Familial Approval, Parental / Familial Support n = 3 (60%)

Solve Problems/To Advance Humanity n = 3 (60%) STEM is a Prominent, Progressive Field, Fundamental for everything n = 3 (60%) Future success n = 2 (40%) STEM Application to real-world occurrences n = 1 (20%)

Solve Problems/To Advance Humanity n = 2 (40%)

Want to be like role models / wants to be a role model n = 2 (40%) Personal Drive to learn and be successful n = 2 (40%)

Competitive Nature of STEM n =1 (20%)

REFERENCES Center of Education and Work. (2008). Increasing STEM retention for underrepresented students: Factors that matter. Retrieved from www.cew.wisc.edu. Flores, A. (2007). Examining disparities in mathematics education: Achievement gap or opportunity gap. The High School Journal, 91(1), 29 – 42.

–Immersion in STEM –Challenge –Diverse Environment – Balance the "uneven playing field" for minorities

Organizational Support / public program to help families n = 2 (40%) More Black and Latino Professionals as Mentors & Role Models n = 1 (20%) Early STEM Exposure n = 1 (20%) STEM Encouragement n = 1 (20%) Demonstrate STEM is necessary n = 1 (20%)

Pew Hispanic Center (2005). Hispanics: A people in motion. Retrieved from http://www.pewhispanic.org/files/reports/40.pdf. Latino STEM Alliance (2005). The Challenge. Retrieved from http://www.latinostem.org/about-us/lsa-overview Quality Education for Minorities Network (2010). Spring 2010 workshop on the recruitment and retention of African American male students in science, technology, engineering

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and mathematics (STEM). Retrieved from http://www.qem.org/ African%20American%20Males%20Report[5].pdf Schlesinger, R. (2005). Better myself: Motivation of African Americans to participate in correctional education. Journal of Correctional Education, 56 (3), 228 - 252. Retrieved from http:// www.jstor.org/stable/23282589. Scott, A. (2010). Dissecting the data: The STEM education opportunity gap in California. Retrieved from http://www.lpfi.org/ sites/default/files/dissecting_the_data_-_stem_ed_opportunity_ gap_lpfi_report.pdf. Speight, S. L., & Witherspoon, K. M. (2009). An exploration of African Americans’ interests and self-efficacy beliefs in traditional and nontraditional careers. Journal of Black Studies, 39 (6), 888 904. Retrieved from http://www.jstor.org/stable/40282605. Wright, C. G. (2011). Seeing as sound travels everywhere: African American boys learning to see transmission through the analysis of invented representations. Journal of African American Males in Education, 2(1), 81–97.

as a Health Educator. Adrienne has served as an AmeriCorps member and has been part of the United States delegation team to assist Moldova (Eastern Europe) in addressing issues of human trafficking and inadequate health education. Her areas of interest include public health, social justice/diversity education and higher/ gifted education.She hopes to continue providing educational and enrichment opportunities, specifically math and science related for youth from underrepresented populations. Kayla Ingram, Student Inquiry and Research Student Kayla Seymone Ingram is an alumnus of Illinois Math and Science Academy that graduated in May of 2014. During her senior year, she completed an on-campus Scientific Inquiry Research project on the motivational factors of gifted and talented Black and Latino students engaged in Science, Technology, Engineering and Mathematics with the intention of complementing her advisor, Dr. Adrienne Coleman’s, dissertation, An Exploration of the Factors that Motivate Gifted and Talented Black Males to Engage in STEM. Her hope is that more Black and Latino students in future generations will participate in STEM education and excel in the careers. Currently attending Hampton University in Hampton, Virginia, she is studying biology and psychology to pursue her career of being a forensic neurologist.

Adrienne Coleman possesses a Doctorate in Educational Leadership from Argosy University and a Master of Science Degree in Health, Physical Education and Recreation with an emphasis in Health Education as well as a Master of Science in Educational Administration and Foundation with an emphasis in College Student Personnel Administration both from Illinois State University. Currently, she is employed at the Illinois Mathematics and Science Academy (IMSA), a three year residential high school for gifted students, as the Multicultural Education Specialist. She previously worked at Rutgers University as a Program Development Specialist and at Illinois State University

The Illinois Mathematics and Science Academy 1500 Sullivan Road – Aurora, IL – 60506 630-907-5079 630-907-5062, fax [email protected]

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Episodes in Education, a Teacher Researcher’s Reflections on Howard Gardner’s Five Minds for the Future By Dorothy Clare Massalski The five minds for the future, the disciplinary mind, the synthesizing mind, the creating mind, the respectful mind, and the ethical mind, constitute a prescient vision for the evolution of humankind in the modern world by psychologist Howard Gardner.   I am an education researcher who has examined Gardner’s Multiple Intelligence Theory and his concomitant research in creativity (Creative Minds, 1993) in the development of a dissertation on creativity with an American Indian subject from the Dineh/Navajo Nation (2009). Gardner’s visions of the future are anchored primarily in a western standpoint. Yet, through his seminal work in Multiple Intelligence theory (1983), he does provide a “spectrum” of pedagogies and cultural perspectives in his presentation. I provide illustrations of certain aspects of the five minds from my teaching career. This career includes students ranging from pre-school (mostly in Montessori educational settings), middle school students in public American schools and American Indian reservations, and schools in developing countries of Senegal, Gambia, and Mexico. All my references will be to Howard Gardner’s book: Five Minds for the Future and page numbers will refer to this book. I use cf. to identify a paper that I have authored that further explicates the education episode. I invite readers to review those papers should an episode be pertinent to the readers’ situation as well as reviewing Gardner’s book.

recent attendance at this “art camp.” Sophia’s quest challenged her to receive, review, and evaluate new ideas of aesthetics and methods. She also experienced a social culture new to her art associations; the experience posed questions in art that were both tantalizing and socially unnerving. Sophia’s summer sojourn in my class refined her understanding of the foundations and disciplines of art. The daily need to practice observation, hand/eye exercises to increase her skill set is similar to a student of the piano in practicing hand techniques. Her summer art camp challenges were welcomed in discussions of the different art aesthetics within history. She received encouragement through her success in her art work through important in-depth critiques. She observed me, her teacher, preparing for a botanic art exhibition wherein she witnessed the cumulative effort of the disciplines of the art as executed over a trajectory of time. “How to Discipline a Mind” is a section in Gardner’s book where he declares that it is “essential for individuals in the future to be able to think in the ways that characterize the major disciplines” (31). Gardner describes these disciplines as “gateways” to other disciplines through their specific methods of inquiry. His “gateway” disciplines are the arts such as figure drawing, playing a musical instrument, or writing a play. The other gateway disciplines are science, mathematics, and history. Sophia’s episode is descriptive of a student engaged in the rigors of the disciplined mind. Gardner himself notes that he engaged in the discipline of classical piano studies. This rigor assisted him in applying a disciplinary approach to his later academic and scientific work. My disciplinary studies were in the art of ballet (Mme. Dorothy DuPerow, Marinsky Theatre, St. Peterburg, Russia). Through the associations of artists from many fields, I not only progressed in this discipline as a choreographer, but extended the precepts of a disciplinary mind to other fields (e.g. educator, researcher, and botanic artist) while also exhibiting at the Chicago Botanic Gardens 2007 through 2014.

The Disciplinary Mind: Marie Curie, John Keats Individuals without one or more disciplines will not be able to succeed at any demanding workplace and will be restricted to menial tasks (p. 18). “Sophia’s” pen and ink art exercise Eggplants, sample of teacher’s exercise (the author) Drawing with a pen is an advanced skill for an aspiring artist. This example of an artist exercise by an 11-year-old student (let us call her Sophia) in the Worlds of Wisdom and Wonder summer program in Chicago for the gifted illustrates precision, control, composition, and artistic intrigue and adventure. Sophia, a returning student had been on a quest since I worked with her last summer (2013). Through the sacrifices of her mother and grandmother, she was able to attend an art program outside of the city, beside a lake, beneath pine trees with many students having different backgrounds and aesthetics in art-making. In Sophia’s evaluation (2012), I had encouraged her to keep an artist drawing pad/journal and to try to attend art workshops. Through the year she developed an ardor for her work through the journal exercise. Now those pads were quietly being shared with her fellow students, and, with timidity, selected images were shared with me. Some of the work was from her

The Synthesizing Mind Aristotle, Goethe Individuals without synthesizing capabilities will be overwhelmed by information and unable to make judicious decisions about personal or professional matters (p.18). The artist exercise is an example of discipline. The skills of the hand and the eye are fundamental to an artist; even premiere

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artists like Van Gogh, Picasso, and Georgia O’Keeffe labored in their draughtsmanship throughout their careers. From the discipline, the mind may range over possibilities and extend the mundane into creative expression as one can see in Sophia’s artist exercise. Another example of this would be composers creating variations on a theme: I think of Mozart or Beethoven, or 21st century Puerto Rican composer, Roberto Sierra (classical), and Chick Corea (jazz). In the artist workshop at the Center for Gifted in Chicago, I present a daily artist exercise to develop the discipline of observation and hand/ eye skills. Students are encouraged to extend those activities to include their emotions and imagination. The CROC drawing is the crocodile from Peter Pan who is awaiting dinner: Captain Hook. He is an example of the discipline of squares and circles created by two students, a girl of 8 and a boy of 10, over a period of several days. CROC extends discipline to include emotion and humor. It also exemplifies interdisciplinary study: the students read the original book, presented a scene with sword fights, and studied the ecology of “Neverland”, the mermaid lagoon, the toadstool forest, and the open ocean. The interdisciplinary pedagogy is an element in developing the synthesizing mind, the ability to integrate ideas from different disciplines and perspectives, and to communicate that integration to others.

evaluation of those solutions” (p. 69). The Pater Olympian project was envisioned to provide these “gifted students” an experience that would challenge them to synthesize or at least begin a habit of synthesizing (cf. Massalski, 1990). The Respectful Mind Those sheltering Jews in WWII, participants in commissions of truth and reconciliation – Individuals without respect will not be worthy of respect by others and will poison the workplace and the commons Whatever Cheton (pseudonym) does in the classroom or on the playground, his classmates take notice. He has two older brothers at the school and this notice is also applied to them; they are a respected school family. This warm spring day, Cheton walks with his classmates through the open air corridor that surrounds the green courtyard in this Southwestern American Public School and he abruptly stops. We stop also. He is listening intently and looking. It is the nesting bird that he hears in the corner rafter. He plots her flight from corner to the dry grasses in the garden. She is pulling and tugging at them. Struggling actually. He slips over the garden wall, loosens the grasses, and slips back. We wait and watch. The mother bird flies again to the grasses and easily lifts one up to her nest. We silently watch again and then move on. The children recall this little episode when Cheton comes in one day with a nest filled with hand painted eggs. They are his art offering to decorate the school library for the book show and sale. The idea for this art offering came from the presentation I gave about my Slavic heritage and the making of pysanky, a very specific pre-Christian decoration of eggs. The catalyst for this art work came from the book by Patricia Pollacca, Rechenka’s Eggs, that I read to the middle school classes. In it, Babuska (grandmother) helps to heal the wing of a migrating goose by inviting her into her home for comfort and rest. The goose watches Babuska blow out the egg, mix her dyes, and apply the colors onto traditional patterns that are ancient prayers for the welcoming of Spring. The book was left in the classroom along with several examples of these precious eggs for a week. When time came for sharing a work of art for the library show, Cheton presented the eggs that he had created himself. When asked about the eggs, he replied that he followed what he learned from the book and from my presentation. He had no tradition of pysanky in his family; he had never seen pysanky before. He did say that the eggs were prayers that he had made for all the birds that were building their nests and having families. Cheton’s sentiment and inclusion of his feathered friends in his intelligent and beneficent expression of prayer and artful designs on eggs provides an enlarged understanding of respect. Howard Gardner in considering the order of developing minds for the future recognized the respectful mind as premiere: “From the beginning one must begin in creating a respectful atmosphere toward others. In the absence of civility, other educational goals prove infinitely harder to achieve”(p. 161). Cheton gave us an example of a more inclusive respectful mind; from the beginning one must begin creating a respectful atmosphere toward our brothers and sisters of the natural world. Like Frank Lloyd Wright, the renowned architect, Cheton’s respect for beauty in the natural world is also a respected perspective: “A flower is an intangible.  It may be an eye looking out on us from the great inner sea of

Pater Olympian Ballet, a text for Hellenic History The sophomores in an “exam” school in an eastern seaboard city endeavored to synthesize their explorations of the classical Greek, Hellenic period, by observing and critically reviewing a ballet crafted in their presence. The ballet, entitled Pater Olympian, was created by the choreographer over two weeks (two acts). During this time, the sophomores engaged in discussions with the choreographer and dancers that included historical references, the juxtaposition of “inferred” period movement and music (Beethoven’s 5th symphony), a multitude of syntheses. Secondary school students were challenged to consider many disciplines: history, art, music, contemporary life of artists, and consequential subjective analysis of the ballet. This is an example of how the several faculty members got involved. Science, art, music, history, and literature provided avenues for learning from different perspectives and required students to report through synthesizing their experience and their information. The faculty and artists experienced “what genuine understanding is like. Any individual with a deep understanding of a topic or method can think about it in a variety of ways” ( p. 33). Gardner further notes that “Students benefit from exposure to different solutions, different methods of arriving at solutions, and different rubrics for

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beauty and precious beyond words.” (Wright, 1954) Cheton is from a family of Great Plains American Indians. He is participating in a Public School Montessori program in a city of the American Southwest. (cf. Massalski 2013) Many of his classmates come from the neighboring Southwestern tribes: Yaqui, Tohono O’odham (Desert People), Dineh (Navajo) and Apache. Cheton’s responses to the natural world are indicative of one of the nine intelligences that Howard Gardner has discovered through his Multiple Intelligences theory. (Gardner, 1983 Logical/Mathematics, Linguistics, Spatial, Musical, Bodily-Kinesthetic, Inter-Personal, Intra-Personal, Naturalistic, Existential). Cheton would be marked as a talent in Naturalist Intelligence as would Frank Lloyd Wright, Ralph Waldo Emerson, and Henry David Thoreau. Wright evokes the genius of Emerson in this remark from his autobiography: “ I believe that Emerson was right when he said, ‘Beauty is the highest and finest kind of morality.’ If you are attuned-and you love sincerely-harmony, rhythm, and what we call beauty, instinctively what is ugly will become offensive to you.  It will come into the realm of the spirit also.  You will see how certain actions of your own are ugly, how certain of others are beautiful.” (cf. Massalski, 2012)

Hogan (8 sided building used for community meeting and for ceremony). As a visiting scholar, I have been invited to attend. The question before the council concerns the 8th grade graduating class trip. Not enough money has been collected from the various student fund raisers of the year to cover the cost of the conceived trip. The 8th grade class is asking the Council, many of whom are grandparents and other relations, to decide on how to proceed. Two options seem to be on the table: request outright the needed monies from the council, and, to eliminate certain members of the class from participation because of their lack of participation in the fund raisers thereby freeing up the necessary funds. The decision is unanimous. The Council decided that all members of the class would enjoy the class trip together. The necessary funds would be gained by shortening the class trip by two days. It was a consensus decision. The elders explained that the class was a small community in which the students would continue to associate through school, ceremony, work, and rodeo. The students who were not able to contribute fully to the trip would someday be in a position to assist their classmates in other ways. They would be mindful of this obligation because in the Dineh way, they would seek Hozhoni, the Beauty Way, a blessed expression of Harmony. It may be that this 8th grade year may have been hard on these students; all cannot be told. Yes, the 8th grade students accepted the decision by the Elder Council and went on their 8th grade trip with an ethical lesson to ponder into their future. A member of that Elder Council has since served the tribe as an educator and a leader (Vice President of the Tribe). The Council reflected upon an ethical situation; the decision was true to the core values of the society. There is a proviso here: the ethical decision will be before the collective memory and there is expectation that Hozhoni, the Beauty Way will be maintained. The ethical mind must be exercised, as Gardner notes: “Often this idealism becomes tempered, as adolescents enter the real world and encounter pressures to compromise. But the ‘best workers’ and the ‘best citizens’ do not let the difficulty of the task keep them from putting forth their best efforts” (p. 143).

Upholding Respect for the School “Home” Cheton is an example of a young student who is confident to create and execute his imagination within his school environment. This is a reflection of the environment that the school provides in the nurturing of inquiring minds, set to discipline, respectful of his culture, and confident of a respectful response. Maria (let us call her) is also a member of this school community. Maria provides us with an example of respect for humankind. She has become alert to the activity of a new boy at school: he is tall and athletic, and like her speaks her languages and comes from her family culture. The new boy disturbs her. He is bullying. After several days of observation, Maria confronts the new boy. Maria tells him that what he is doing is not acceptable in this school. “We are a school of peace. We love each other and we love you.” Our new boy is shocked for he stops, becomes silent, and then tears flow. Maria takes his hand and leads him away to the tree where the hawk has her nest, away so he can be with her and dry his tears. Others will think that they are investigating the nest. Maria is at “home” in her school and she respects the environment that promotes peace. She respectfully invites the new boy to become a member of the “home.”

A Rainbow Bridge to Cross The research team invited into the Hogan at the Elder Council was at work identifying Gifted and Talented students at the school. The national definition of “giftedness” that was confined to two intelligences (logical/mathematical, linguistics) in 1972 had just expanded through the adoption of the Multiple Intelligences theory proposed by Howard Gardner. For nearly 25 years, no American Indian students were classified as “gifted or talented.” Now the rubric had changed through the application of science and through a change in the zeitgeist of the political climate. The research team was exercising an ethical mind. A new rubric and method in the discovery of human cognition and potential was activated to reveal a truth. Funding for gifted education that was never available became “a rainbow bridge to cross.” Not only did monies become available for programs to support the newly identified gifted American Indian children but eventually, American Indian researchers in psychology would declare that “all their students were gifted!” (cf. Massalski, 2002).

The Ethical Mind Ecologist Rachel Carson, statesman Jean Monnet, who helped Europe move from belligerent to peaceful institutions Individual without ethics will yield a world devoid of decent workers and responsible citizens; none of us will want to live on that desolate planet (p. 19). The Elders of the Dineh community of Shiprock on the Navajo Reservation in Arizona are meeting in the community

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The Creating Mind Martha Graham, Bill Gates

The Reign of Changing Woman by Lyle “Ray”. Nelson, Senior Capstone Project“Doom Eager” – this Icelandic term that Martha Graham ascribes to herself when in the throes of the creative process resonated with Lyle; it was a relief to find the words that could identify the pathos that he also experienced. Like Martha Graham, he was about a new thing: he is the first of his Nation to interpret the major deity of his cosmology “Changing Woman” in a western dance art discipline, the art aesthetic of Martha Graham. This, he noted, is a completion of a circle: Graham had studied his culture in her own “gestation” period, the time of his grandmother, and now he is studying Graham technique (through a scholarship at the Graham school in New York City his senior year), when Graham who was working in her 90’s is the age of his grandmother (cf. Massalski, 2009). I offer this example of the creating mind because I wish to emphasize that patience is an important virtue to exercise when working with students during the initial stages of discovering and then disciplining that discovery to fruition. It is important to provide a space and time for making connections, searching, tinkering, and engaging in explorative conversations.

Individuals without creating capacities will be replaced by computers and will drive away those who do have the creative spark (p. 19). Martha Graham, pictured in her choreography, “Satyric Festival Song,” inspired by the landscape and people of the American Southwest. The costume mimics the dance clowns of the “pueblo” ceremonials. Martha Graham became the “distant mentor” of a Dineh modern ballet choreographer, my dissertation case study subject known as “Ray.” Martha Graham was chosen by Howard Gardner as a Creative Mind in the Bodily-Kinesthetic Intelligence domain in his research on creativity and intelligence (1993). Much has been written about creativity in the last decade, including my own dissertation (cf. General Perspectives category in the IAGC Journal 2011). What I found unique and intriguing in Gardner’s book is his observation that “Individuals without creating capacities will. . . drive away those who do have the creative spark” (p. 18). This presentment, for me, implies a purposeful act by an individual or a cohort of individuals to recognize, yet, discourage and devalue disciplined creativity. Indeed it seems that “drive away” would imply an energetic obstruction to creativity and creative individuals or groups. The influence of teachers and mentors and associated colleagues is of great importance to the survival of the disciplines of creative thought, tinkering, experimentations, the gestation period of the creative period (p. 142). My dissertation case study subject, a college student engaged in creating his Senior Capstone Project, the dance work entitled The Reign of Changing Woman alerted me to a passage in Martha Graham’s Autobiography Blood Memory that defined this gestation period for himself as it had for his “distant” mentor Martha Graham. “There is a wonderful Icelandic term: ‘doom eager.’ You are doom eager for destiny no matter what it costs you. The ordeal of isolation, the ordeal of loneliness, the ordeal of doubt, the ordeal of vulnerability which it takes to compose in any medium, is hard to face. You know when this thing is coming on you. You know when you walk the streets by the hour. When the restlessness comes, when you are sick with an idea, with something that will not come out.” (Martha Graham, Blood Memory p. 122)

Gambia Teacher’s College Creative Texts The 35 teachers (more than half, men) gathered for a teacher workshop at the Gambia Teachers College in Gambia, Africa have no text books for their elementary school children. It is encumbent upon us to take up this challenge: how to teach with written book texts and without electricity for internet. The Seracunda market provided us with some options. We choose to use as a text a model of a jeep fashioned from milk biscuit tin cans and spray can tops for wheels. We are asking questions of the imagination, imagining a curriculum with a “junk art” jeep as a text. Journalist and researcher on Kenya’s contemporary art scene Margarett Swigert-Gacheru (2011) explains that the junk art sculptures of Dennis Murogori “ . . . often turn out to look a lot like masks and funny faces, but he may use broken zippers, broken musical instruments, and even broken clocks that he collects from all over. What’s more, nearly every one of his masks has a story.” The assembled teachers worked to create curriculum using the unique texts of the cultures’ “junk art” that were attractive to the students, within their traditions, and, with the guidelines of a progressive curriculum in line with 21st century expectations of their students. In the illustration on the next page, I am holding the “junk art jeep” as we work through developing a curriculum in mathematics, geography, sociology, and ecology. E.O. Wilson exclaims that as “a naturalist” he will now enter a world of “shadowy forms” and allow himself to drift and dream and desire to be in distant places and times. He will entertain and employ the Arts together with his scientific work with Nature as a discipline of consilience. Wilson, like us, might recognize that traditional Native peoples of the Americas have had an understanding of consilience, this unity of knowledge. They have always maintained that “plants are integral to the human relationship with nature” (Cadato/Bruchac 1994). Further, it is noted that “Botany is not a separate ‘field of study.’ Plants are components of art, music, ceremony and symbolism” (Ibid). It is encumbent as educators that we present western scientific knowledge in a new way, as a covenant with Nature. This new approach is the consciousness of a unity of knowledge and an awareness to a child’s sensory attunement that botany and botanic art studies can bridge successfully.

Final bow, Medicine Man or Shaman, Changing Woman, Spirit of Father Sky

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Dorothy Clare Massalski received her Ph.D. in 2009 in Special Education (Gifted) and American Indian Studies at the University of Arizona. She is also a certified Montessori educator and consultant. Dorothy develops curricula for the Center for Gifted in Chicago and for several American Indian Nations in the Southwest. She is also active in ecological studies, in particular, botany and botanic art. As a botanic artist, she is known by her artist name, Sorcha. She exhibits her art at the Chicago Botanic Garden, Tucson Desert Museum, the Tubac historical Museum, and Raices Taller Gallery, Tucson. Responses and Question to this article: [email protected].

The creative mind is in jeopardy of being undermined in the future, being trumped by a rational materialistic insistence on finite material success through products. It is important for both the creative individual and the mentors or their associated colleagues to especially protect these individuals during the gestation time of creativity. Reference Gardner, J. (2009). Five minds for the future. Boston: Harvard Business School Press.

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Educational Impact on Spiritual Growth: A Case Study By Kristy Kowalske Participants and Methods For this case study, I used purposeful sampling (Patton, 2002). Preliminary discussions with the main participant, a recent high school graduate, ensured that the participant could offer in-depth, rich material pertaining to the subject. Based on initial interviews with her, I conducted interviews with four former teachers from the schools: her fifth grade elementary school teacher, her eighth grade honors language arts teacher, her high school drama teacher, and her high school AP United States history teacher. The main participant was selected based on her recognition as a spiritually gifted student. Her recognition as a spiritually gifted student was based on teacher anecdotes and observations. These recommendations stemmed from Sisk and Torrance’s (2001) description of likely traits of spiritually gifted students: uses inner knowing, seeks to understand self, uses metaphors and parables to communicate, uses intuition, sensitive to social problems, sensitive to purpose in life, concerned about equity and injustice, enjoys big questions, senses gestalt (big picture), wants to make a difference, capacity to care, curious about how the world works, values love, compassion and concern for others, close to nature, uses visualization and mental imaging, reflective, self-observing and self-aware, seeks balance, seeks to understand self, peacemaker, concerned with human suffering, and feels connected with others, earth and universe. The main participant was given the pseudonym, Olivia.

Background of Study The concept of spiritual giftedness in the classroom has gained increasing attention over the course of the past decade and is evolving in the field of gifted education. Many influential people have called for action to educate children in real-world ways by promoting social capital, ethics, and wisdom (Ambrose & Cross, 2009; Gardner, 2011; Renzulli, 2011; Sternberg, 2011). Roeper (2008), who initiated the Global Awareness Network of the National Association for Gifted Children (NAGC), explained that as global awareness continues to evolve, it will focus on universal awareness. As Roeper described her past 70 years serving gifted children, she recounted the details that led her to this conclusion, which included compelling experiences with her students who had pressing questions and curiosity about existence, birth, death, and the meaning of life. They had an awareness of their intellectual, emotional, and spiritual reality. Researchers have mirrored these sentiments and expressed the need for nurturing the spiritual development of gifted children (Coles, 1990; Lovecky, 1998; Navan, 2012; Tolan, 2000). Although these different topics do not encompass the totality of spirituality, they do address a similar educational philosophy of promoting the well-being of individuals and improving the overall well-being of mankind. These topics address a need to nurture the whole child. In order to nurture the spirituality of children in our schools, research must be conducted in two areas: teacher disposition and techniques to implement. There is a need to explore teacher dispositions in order to provide the most beneficial classroom environment for students. Researching attitudes and philosophies of educators that nurture the spiritual growth of students can provide great insights. Johnson (2011) researched how educators incorporate spirituality in the classroom. Johnson does not specifically use the term disposition but suggests that each theme contains a number of interrelated human capacities such as behaviors, abilities, aptitudes, skills, faculties, potentials, roles, capabilities, and powers. As dispositions are defined by values and beliefs, they can be correlated with Johnson’s description of human capacities. The following themes about the influence educators have in a spiritual dimension emerged from Johnson’s (2011) research: contemplative, meaning-making, self-reflective, emotional, ethical, ecological, and creative. Johnson (2011) described Creativity as the ultimate capability because it allows humans to use imaginative thinking to explore ideas. Characteristics include playfulness, humor, and imagination to understand self, world, and others, acting innovatively and using a variety of forms to express ideas. Educators can encourage the use of creativity throughout curricular lessons, teach creative processes, study creative works and individuals, and allow for self-expression in assignments (Johnson, 2011; London, Johnson, Arguelles, Brown, Crowell, & Donnelly, 2004). Understanding why teachers select certain techniques to implement in gifted classrooms and how this stems from teacher dispositions is critical. Understanding spiritually-nurturing techniques in education is essential for our future.

Research Questions The research questions guiding this study were: • What traits does a spiritually gifted student possess? • How does a spiritually gifted student describe educators who are spiritually nurturing? • How does a spiritually gifted student describe educational techniques that are spiritually nurturing? Findings Spiritual Giftedness Olivia values love. She has a deep sense of compassion and a strong concern for others. All of her teachers described Olivia as being able to understand complex issues or seeing the “big” picture, demonstrating Sisk and Torrance’s (2001) sense of gestalt. She was referred to as a visionary who wants to make a difference in the world around her. Her passion and presence work together to create a forceful being. These traits allowed Olivia to demonstrate her leadership skills. Olivia feels a strong connection with others, the earth, and the universe. She is known for “making others shine.” This selflessness results from her desire to be inclusive. Above all other qualities, the teachers strongly emphasized how Olivia was reflective, self-observing, and self-aware. Along with aligning with Sisk and Torrance’s (2001) description of self-awareness, this trait is also found in Amram’s (2007) description of likely traits by demonstrating knowing as a developed, refined awareness and self-knowledge. She understands her role in situations and has a desire to delve into history in order to comprehend how humanity has evolved. With the death of her father, Olivia showed resilience without becoming angry or jaded with life.

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Perhaps due to her love of language, Olivia finds herself using metaphors and parables to communicate. Olivia discussed the role of visualization and mental imaging in her life. When discussing intuition, Olivia described her ability to understand the emotions of others in awkward situations. This may stem from her own self-awareness and concern for those around her. She is very concerned with the suffering of others. Olivia also has a strong sense of equity and justice and strives for fairness in life for all people. In the future, Olivia plans to explore religion, medical anthropology, and environmental studies. These fields bring together her capacity to care and her desire to make a difference. Amram (2007) noted that spiritually intelligent individuals have a powerful sense of meaning in life where they experience significance in daily activities through a sense of purpose and a call for purpose. By pursuing these fields of study, this will allow her to continue to explore her love of nature, where she finds her strongest connection to a power higher than herself. Olivia explained two important components that worked in tandem with her beliefs. The first was the role of creativity due to its capacity to allow a person to express oneself. This, in turn, allows the individual to understand herself and to better understand the world around her. The second was leadership. Spirituality helps guide Olivia’s interaction with others and her desire to take action in order to nurture her values. She believes that spirituality allows people to understand their role in the world and the possibility of impacting and connecting with others in a meaningful way, moving individuals out of an isolationist mentality.

teachers align with Sisk and Torrance’s (2001) description of techniques to nurture the spiritual growth of students. Three out of the four teachers demonstrated traits found in the creative realm. The elementary school teacher’s love of nature and training in art therapy and counseling formed a base for her strengths. She encouraged the students to share her passions by having bunnies playing in the classroom, raising chickens and ducks, incorporating art into her lesson plans, and utilizing classroom meetings. Creativity is an important component in her own life where she makes pottery and gives pottery lessons to others. By sponsoring clubs such as Odyssey of the Mind, she has helped her students develop their own creative skills. Olivia’s participation in this activity was her favorite spiritually-nurturing experience in elementary school. Through creative endeavors, students are encouraged to have a sense of awe and wonder with the world (Gafoor & Kottalil, 2011). She also enjoyed presenting plays for the school and creating opportunities for self-expression. The importance of encouraging character education was evident as the elementary school teacher described the vision for the charter school where she works and her use of classroom meetings. This encourages sensitivity to others and understanding of self (Gafoor & Kottalil, 2011). Overall, she shows strong evidence of her ability to nurture kids in the emotional, ecological, and creative realms (Johnson, 2011). The middle school language arts teacher’s strengths were in promoting critical thinking and encouraging the understanding of multiple perspectives. She relies heavily on utilizing conceptbased instruction where the students are “taking a journey” with her in the pursuit of knowledge. This type of learning environment promotes the spiritual development of students due to the reciprocal relationships within the learning community (Sewell, 2009). Her use of Socratic seminars and Writing Workshop allows the students to develop their opinions and express their feelings about complicated issues. In addition, she finds it essential that students have the opportunity to take action with the knowledge they are exploring. She does this through problem and projectbased learning experiences. By utilizing these strategies, she is encouraging the use of intuition, concern with inequity and justice, exploring universal issues, developing curiosity, and encouraging connections between self, world, and the universe (Sisk & Torrance, 2001). These endeavors show strong evidence of her ability to nurture students in the ethical, self-reflective, and creative realms (Johnson, 2011). The drama teacher’s strengths stemmed from her creative passions. Creative endeavors where the students were in charge of the direction of their activities saturated her classroom. She prided herself on allowing the students to grow, learn, think, and develop their ideas. To accomplish this, she has to allow students time to let their thoughts grow into meaningful actions. By providing students with these opportunities, she is arousing imagination in the students that assists in constructing meaning and building connections between inner and outer worlds (Tucker, 2010). In addition, she encourages her students to be self-reflective, to develop a strong sense of self-esteem, and to have empathy for other individuals. Allowing opportunities for self-expression is at the heart of her lesson plans and units of study. Overall, she shows evidence of her ability to nurture kids in the emotional, selfreflective, and creative realms (Johnson, 2011). The high school AP United States history teacher’s main strength was in helping students develop the skill to analyze their

Teacher Philosophies The teachers identified as being spiritually nurturing made concerted efforts to create warm classroom climates and build a strong rapport with students. They encouraged empathy, creativity and self-expression. In addition, understanding multiple perspectives and focusing on the thinking process were evident. Several teachers created an atmosphere of intense interaction and choice in assignments. Olivia described the importance of creativity in education: I associate creativity and spirituality closely together because I think creativity pulls things out of us and in how we understand ourselves and how we understand each other and in how we understand the world around us. That was a great thing about elementary school because there was so much creativity encouraged and activities to be creative and that was great in middle school, particularly in language arts. But I lost this a lot in high school, and I think one of the areas where I still had that was in theater that’s why I really love drama because we had a chance to dream and come up with new things and make new things happen and live out different worlds. So that was a really great part of high school. And, not every kid is like me. Not every kid likes to write and likes to do theater and is able to express themselves that way. But it was for me, and it helped me pull out my spirituality and my understanding of the world (Individual interview, April 21, 2013). Each teacher demonstrated different factors that aligned with Johnson and Neagley’s (2010) description of how educators can spiritually nurture students. Activities implemented by the

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own thinking processes. He pokes and prods them in class to justify their beliefs. The ability to be self-reflective is crucial to help students raise and reflect on universal questions and issues (Gafoor & Kottalil, 2011). By encouraging students to explore history using a humanistic approach, he helps them learn to explore multiple perspectives. In order to be able to reach students in a personal way, he makes a concerted effort to create a comfortable classroom climate with quirky items, use of music, and a relaxing tone where students can freely ask questions or add comments to the daily lectures. He believes students should be treated like humans and that the factory-like process of education needs to be transformed. Finally, he is widely known as being a counselor for students when they are dealing with challenging issues. By constructing strong interpersonal relationships, educators build safe communities that nurture spiritual development (Gafoor & Kottalil, 2011, Tucker, 2010). Through these endeavors, he shows evidence of nurturing students in the emotional, self-reflective, and ethical realms (Johnson, 2011).

be able to understand their strengths and weaknesses, if viewed through this lens. It is important to address each individual teacher’s philosophy and passions because these become the cornerstone for effective curriculum design and implementation. Specific research studies could analyze teacher empathy and the role of creativity in the classroom. Understanding how individuals establish a warm classroom climate and build a strong rapport with students would also be beneficial. Assessment of student learning is necessary, but it should not be the driving force behind our schools. We should be encouraging each student to develop skills as a whole individual who is able to understand his or her role in the community and world. We need to enable students to be able to reflect on life’s journey and others’ journeys as well. Most importantly, we need to equip students to be active leaders and citizens of the next generation (Sternberg, 2011). References Ambrose, D., & Cross, T.L. (2009). (Eds.) Morality, ethics, and gifted minds New York; London: Springer. Amram, Y. (2007, August). The seven dimensions of spiritual intelligence: An ecumenical grounded theory. Paper presented at the 115th Annual Conference of the American Psychological Association, San Francisco, CA. Coles, R. (1990). The spiritual life of children. Boston, MA: Houghton Mifflin. Gafoor, K., & Kottalil, N. K. (2011). Cultivating the spirit through resilience: Vision of effective schools and mission of caring teachers. Online Submission, ERIC, EBSCOhost (accessed August 3, 2013). Gardner, H. (2011). Intelligence, creativity, ethics: Reflection on my evolving research interests. Gifted Child Quarterly, 55(4), 302-304. doi: 10.1177/0016986211421873 Johnson, A.N. (2011). Developing spirit-related capacities of children and adolescents. In A.N. Johnson & M. Neagley (Eds.), Educating from the heart: Theoretical and practical approaches to transforming education (3-11). United Kingdom: Rowman & Littlefield Education. London, R., Johnson, A., Arguelles, L., Brown, R., Crowell, S., & Donnelly, J. (2004). Teaching from a spiritual perspective. Encounter, 17(2), 28-37. Lovecky, D. V. (1998). Spiritual sensitivity in gifted children. Roeper Review, 20 (3), 178-183. Navan, J. (2012) Touching the mystery: Spiritually gifted children. Retrieved from http://www.sengifted.org/archives/ articles. Patton, M. Q. (2002). Qualitative research and evaluation methods (3rd ed.). Thousand Oaks, CA: Sage. Renzulli, J. (2011). Theories, actions, and change: An academic journey in search of finding and developing high potential in young people. Gifted Child Quarterly, 55(4), 305-308. doi: 10.1177/0016986211421875 Roeper, A. (2008, January). Global awareness and gifted children: Its joy and history. Roeper Review. pp. 8-10. doi:10.1080/02783190701836254. Sewell, A. (2009). Evoking children’s spirituality in the reciprocal relationships of a learning community. International Journal of Children’s Spirituality, 14(1), 5-16. doi:10.1080/13644360802658685

Techniques to Implement The activities Olivia described as spiritually nurturing fall into two main categories: those that involve creativity and selfexpression and those that require existential and critical thinking. The importance of creativity and self-expression saturated the experiences Olivia described as being spiritually nurturing for her. She thrived in settings where she could explore her ideas through writing. She spoke at great length about Writing Workshop in middle school where she wrote short stories, poetry, essays, and memoirs. Extracurricular activities such as Odyssey of the Mind provided an atmosphere where Olivia could thrive and grow in a safe environment. She described the creative process as one where an individual needs to have a goal, encouragement, time, and ownership. She wished that more learning experiences in schools allowed for creative problem-solving. For Olivia, drama and the arts provided avenues for self-expression and the exploration of worldly ideas. In addition, Olivia described certain classroom techniques as spiritually nurturing. Concept-based units, Socratic seminars, and investigating influential individuals were essential because they gave students the opportunity to voice their opinions, learn more about controversial topics, and understand life’s complexities. Conclusion and Future Research Agenda In order to promote ethics, wisdom, and morality, it is important to study spiritually gifted students, philosophies of spiritually-nurturing educators, and curriculum that impacts the spiritual growth of students. Our future spiritual leaders are sitting in classrooms across America. He may be the boy who is able to see multiple perspectives about issues or the young girl who is ferociously penning her thoughts on the page. It is our role to recognize these gifts and nurture them throughout their educational journeys. Specific research with spiritually-gifted individuals could be conducted in a variety of settings that include different cultures, different views on spirituality, and different religious beliefs. By having future teachers investigate their own spirituality, they can better understand how this impacts the climate they create in the classroom. There are subtle undercurrents that are established through expectations and interactions. Educators may

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Kristy Kowalske received her doctorate in Gifted and Creative Education from the University of Georgia and currently serves as an Adjunct Professor at Western Carolina University.  Her case study, for which she was nominated for the Torrance Graduate Student Research Award: “Education Impact on Spiritual Growth: A Case Study,” constructs an in-depth description of a spiritually gifted individual including the individual’s views and the impact of key educational opportunities and teachers who nurtured her spiritual development. Sisk’s and Torrance’s work on spiritual intelligence was used to structure the selection of participant for the study and the outline of the case.

Sisk, D. & Torrance, E. P. (2001). Spiritual intelligence: Developing higher consciousness. Buffalo, NY: Creative Education Foundation Press. Sternberg, R. (2011). From intelligence to leadership: A brief intellectual autobiography. Gifted Child Quarterly, 55(4), 309312. doi: 10.1177/0016986211421872 Tolan, S. (2000, Winter & Spring). Spirituality and the highly gifted adolescent. Highly Gifted Children. Retrieved from http:// www.hollingworth.org/volxiii-num2.html. Tucker, L. (2010). Quest for wholeness: Spirituality in teacher education. Encounter, 23(2), 1-10.

Changing Education-Thoughts about Creating and Inventing Tomorrow’s School By Harry T. Roman “Education is only a ladder to gather fruit from the tree of knowledge, not the fruit itself” – Albert Einstein

and they have done so for many centuries. Ancient engineers did not understand the laws of physics and such before they built the pyramids, buildings like the Parthenon, great sailing vessels, gothic cathedrals, and the famed Roman roads and water delivery systems. So how about we re-structure the academic day and have some recitation style classes in the morning and team-based studios in the afternoon—working on open-ended design challenges, using multi-disciplinary thinking, and multi-faceted problem solving paradigms? This would give them half-a-day, every day, integrating their curriculum. Morning recitation teachers would be involved as mentors and team teachers in the afternoon activities. For grades 1-5, teachers would still teach distinct subject matter as they do now. Team-based design challenges would be conducted every month or so to start the studio inculcation process. For grades 6-12, the full-blown morning recitation and afternoon studio format is implemented. It might look like the schedule below—with subject matter clusters that expand on the commonalities between the subjects being discussed:

Introduction All teachers and students should take an interest in how the academic day will be re-invented as a result of the incredible changes going on in educational technology, telecommunications, distance learning, and hand-held devices. How do your students see their classroom and school changing? As users of educational technology and services, how might they want to be taught in the future? How does this change the relationship between teacher and student, teacher and teacher, and student and student? How does it change the way students use educational resources and do homework? Make sure students engage in this topic, exploring how the current school system came into existence and for what reasons and motivations. Take your students back 140 years to when public schools first came into their own. What was the world like then? What kind of economy powered our nation? Research and discuss questions such as these: What motivations changed school and how did technological development contribute to these changes? Does the business world and life after graduation serve to motivate changes in the classroom—not to forget the impact of a globally competitive world? What role did automation and flexible manufacturing have upon the academic day? Education is a very big concern for all nations. Is STEM/ STEAM just another part of the academic day, or is it meant to be something everyone studies--integrated into the fabric of the academic day--the backbone if you will? Where is our concept of school headed?

-Monday: Science, Math, Music, Art -Tuesday: History, Geography, Sociology, Civics -Wednesday: Language Arts, Writing, Public Speaking -Thursday: Creativity, Invention, Technology, and the Economy -Friday: Music, Art, Design, Entrepreneurship Art has been taught in studio format “for forever,” and art should be integrated into design challenges too. Budding artists should be team members, bringing their ability to visualize into play, especially where teams are designing new products. History oriented and language arts students are also valuable team members, for they can provide historical expression and the ability to communicate ideas and conceptions in both written and oral form. History/sociology also holds the keys to understanding how man’s natural inventive and entrepreneurial capabilities have changed the world, impacting the fabric of our culture and civilization. The author believes this alone is powerful motivation for a highly integrated school curriculum.

A Future Possible Scenario for School Why not consider a studio experience every day for all students where they immediately apply their lessons learned, even if they do not fully understand the entire lessons? This is not harmful, but immensely helpful as it will inculcate within them a healthy expression for application. Humans do this all the time,

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“STEM is not just a part of the curriculum for the gifted. It is the curriculum!” - Dr. Maurice Fisher Publisher, Gifted Education Press

becoming thoroughly familiar with how our economy works, the role of capitalism as a powerful force for good in the world, and how closely tied capitalism is to our freedoms--and being creative in the first place.

Going further, this new school paradigm should attempt to solve important problems we have at present: 1. “Math-o-phobia” is a serious concern in most schools, with both teachers and students experiencing it. Early in grades 1-5, students should be immersed in the “fun and joy” of math, to experience its pervasive influence in our lives. The use and perspective of math in all courses must be taught by all teachers. The high paying and important leadership jobs in the global economy are totally suffused in mathematics. It is essential that students be immersed in math and teachers hired and kept on staff based on their abilities to understand and demonstrate the subject. A student lost in math by 4th or 5th grade will never be recovered. Therefore, grades 1-5 are crucial for retaining a student’s interest. Teachers in the early grades must be math competent and versatile, able to show how math is important and highly relevant to the world

5. Entrepreneurship and new product development are the very basis of our economic progress, and often so foreign to the modern classroom that students have almost no idea how new products affect them and the world. The study of inventors, entrepreneurs, and innovators can easily be justified as links between science, history, and economics and would powerfully reinforce the schoolto-work linkage. With the growing popularity of Massive Open On-line Courses (MOOCs), why can’t students engage these resources as regular educational activities--learning at home and having those lessons refined via Socratic teaching methods by their teachers? Students should also regularly experience panel discussions among varieties of professions, looking for both similarities and differences in how people think, create, design, and solve problems. Why not have students attend evening seminars, along with their parents to hear engaging, timely, and topical discussions, if for nothing else but to get into the habit of appreciating that learning is continuous, life-long, and not always found in a traditional classroom setting? Think of the huge human resources available through businesses and professions that could be brought to bear on local schools. This practical problem solving experience would be a giant help in the afternoon studio activities. Can you see a place for working world and retired people in your school? Can you see how such interactions help students understand how working folks are always in a state of learning, just as they are in school?

2. Creativity, imagination, and invention are natural human characteristics. Modern brain-based research has confirmed this. We are a species programmed to handle and deal with complexity. Children want to make connections between things [subjects]. Lesson plans and curricula should be implemented that foster and celebrate these characteristics, through independent and team-based activities in the K-12 experience. Children are also highly facile and need to be able to manipulate materials and build things to express themselves in three dimensions. There must be opportunities to do this, and plenty of them.

“Let us think of education as the means of developing our greatest abilities, because in each of us there is a private hope and dream which, fulfilled, can be translated into benefit for everyone and greater strength for our nation.” - John F. Kennedy

3. STEM/STEAM should not be taught as if it were a separate subject, not included under career and technology education, nor in AP courses; it should not be lumped with robotics activities after school or in any other admixture/hybridization of subject matter. STEM/ STEAM should be the spinal column of education, an education geared around the practical and meaningful solution of problems, where the traditional subjects enable this process and content taxonomy. This taxonomy portends an end to the “pizza-pie-subject“ model of the academic day and a major revamping of how teachers are taught to teach. Teaching STEM/STEAM any other way is flat-out wrong!

A Return of the One-Room School House There is much our students can learn from each other. This is a major reason why teams are so intricately infused into STEM/ STEAM activities and design challenges, something like the oneroom country schoolhouse of yore and not unlike the large farm families that once characterized our past agrarian way of life. The more advanced students can have a positive impact on those who need some assistance; and dare I say the reverse is also quite true if we are brave and open minded enough to accept it. The school of tomorrow is one that will emphasize less the traditional SAT scores and such, and embrace the powerful findings of modern brain-based research and multiple intelligences. In short, it is not what you know, but rather what you can do with what you know; and this is often learned from interactions with others. In the work world, leadership will come to be defined by how well one can teach others to greatly leverage their capabilities. Much can be learned from focused and structured gameplaying in the classroom. There is also a very powerful paradigm within the context of students teaching each other. It is the kind of learning that sticks in a special way. In classes in gifted education,

4. Education does not exist as though it were some nevernever land between childhood and the grown-up world. It should be the conduit to productive citizenship and employment. School-to-work is the operative term here. The school of tomorrow should have liberal doses of career exploration, and role models from the grownup world who are engaged during regular school hours to talk to students and conduct classroom activities that enlighten and enhance student understanding of what will be expected of them. This includes students

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I have challenged young folks to break into teams to create board games. After the exercise, I polled the students to determine their likes and dislikes about the exercise. A constant theme emerging from the teams was how much they learned from their classmates, how much they learned about their classmates, and how they used their heads to solve problems. As teachers, we have the ability to unlock great learning lessons, life-long lessons, by how we structure team-based projects and challenges; and we can leverage that even further by helping our students become more familiar with their classmates and their learning styles. Always ask students to discuss how they arrived at difficult or unstructured problem solving solutions. In this way the class teaches itself in an unforgettable way. Now let’s consider something I have observed in my many visits to classrooms, gifted and non-gifted. It is entirely anecdotal, not backed statistically, but it keeps cropping up, so I offer it here for consideration as a powerful educational tool. I say, pair up the high performers with the low performers on teams and in special design challenges-pairing both ends of the so-called normal distribution curve. Magical things can happen when this is done. Here follows why I think so. Special education kids seem to exhibit a playful fearlessness about design challenges and similar activities, almost as if they don’t know what they don’t know, so they have nothing to lose. Flying by the seat of their pants has an allure. It is not a minimum sum grade-based activity for them. Some just need a little more time to figure it out, but they do, whereas the gifted kids, who by strong conditioning, are looking for the “right answer” which does not exist in open-ended design challenges. Gifted and talented kids see the activity as just another grade-based event. In the vernacular, “the dim bulbs glow and the bright ones dim,” when hands-on activities are undertaken. How about a combining of G/T and Special Ed kids? I believe there is common ground to be explored and capitalized upon. How might they be put together for periods of time to “teach” and influence each other? Here are the similarities I have observed within these two groups of kids: - Marked differences in emotional and academic intelligence[within each group, and between them] - Radically different (perhaps non-rational at first thought) learning styles - Time to process information varies greatly - Impatient with status quo - Highly opinionated, likely to debate or challenge - Like music, poetry, and writing - Are intelligent in ways we cannot yet statistically measure - Tend to be social outliers, yet can be overly kind and understanding - Animal lovers - Socially concerned for the underdog - Highly aware of environmental concerns

would propose for these two groups to undertake cooperatively: - Design a robot to assist handicapped or home-bound people - Compose and present a play about “being different” - Create a website/clearinghouse website that would allow for adopting or rescuing animals - Design a solar system or attached greenhouse for the school - Create a variety of games that could be built and used at a school fair to generate money for charity; create a miniature golf course - Design low cost housing for under-developed, resource limited countries - Design a hospital robot that could assist nurses, deliver supplies, and bring the doctor’s presence to patient bedsides - Create a way for senior citizens to get their food shopping done through a service that delivers the foodstuffs to their door. - Re-design the school and classrooms for the next 50 years. “The main part of intellectual education is not the acquisition of facts but learning how to make facts live.” Oliver Wendell Holmes This is not an exhaustive listing of possible design challenge ideas, but meant to represent the kinds of panoramic design challenges I believe these kids would jointly enjoy undertaking. Engage your kids at both ends of the curve to develop their own ideas for design challenges. Think of the incredible array of topics for consideration like electric vehicles, nano-technology, special smart phone apps to help people or be used for health diagnosis, etc. Think big and broad for these kids; they are both very hungry. I am convinced that design challenges and real-world problem solving multiply student learning non-linearly, greatly leveraging comprehension and motivation. Both types of students can benefit enormously from self-esteem booster projects like these. Now let’s explore some other ways to integrate the academic day, to link and intertwine subject matter so students see how problem solving is both inter-disciplinary and multi-dimensional. Timelines- a Powerful Integrative Method Nothing can provide perspective on the world as basically an intertwined place than the study of timelines. Pick a period of time, say 10-20 years, and examine how people, places, and events interact to shape our world. Try wrapping this around a specific technology like the Internet. In what ways did the Internet affect the following: -

Certainly this is not a hard and fast list of similarities and I readily admit they are limited to my experiences, but I have visited many schools in the course of 40 years in classrooms so there is some credence to my observations. What would happen if these two groups of students interfaced once or twice a week at first, or maybe in special after-school invention activities? I think this should be explored. Here are some socially relevant, human interest design type challenges I

Economy/business sector Science/technology Music/art National security/government Society/politics Environment Language/lexicon/etymology of words?

How pervasive were these impacts compared to others in recorded history, like recorded sound, motion pictures, the printing press, the telephone, etc? Imagine what can be learned by students who construct and study chunks of humanity’s advancement through time. What if teams of students were to evaluate and assess a variety of time

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Explore Science Fiction Science fiction offers a rich landscape to explore how technology and science and culture interact in an integrated fashion. Some points to consider include the following:

segments? Could they identify long-term trends and emerging interactions? What might this mean for student teams that try and assess what future time lines might look like for technology today like life extension, nano-technology, artificial intelligence, and colonization of space?

-Science fiction is a literature of change -It examines how societal change occurs -It often predicts where society is headed -Many great works of literature were about Sci-fi -The change induced is often a technology driven one, modified by socio-political concerns

Technology and the Arts How have technological advances impacted the arts? Empower student teams to identify and quantify as much as possible how the following technologies have affected the arts: -

Video/animation/special effects Automation of stage plays Music/sound recording You Tube! CDs/DVDs/HD TV Morphing/special effects Other

Can you see how reading and analyzing science fiction might play an important literary role in how society evolves in the future? Engage your students in these activities: -Write short Sci-fi stories -Watch Sci-fi movies and discuss them -Identify where Sci-fi predicted our modern technologies - Examine war as a science fiction motivator [Civil War/WWI/WWII]

Imagine how recorded sound and motion pictures first changed the world, and then try and determine if subsequent changes were as or more stunning in their impact. Construct a matrix for these technologies and populate it for a variety of potential impacts. Examples: impact of the arts on human experience; breadth of impact (i.e., local, regional, global); affordability of an artistic experience; permeation of art into the lives of people; and ability of art to affect the world. Also, don’t forget how technology has influenced the materials used by the world of art such as these:

Take some time to also examine how science fiction generated its own special brand of fantastic art, in posters, books and magazine covers, motion pictures and advertisements. Examine how our artistic interpretations of other worlds and space itself has changed as our technology has given us a window into other worlds via space probes, missions to other planets, and the space telescope. Watch some classic Sci-fi and have students compare Sci-fi from the 1940s up until the present time. Discuss why the cinematic representations might be so different. How did various time periods “see and interpret” what space, science, and technology represented to them? Study great Sci-fi artists.

- Paints/art supplies - Sculpting and sculpting materials - Special materials

“Education is what survives when what has been learned has been forgotten.” - B. F. Skinner

“The great aim of education is not knowledge, but action.” - Herbert Spenser “What If” Scenarios Challenge student teams to identify and appreciate broad change, by challenging them to research and discuss the impacts of “what if” scenarios. I can personally attest to the value of this strategy, as I used it throughout my engineering career with several of my career colleagues. It proved to be an excellent way to anticipate things that could happen in our industry and be prepared to evaluate the impact of such happenings. Here are some “what ifs” for your student teams to ponder. The real benefit of such thinking lies in trying to quantify (here is where you bring in that math) the impact on society/economy of such events--good, bad, or otherwise.

Study Engineering/Invention Research the field of engineering to see how engineers solve problems, which is also very similar to how inventors solve problems. In essence, this is the central theme of STEM/STEAM to develop a self-disciplined way to approach problem solving, one that involves not only the technical aspects, but includes the socio-environmental-economic-political- legal and other aspects of the problem. Often engineering is thought of as “designing with constraints,” or “multi-faceted design.” As a society matures, it gains wisdom about problem-solving and can quite literally afford to worry about other things besides just the basic technicalities of a design. Student teams should look at how the integration of various aspects of a design changes the design itself. For instance, students might design something first from the standpoint of technology and cost, and later re-do this design by adding environmental constraints and comparing the initial design to this. Later, other constraints could be added, further changing the design, and students can evaluate the impacts, repeating this for a variety of constraints. The more constraints one adds into the design activity, the more likely that these designs will change. Study case examples of how successive design constraints

-All nuclear plants are phased out -Internet use is taxed -People work at home via computers -All new cars must be electric/battery powered -Other? Surely your students can dream up all sorts of sticky “what if” scenarios and encourage them to do so and evaluate the impacts. This is fantastic practice for what will await them in the business world.

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changed such basic items in our society such as, houses, automobiles, airplanes, trains, and so forth. Compare today’s designs with those of 100 years ago. What motivated the changes your students observe-what were most likely the design constraints? What will today’s new technologies look like perhaps 100 years from now….say robots, nano-technology, artificial intelligence, social media….etc.?

champions of this development will address the concerns in the final design of the shopping mall. This certainly is similar to how engineers, inventors, and architects design within constraints. Pay rapt attention to how all of this is quantified with math! Maybe your students can try addressing their own designs for major development within your town/city. Are there things your townspeople would like your students to try and address? Here are some ideas:

Study Architecture Architects, like engineers and inventors solve problems, but their method is different. Architects make both a physical and cultural statement with their designs. They tend to blend subjects:

- Possible uses for vacant land - Re-design of dangerous intersections - Beautification of parks and other public areas - Use of abandoned railroad rights of way

-Art -Technology -History -Engineering -Culture

Surely every town or city has some concerns, and perhaps working with local town leaders can be an illuminating moment for young folks to get a glimpse into the grown-up world and how problems are solved at the community level. Do not underestimate how powerful this could be in showing how interconnected subject matter is; and why integrating the curriculum is so important.

How might this impact the areas in which their works are located? Examine downtown areas where varieties of design abound from different times and schools of architectural thought. For example, how is Beaux Art design different from today’s architectural designs, and why? How does an architect incorporate socio-cultural concerns/themes into a design? Look at the buildings in your school district. Are they architecturally different? Why? Does architecture impact how students and teachers might use a school building? Many schools built in the 1920s thru 1950s all featured a grand stair case entrance leading to school offices and an auditorium. By the 1960s this had changed. One simply walked into the school at ground level and schools were more rambling with one to two floor wings and spread out facilities. Rather than having compact three or four story box-like designs, the post 1960s design used more glass and steel exterior aspects rather than brick and stone facades. Did this mirror the way skyscrapers were being built then? What propelled such design changes? How would your students design a school structure today and how might they wish to arrange its insides? Given tight city budgets, what kinds of constraints might be reflected in a modern school design?

“Education is the kindling of a flame, not the filling of a vessel”

- Socrates

Student Teams-A Crescendo Learning and Application Experience School should, as much as possible, exemplify the real world after school to students (often referred to as a “school-to-work” experience). Perhaps a community form of service should be the model for this experience. Whatever the form it takes, students should be immersed in the adult world to see how their studies and subject matter apply to the world of work. How incredibly valuable would this be! What if local businesses could “hire” student teams to try and solve problems these businesses have. Consider a local community grocery store that might be having concerns such as these: - Making it easier for senior citizens to shop at the store or even shop from home - Reducing energy usage in the store - Reducing the use of plastic bags at check-out - Offering new specialty products at the baked goods counters - Speeding up the checkout process.

Working with Town Hall There are huge and rich examples of subject integration and the potential for integrating the curriculum right there in your school district’s town hall operations. You may not think of town hall as an educational context, but it certainly is, and it can be a noisy forum at that. Bring your classes to town hall meetings when developers, city planners, and construction managers are presenting new ideas for major projects for your neighborhoods. This is when students will see how many constraints are raised by a variety of constituencies like local residents, environmentalists, community activists, and others. Maybe a new shopping mall is going to be built and folks have concerns over traffic, hours of operation, large delivery trucks, number of jobs for local residents, impact on parking in the area, bright lights late into the evening, houses that may have to be torn down, impact on local sewer capacity and water drainage, and a whole host of concerns. Listen to how the

Consider the benefits to the students of having the ability to do the following: - - - - -

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Address real problems, realizing such problems are right there in their neighborhood, and not abstract entities Evaluate problems and reduce them to key aspects Use critical thinking skills and integrate their subject matter Create/invent/innovate new products, services, and systems--within design constraints Present their ideas and suggestions to the grocery store managers

- - -

Roman, H. T. (2014); Invention, Innovation and Creative Thinking in the Gifted Classroom-Activities & Design Challenges for Students in Middle & High School; Gifted Education Press. Roman, H. T. and Myers, R.E. (2013); STEM to STEAM Education for Gifted Students Using Specific Communication Arts Lessons with Nanotechnology, Solar, Biomass, Robotics, & Other STEM Topics; Gifted Education Press. Roman, H. T. (2013); STEAM Education for Gifted Students! Upper Elementary Through Secondary Levels. Combining Communication and Language Arts with Science, Technology, Engineering and Mathematics; Gifted Education Press. Sizer, T. (2004); Horace’s Compromise: The Dilemma of the American High School; Houghton Mifflin. Sizer, T. (1997); Horace’s School: Redesigning the American High School; Houghton Mifflin. Wesson, K.; From STEM to ST2REAM-Reassembling our disaggregated curriculum; Education Week (on-line), October 23, 2012.

Sharpen their writing and speaking skills Work as a team and learn how to compromise and deal with differing viewpoints See math in action.

Imagine how inspiring it would be to have student teams working in their neighborhood, or for some small companies who have heard about your program. Students could dress up for the visit, act in a professional manner, and get a glimpse of the grownup world. College student teams often work with Fortune 500 companies while doing their baccalaureate capstone coursework or while pursuing advanced studies. Why can’t young, fresh minds, in middle school/high school, do likewise? Try this out on your PTA/PTO members and with your district. It might greatly boost the perceived value of the education given and elicit quite a positive response from the community. Also, contact local businesses in your community, and don’t forget to ask parents who have jobs in local companies that might be interested in a program involving student project teams. You will be surprised at the positive response.

Harry T. Roman is a retired engineer, teacher, inventor, and author. He has published over 550 articles, papers and scientific treatises, along with 75 teacher resource products including books, math card games, and science kits. A recipient of multiple awards for his outstanding service as an educator, as well as his pioneering technological achievements and inventions, Roman is currently an educational advisor for the Edison Innovation Foundation, and often visits local schools to work with teachers and students.

“With regard to excellence, it is not enough to know, but we must try to have and use it.” -Aristotle Sources Fisher, M.D. (2014, March 28). Gifted education in America: Suggested improvements. Center for Excellence in Education. [Web newsletter], http://www.cee.org/

Getting Students Ready for College and Career Through Creative Thinking By Diane Witt and Elizabeth Hahn If you ever want to know what a creative person’s mind feels like, imagine a browser with 2,857 tabs open. ALL.THE.TIME. - Some eCards

environment. Education is not currently meeting the increased need for workers who generate new ideas and are willing to take risks to try them out. As businesses clamor more loudly about the need for entrepreneurial thinkers, some new programs and educational strategies are coming to the forefront.

The desire to create can be compelling – and for those who see the world through “possibilities,” it can be powerful. Motivating and desirable, it drives individuals to a heightened sense of awareness, enabling them to harness their vision, think critically about the “end game,” and taking them down a path from which there is no escape. Some see it as a search for answers. Others see her as an answer to the world’s woes. This is Lady Creativity. For a number of years both business and education have been caught up in the notion that productivity is increased mostly by focusing on measurable skill sets that are best developed by setting prescribed goals and objectives and adhering to them with little deviation. Lately, there has been a recognition on the part of business that many of these skill sets are provided through technology or out-sourcing and that what is really needed in their workforce is the ability to provide vision and innovation to pace the company competitively in an always changing business

The Creativity Gap Misconceptions about creativity in the workplace are nothing new. The need for new ideas and ways of doing business has fueled a search for candidates with characteristics that complement the ever changing needs of today’s employers. According to Adobe (2012), the gap between job expectations and reality is changing. Only one in four Employees consider themselves creative, and perceptions toward creativity versus productivity have seen a shift at the executive level out of necessity. While creativity is still considered important, it is not the driving force in the workplace. One study of creativity surveyed more than 5,000 people in the U.S., U.K., France, Germany and Japan. Indicating a universal acknowledgement for the need of creativity in the workplace, the

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study identified time constraints as the main obstacle to innovation. All five countries expressed 47% frustration with time barriers to their creativity, while the U.S. hit 52%. Japan ranked the highest on creativity, while the U.S. followed in a close second, followed by Germany, France and the U.K. Creativity does not take place in a vacuum. It is a mix of ideas, observations and behaviors characterized by innovation. It’s not an accident leaders from companies like Skype, Hewlett Packard and Google exhibit a common thread when it comes to innovation.

this article have followed that vision to solve problems, to dream dreams that haven’t been imagined, and create pathways where none previously existed. They learned how to harness a vision, create something original and think critically about a desired outcome. This kind of creativity reflects the way a young person thinks and opens a pathway for a paradigm shift. It goes beyond being college ready, placing the emphasis on the individual and his or her strengths, and giving creativity another face to those who seek to understand her. TIME contributor and Los Angeles Times columnist Joel Stein referred to Millennials as, “The Me, Me, Generation.” Born between 1980-2000, Millennials grew up amidst the greatest technological changes in a century – changes brought on by the Great Recession. This lack of security has created individual with enough self-confidence to weather whatever the world may bring. Most of all, they are resourceful, with a strong sense of purpose. (Groth, 2013). This age group proved to be a strong and vibrant culture willing to create the “next version of America.” Many feel a strong need to fix something. When asked what word best defines the DNA of their generation, 70 percent agreed, “Creativity will save us!” (Shore, 2012). Early Indicators Study “Early Indicators of High Potential” was the result of a study conducted by Vanderbilt University’s College of Education and Human Development. It identified 320 students over three decades who ranked in the top 1 in 10,000 in math and verbal reasoning skills. Twenty years later, a follow-up analyzed their accomplishments at age 38 to determine whether or not the participants had been able to make significant contributions to society. Out of the 320 students, 63 percent held advanced degrees, of which 44 percent were doctorates. These professionals worked in engineering, the arts, and in science. Many were employed by Fortune 500 companies, hospitals and universities. One even served as advisor to the President. [Please see the diagram, Creative Accomplishments on page 652 by J. Kell Harrison, David Lubinski, and Camilla P. Benbow in their article, “Who Rises to the Top? Early Indicators,” Psychological Science 24(2013): 648-659. http://my.vanderbilt. edu/wmpy/files/2013/02/Kell-Lubinski-Benbow-20132.pdf]. This drive connects those with like interests, forming bonds that can have far reaching effects into society, the economy and the future. Emerging interests in the field of aerospace engineering, viral biology and energy continues to attract some of the brightest thinkers. Divergent thinkers are another kind of creative thinker. For a child, divergent thinking can present its share of challenges. Many of these children have desires to make a difference in the world, and their dreams can be larger than life, causing anguish and frustration over an idea they are unable to let go (Lovecky, 2009). Unfortunately, divergent thinkers can be misunderstood and labeled troublemakers because of their ideas. They can be confrontational and rebellious toward authority on their way to achieving a goal or vision only they may be able to communicate. This “messy” process results in more than ideas. It may leave them feeling isolated, disorganized and outside their peer group.

“The Innovator’s DNA” identifies five common skills that set them apart from the rest (Dyer, Gregersen & Christensen, 2011): 1. An ability to “Associate” and make connections between disciplines. 2. The ability to “Question” accepted rules and challenge the status quo. 3. An ability to “Observe” and recognize better ways of doing business with suppliers and competitors. 4. The ability to “Network” and deal with people with different perspectives and ideas. 5. The ability to “Experiment” with untried ideas to create a new concept. These young Millennials are employed in positions that demonstrate creative leadership in business and in life. They have embraced strategies that involve critical thinking and creative problem solving. Once they entered the workplace, behaviors emerge that reveal networking ability. Making connections and the need to generate ideas gives the company, team and individual the building blocks to enhance their creativity moving from concept to implementation. 30 Under 30 Summit For creative thinkers, problem solving and innovation are often as natural as breathing. Thirty young professionals under 30 met in Philadelphia last fall to take part in Forbes’ 2014 30 Under 30 Summit. Hand picked from more than 115 applicants, these young people showcased the top of the top, representing 15 different fields. These innovators and forward-thinking Millennials have a universal goal: “To change the world.” Forbes created this summit to enhance opportunities for the honorees to develop new partnerships, participate in tech talk and create new business ideas. Among the winners were five scientists whose vision for biology transforms the way we have understood the science to this point. These new perspectives aim to understand and confront the ever-growing threats in the areas of disease, genetics and medicine. These boundary-breaking discoveries are achieved through multi-collaborations in related fields of virology, technology and medical ethics. “The problems are so large they cannot be solved in isolation. Alzheimer’s is an example of growing need in an aging society,” said Paige Cramer, former Forbes 30 Under 30 honoree. She works as principal scientist for Merck, Sharpe and Dohme. During her days in grad school, she discovered key findings in the fight against this disease. These forward-thinking, vision-oriented entrepreneurs are a new breed of explorer, with one step in today and the other in tomorrow. They are impacting world problems by partnering with unlikely disciplines and creating a new standard for success. Creative thinkers like the young Millennials interviewed in

How Creative Millennials Approach the World The creative young people who are now in our workplace

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work long hours to achieve or contribute to a goal. High energy is not uncommon. They have the ability to adapt to situations. They make the best of a given situation that can resemble opposing ideas at the same time. They combine work and play equally right up until the end of a project. They are persistent and driven. Ideas leap and works are destroyed to reach a higher level of originality. They are contributors and critics at the same time. Most of all, they are passionate and risk-takers often misunderstood in the quest to achieve their vision. How did these young people come to be the creative producers they are? Looking at the experiences of several creative Millennials provides some insight into not only how they think, but also how they came to apply creative processes to their current lives. When asked questions about how they think and when they first realized they were creative, many of them mentioned the teenage years as when they realized they had unique ways of looking at challenges and opportunities. When considering research on the adolescent brain, this manifestation of creative thought during those years would be in line with the studies, indicating that the teenage years are the time that the mind craves risk taking and novelty. Coupled with that is the brain’s growing ability to problem solve by applying critical thinking skills to life experiences. Experts in the field of creativity are still debating whether creativity must involve product development and value or if it can just be creative thinking. But the young Millennials interviewed here began thinking differently from their peers, and have found ways to move that thinking into their daily lives and careers. Steve is a young man who demonstrates creative leadership skills both in business and as a soccer coach. He works to provide a safe environment in which he and his customers can look at the hard questions about their businesses and come up with original solutions that help the businesses grow. He approaches his high school soccer team with the same look at what the real challenges are and provides novel ways to develop skill, vision and collaboration in the players. These “outside the box” strategies have kept business customers coming back and gained the soccer team recognition in the district and state in spite of the fact that they come from a small school and play much larger programs. As a researcher in the medical field, Jenny knows that it is critical to keep one’s options open. That’s why, well beyond college, she continues to read literature to keep abreast of the latest techniques and research in molecular genetics used to help prevent abnormal scarring in burn victims. Critical thinking and creative problem solving have to go hand-in-hand in order for Jenny to define and analyze a problem as well as live with ambiguity until she explores enough options to come up with a satisfactory solution. Sarah, who has an MFA and is a sculptural ceramicist, reflects that she just recently came to understand what a college professor said to her several years ago. His observation was, “You really know who you are, which is odd for someone your age.”  Looking back, Sarah realizes that, even in high school, she had very specific goals when it came to her art projects, and that she planned her process to the point of knowing how much time she had to eat dinner. She knew her interests were different from many of her peers, and saved her social time for a small group of close friends. She has an early memory of failing a third-grade spelling test, and vowing that she would work so hard it would never happen again. Now, in her adjunct work with college students, she tries to instill in them openness to risk-taking and an awareness that hard work

can take them further than they believe they can go. Frank is a mechanical engineer who specializes in building design work, but also juggles distractions from construction issues and work with multiple groups from architects to structural and civil engineers. All of these groups must collaborate creatively to help a building design come together. Frank realized in junior high he was good at visualizing problems and coming up with solutions. He found it possible to apply that strength to subjects such as math and science, and even art and creative writing. He relates that finding a skill set and applying it leads to success, but that it is important in today’s world not to get pigeonholed into only one option. Scott is a third-year resident in osteopathic medicine. In fourth grade, he knew he thought differently from his classmates. His teacher saw the creative side of him, and gave him opportunity to develop it. He also became involved in a creative problem solving competition that expanded his creative skills through imagination and development of technical skills related to innovative products such as a moving robot. Curiosity was a trait that led him to always ask, “What if?” This trait led him on an inquiry path satisfied by the vast amount of knowledge and outstanding questions in the medical field. He looks at patients with the question, “Why do you have these symptoms?” and the understanding that this question can lead to an underlying problem and the challenge of finding a solution. Anna uses daily reflection in her own practice and attention to her first graders’ points of view to modify and refine the lessons she teaches. She reads a lot of biographies and finds the stories of people overcoming struggles motivating. She finds it critical in teaching to share ideas with other teachers, and brainstorm ways to implement their best practices in her own classroom. For those coming into the field, she emphasizes that having new ideas is great, but thoroughly planning how to bring the ideas to the classroom is a must. A striking revelation from these interviews was the commonalities many of the participants reported. All of them realized early, most in junior high or high school, that they thought differently from their peers. At times, the idea could be frightening because of the wedge it created in relationships with friends. As they grew older, it became easier to reconcile the differences and accept them as strengths. The confidence that was gained often led to stronger friendships and a valuing of diversity. While those interviewed recognized they must first bring the creative process to their work, there was also an understanding that teamwork with colleagues is crucial to bring multiple ideas and viewpoints to the table. Some additional caveats were revealed when a couple of teachers of young adults were interviewed. It is notable that both teachers brought to their students first-hand knowledge from having been creative thinkers themselves, and then modeled the concept that Malcolm Gladwell (2008) explores in his book Outliers, the roles of training and experience in creative productivity. Patti has taught college students and in-service teachers and has written several books. She, too, reports knowing she thought differently than her peers in high school. She had first-hand experience with becoming an invisible student in class so others would not know that she thought differently. Her desire to excel kept her working hard to be highly successful in school. Now she sometimes works 12-14 hours if she is feeling “in the flow” with a writing project. She purposely keeps distractions such as phone

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calls and emails out of the picture during these creative times. These experiences have helped her teach that creativity can be hard work, but puts much needed fun into life. Dan was a career officer in the military and retired as a twostar general. He reflects that in Europe, Americans are respected for their creativity and work ethic. There is recognition that Americans come to the table with a determination to problem solve until the job is completed. That was a mission in his career as he worked with American and international troops and leadership teams to design training programs that were creative, realistic and demanding. He also found it productive to lead by example, a strategy that motivated and engaged others.

Assignments can be adapted to promote higher level thinking skills in a way that boys will respond to more openly. Boys should learn how to read critically and express their ideas. It is also important to introduce new material so boys can encounter new topics they do not understand. A risk-free environment that permits boys to bounce ideas off of one another without judgment from their peers or teacher is necessary as they are introduced to concepts outside their scope of understanding. Classroom situations that promote male clusters give boys the freedom of expression not always present in regular classrooms. For any project, final products should have alternatives and options. Choosing the way to convey a presentation should be explored, with attention given to the process. Since boys respond well to assignments that emphasize topic immersion, their engagement in the assignment is natural. Boys tune out of lessons earlier than girls, so connection to the lesson is part of their training. Most of all, boys need to learn how to succeed and fail at the same time, making it easier for them to learn determination from that failure. On the other hand, creatively gifted girls and women face an uphill battle when it comes to recognizing their abilities. Early on, young girls come to realize they are treated differently from their peers and that a double standard exists for them and their male classmates (Smutny, 1999). Girls also face their share of social pressures. Many hide their abilities rather than accept them, not realizing that their talent is fluid and emerging. Piirto argues that girls demonstrate less creative achievement after graduation and tend to be more dependent due to the way they were raised. As they get older, these girls communicate more effectively than men. Their approach to problem solving is to examine the scenario from more than one perspective. Women also tend to be more emotionally aware. This accounts for their ability to care for others and process sensory information, which is a critical part of women’s creative strength in problem solving. The way schools design programs to meet the needs of their gifted elementary classes provides opportunities for male and female students to interact together in projects and individual assignments. Maple Ridge Elementary School in Pendleton, Indiana combines fifth and sixth grade students in a looping class known as “Reach 5&6”. Prospective students are assessed during their fourth grade class to measure reading, mathematics, verbal abilities, and spatial and nonverbal reasoning. Meaghan gives her students open-ended projects with basic benchmarks for success. They are given a rubric to help them reach their solution. Part of the requirements of a recent class “float project” was to create a state-themed float capable of rolling in a parade around the school. No items could be purchased. Meaghan reported boys were more likely to use vehicles of some sort, while girls used things like roller skates, skateboards and casters. “In general, I think the choice given to them in these matters lends itself nicely to creativity,” said Meaghan. “We do a project during space study where students have to create a space vehicle that could make a hypothetical journey to a planet or moon of their choice. Students research the destination and then, using what they find, equip their vehicle with items necessary to make the trip. Because it was open ended, there was a phenomenal amount of creativity in the final designs.” In classrooms like these, environments can be designed to

The Maker Movement Whether as an outgrowth of the experiences of individuals like those interviewed here or a precursor of how these young people will influence business and education in the future, there is a movement gaining significant traction that uses creativity and problem-solving to create real things that can be used by a real audience. The Maker Education Initiative subscribes to the idea that collaborating, problem solving, exploring, tinkering and wondering can help solve real-world problems. Maker education advocates point out that “making” can be done with inexpensive or no-cost items and can happen anywhere. Art supplies, fabric, cardboard, scrap wood, sewing kits, hand tools and recycled items can all be used nurture a “Maker environment.” Gender Considerations in Creativity Historically, men have dominated creative achievements in literature, art, science and technology. Boys demonstrate strengths in tasks that showcase their ability to use boundary-breaking thinking. Far outperforming girls in this area, children set these imaginary lines themselves to reinforce how they see the world and their place in it (Chen Tsai, 2012). Since boys are more likely to be raised to be independent, it is also more likely that they will be drawn to careers that promote decision making. Along this line is the ability to demonstrate potential in the area of mathematics. The male brain is structured for greater mental imagery simply due to its size. As boys grow, so do their brains. Their physical size is 11-12 percent larger than a female brain. Since males are traditionally larger in build, they have need for extra neurons to fuel growing muscle mass. Males also exhibit a difference in the way they solve problems. They are less talkative, more task oriented and more isolated throughout the problem solving process (Hensley, 2009). Fostering creativity in boys is a process that can be supported in the classroom. Understanding the special needs of boys can also make it easier to connect with them and promote their strengths. The creative brain is always searching for new ideas, and it is no different for the teenage male. If opportunities are not available to feed that curiosity, it can be fueled with endeavors that can be positive or negative depending on the interest. Young gifted males need opportunities that promote their understanding of a lesson. They need to understand how the information is useful and can be applied to what they know. Teachers – especially male teachers – have the ability to reflect creative ideas posed by the students and help them make connections. Teachers that model a creative approach to problem solving can demonstrate the ups and downs of risk taking, failure and expressing different points of view without judgment.

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promote positive learning experiences that encourage success in both boys and girls. Understanding that boys and girls play, learn, and see the world differently can have an impact on the projects and assignments in which they excel.

and leadership. While not all of our students will become nationally or internationally known in their fields, there is much we can teach them to help them become “movers and makers” that create a positive difference wherever they’re called.

Using Standards and Problem Solving to Teach Creative Thinking But what about students who don’t naturally come to the novel, innovative solution to a problem? Researcher and author Patti Drapeau (2014) agrees with Paul Torrance that creativity can be taught and assessed. Torrance’s work focused around four areas that promote development in creative skill: fluency, flexibility, originality, and elaboration. Drapeau has looked at ways those four areas may be taught through standards and creative problem solving. The new Common Core standards focus primarily on critical thinking, but Drapeau shows ways to enhance the standards with the verbs that Bloom (1956) and others associate with creative thinking. Providing learners with choice and open-ended activities also enhances their ability to think creatively. Combining the critical and creative thinking skills extends the standards’ and offers the depth and complexity that today’s students need to become college and career ready. Additionally, strategies taught through creative problem solving competitions such as Destination Imagination, Odyssey of the Mind, and Future Problem Solving help learners incorporate a range of skills into other areas of their lives. SCAMPER (1971) is a mnemonic that helps move thinking through a variety of approaches: Substitution, Combination, Adaptation, Modification (minimize, maximize), Put to other uses, Eliminate and/or Rearrange. Use of other strategies such as visualization, brainstorming, webbing, collaboration, innovation and technical applications are part of these problemsolving activities as well. Assessment of creative thinking skills can take a variety of avenues. Formative assessment using specific, individual feedback helps to motivate and engage learners. Student growth measures using goals and outcomes can also be specific to individual student learning. Rubrics help to measure summative outcomes and guide learners to the intended learning targets. Criterion-referenced and standardized tests are available to help measure creative thinking. All of these activities in a classroom depend on the creation of a climate in which risk-taking is not only supported, but also actively encouraged. Providing a number of lessons and activities in which learner growth is the outcome in addition to the summative assessments such as grades or state tests helps to develop students who are eager to explore topics and novel ideas.

References Andreasen, N.J.(2014, July/August). Secrets of the creative brain. The Atlantic. Retrieved September 4,2014 fromhttp://www. theatlantic.com Association for Supervision and Curriculum Development. (2014, June). If you build it: Tinkering with the maker mindset.” ASCD Update, 56 (6). Association for Supervision and Curriculum Development. (2014, September). Teaching to the teenage brain. Education Update, ASCD, 56(9). . Azzam, A. (2009, September 12). Why creativity now? A conversation with Sir Kenneth Robinson. Teaching for the 21st Century, 67, 22-26. Bloom, B.S. (Ed.). (1956). Taxonomy of educational objectives: The classification of educational goals. Handbook I: Cognitive domain. New York: McKay. Chen, I. (2014, April 25). By not challenging gifted kids, what do we risk losing? Retrieved October 1 from http://blogs. kqed.org/mindshift/2014 Cleaver, S. (2008, September 20). The purpose driven kid: Helping your child find a calling. Retrieved September 2, 2014 from http://www.education.com/print/Helping_Kids_Find_ Purpose Cooper, M.E. (2012, Fall). Creativity and gender differences. Theories of Creativity. Wiki by the EPSY 8220 class, the University of Georgia. Retrieved September 18, 2014 from http://creativitytheories Drapeau, P. (2014). Sparking student creativity: Practical ways to promote innovative thinking and problem solving. Alexandria, VA: Association for Supervision and Curriculum Development. Eberle, R. F. (1971). SCAMPER: Games for imagination development. Buffalo, NY: DOK Publishing. Fairweather, E.C. (2012, Fall). Creative process as a means to creative productivity: How to help students make the most of their capabilities. Teaching for High Potential, National Association for Gifted Children. Gladwell, M. (2008). Outliers. New York: Little, Brown and Company. Groth, A. (2013, May 9). Why Millennials will be the generation to save us all! Retrieved October 28, 2014 from http://www.businessinsider.com Hensley, A. (2009, June 16). 10 big differences between men & women’s brains. Masters of healthcare. Retreived September 2, 2014 from http://www.mastersofhealthcare.com Kell, H.J., Lubinski, D., & Benbow, C.P. (2013). Who rises to the top? Early indicators. Psychological Science, 24 (5): 648-59. Khazan, O. (Dec.2, 2013). Male & female brains are really built differently. The Atlantic. Retrieved September 20, 2014 from http://www.theatlantic.com/health Kingore, B. (2004, Spring). High achiever, gifted learner, creative learner. Understanding Our Gifted. Lepi, K. (2013, August 7). How to promote creativity in

Final Thoughts Getting students ready for college and a career can seem a daunting task for educators. We need to take a hard look at what has historically proven successful in preparing learners for life. But at the same time, we cannot overlook the new and innovative ways of thinking about teaching that are emerging or the need for entrepreneurial thinkers in the workforce. Today, education should heed the proverbial warning: “Don’t throw the baby out with the bath water.”  In our field, we have on occasion focused on ways to teach creativity and innovation, but that teaching was often done in isolation from academic content. Where we can actually see creative thinking, however, is in the products that emerge from the various disciplines of the arts, sciences, mathematics, literature, and community responsibility

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Tsai, Kuan Chen. (2013, July 30). Examining gender differences in creativity. The International Journal of Social Sciences. 13(1). Understanding and Raising Boys. (n.d.). What’s the problem with school? PBS.org. Retrieved September 7, 2014 from http:// www.pbs.org/parents/raisingboys/school02.html Vanderbilt University. (2014, January 6). Are gifted children getting lost in the shuffle? Science Daily. Vincent-Lanerin, S. (2013, January 30). Creativity in schools: What countries do or could do. Retrieved September 14,2014 from http://www.oecdeducationtoday.blogspot.com Watson, M. (n.d.). Treading softly on their dreams- Fostering creativity in boys. The Selwyn House School. Retrieved September 14, 2014 from http://www.ibsc.org

the classroom. Retrieved September 12, 2014 from http://www. edumedic.com Lim, R. (2012, May 22). Singapore wants creativity not cramming. BBC News Business. Retrieved September 4,2014 from http://www.bbc.news.business-17891211 Lovecky, D. (2009). Developing creativity by nurturing divergent thinking. Talent development resources. Retrieved September 5, 2014 from http://www.talentdevelop.com Maltoni, V. (n.d.). Breaking boundaries means learning and integrating, not keeping up. Retrieved October 28, 2014 from www.conversationagent.com O’Dell, J. (2012, April 23). Adobe study reveals massive creativity gaps, but not in gender or age. Retrieved September 10, 2014 from http://www.venturebeat.com Piirto, J. (n.d.) Ways to enhance creativity: A different approach. Retrieved September 22,2014 from http://www. greatpotentialpress.com Reis, S. (2002). Social and emotional issues faced by gifted girls in elementary and secondary school. The Seng Newsletter 2(3) 1-5. Retrieved September 4 from http://www.senggifted. org/ Reiskind, F. G.& Others (1988). Gender differences in divergent thinking? An investigation of black and gender specialization theory. Shore, N. (2012, Nov.15). Millennials: The new American dreamers. Media Post. Retrieved October 12 from http://www. mediapost.com/publications. Smirniotopoulos, P. (2012, May 23). We need an education system that promotes creativity, innovation, and creativity. Retrieved September 11, 2014 from http://www.huffingtonpost. com/education Soling, C. (2014, March 18). Can any school foster creativity? Retrieved October 5, 2014 from http://blogs.kqed.org/ mindshift/2014/03 Somer, L. (2014, May 21). How to foster more creativity in 21st century education. Retrieved September 23, 2014 from http://www.forbes.com 11 traits of highly gifted students. (2009, July 11). Education Innovation. Retrieved September 7 2014 from http://www. educationinnovation.typepad.com/my_weblog Smutny, J.F.(1999). Gifted girls. Understanding Our Gifted. Open Space Communication 11(2), 9-13.

Diane Witt is a gifted education consultant. She received her master’s degree in special education and gifted education from Bowling Green State University in Ohio. Diane has worked for the Ohio Department of Education as a gifted education consultant and more recently, for the Nantucket Public Schools and Chatham City School system in Massachusetts. Diane assisted Family Services of Nantucket as a counselor, providing services to gifted children, children with special needs and their parents. She wrote the book, Strategies for the Tech-Savvy Classroom (Prufrock Press, 2009). Elizabeth Hahn joined Ohio Department of Education’s Office for Exceptional Children (OEC) as an educational consultant for gifted education. Elizabeth worked for 11 years as a gifted coordinator, two years as a gifted teacher, nine years as a classroom and Title 1 reading teacher, and two years as a program assistant with the Ohio Cooperative Extension Service. She earned a master’s degree in education from Miami University, gifted certification from Ohio University (OU), and an administrative specialist licensure in curriculum and instruction and professional development from Franciscan University of Steubenville.

IB Programmes: Creativity, Critical Thinking, Curriculum, and So Much More By Susan Rhodes

As educators scramble to align their curriculum and assessments with the NEW Illinois Learning Standards/Common Core State Standards, it may serve them well to take a serious look at the International Baccalaureate Programmes. Seven years ago a colleague and I had the opportunity to visit IB authorized elementary and high schools in Florida and attend IB workshops. We were definitely impressed with what we learned and returned to Springfield to convince others that IB is the pathway for us to better meet the needs of the students within our gifted magnet school and prepare them for their future world.

As of this writing, Illinois has 46 authorized IB programmes with 41 of those programmes in the Chicago area. Outside of the Chicago area, there is one in Freeport, three in Peoria, and one in Springfield. There are 9 Primary Years Programmes in Illinois, 29 Middle Years Programmes, 21 Diploma Programmes, and 3 Career-related Programmes. There are a total of 1,570 IB schools in the US and 3,931 in the world. In the United States, California has the most IB programmes with 159, closely followed by Florida with 154, Texas with 142, and Colorado with 99. The mission statement of IB reads as follows: “The IB aims

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to develop inquiring, knowledgeable, and caring young people who help to create a better and more peaceful world through intercultural understanding and respect. As part of its mission, the organization works with schools, governments, and international organizations to develop challenging programmes of international education and rigorous assessment.” IB has created a position paper in response to the Common Core State Standards. The Opening Statement of this paper reads as follows: The IB applauds the efforts of the National Governors Association (NGA) and the Council of Chief State School Officers (CCSSO) to improve the quality of education across the United States through the Common Core State Standards initiative (CCSS). The IB shares with the U.S. Department of Education and its state agencies the important goals of developing internationally benchmarked standards and the ambition to better prepare all students for success in college and career development. The IB is pleased to have been selected in 2011 as one of 5 sets of standards against which the Common Core was measured by education experts to determine its success in meeting its goals. The IB recognizes that the implementation of the CCSS will have a significant impact on public schools in states that adopt the new standards. The IB is committed to supporting schools with a range of services and academic tools as outlined in this statement. IB programmes have been in existence for over 45 years. On the IB website, the organization’s history is summarized as follows: The International Baccalaureate® (IB) was founded in Geneva, Switzerland in 1968 as a non-profit educational foundation. A group of talented, forward-thinking teachers at the International School of Geneva, with assistance from several other international schools, created the IB Diploma Programme. What started life as a single programme for internationally mobile students preparing for university, has today grown into four programmes for students aged 3 to 19. Students, parents and educators in IB schools are constantly challenged and encouraged within their learning endeavors to demonstrate the ten attributes of the IB Learner Profile in being: inquirers, knowledgeable, thinkers, communicators, principled, open-minded, caring, risk-takers, balanced, and reflective. These descriptors are used over and over again in all settings at Iles School. When I was principal, I spent over 2,400 hours (but who is counting?) directly supervising gifted students with all of their intensities during recess, in the cafeteria, and waiting for buses at the end of the day. As a result of implementing the IB Primary Years Programme, I was able to actually witness a dramatic change in the way students and educators interacted with one another. As educators, we get so focused on the academic side of the school’s curriculum that we rarely think about the other important attributes of learning. These attributes are not inherent and they need to be deliberately taught and communicated. These attributes need to be imbedded within the fabric of the school setting. It doesn’t happen overnight but it does happen. I have seen gifted students who have come to Iles School in third and fourth grades wearing their “protective armor” who constantly “challenge for power” and look for a “battle” to fight. After about a semester, they realize that people are cooperatively learning and playing together at Iles School and are “open-minded” when presented with new ideas. The “protective

armor” begins to disappear and the “challenges for power” transform into meaningful contributions. When Iles students talk with one another, they use the vocabulary of the ten attributes within their own communication. This is a sign of success! A quick digression; we could add another “C” to creativity, critical thinking, and curriculum, and that would be “communication.” So many times, the lack of effective communication skills get in the way of reaching our goals. Iles students are taught how to ask good questions, to be good listeners, and to reflect upon the ideas contributed by others rather than only concentrating on what they are going to verbalize. At Iles School the learner profile is visualized as an umbrella for all learning that takes place. At the elementary level, the written curriculum consists of six transdisciplinary units of inquiry taught throughout the year at each grade level. In the very beginning of the Iles IB Journey, the entire faculty worked together to develop the school’s Programme of Inquiry to align with standards, integrate technology, and develop an effective scope and sequence. Once the POI is in place, grade level teams continually work with the school’s IB curriculum coordinator in revising, teaching, and reflecting upon the units of instruction throughout the year. Developing the POI is an arduous task. It takes a couple of years or more. Every teacher and administrator is expected to attend an IB workshop and visit an IB school to learn and see the many facets of IB (Large districts can save travel costs by having a consultant come on site to conduct the IB workshops). Upon reflection of the Iles IB Journey, attending the workshops strengthened the relationships of the faculty and created long lasting memories. When educators travel together, you always learn something new about your colleagues. Strong relationships are crucial when it comes to working together to take on new challenges. The workshops are intense and model the inquiry-based thinking that educators are to facilitate for their own students. The workshops are definitely not “sit and get.” The workshops cause confusion and discourse. They are messy. We would get together for dinner in the evening and try to make sense of what we had experienced throughout the day. We didn’t always have one correct answer to put into a box. We had deep discussions about the process of learning. Many tears were shed as we worked towards our authorization. We wanted to reach our goal but were unsure as to whether or not we were on the right course. I am reminded of a Dr. Sylvia Rimm presentation that I heard many, many years ago. Dr. RImm was discussing how we build self-confidence within our gifted children and get them more comfortable with taking risks. She asked the audience members to recall a personal achievement that they are especially proud of achieving and to think about what went into that achievement. She asked if there was uncertainty and self-doubt along the way. Audience members agreed that those components were present. Dr. Rimm went on to explain the importance of “struggle” in our endeavors in order to build the necessary self-confidence to take on more challenging tasks. She discussed the importance of having gifted children “struggle” with their learning in order to build the critical self-confidence that they will need to be successful in their future. I believe that this message is just as true for gifted adults. The staff at Iles School was very “comfortable” with our gifted magnet school curriculum. When we were in the initial decision-

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making process of whether or not to embark on the IB journey, some staff members told me that we were a good school, we had good test scores, and that this IB journey would be good for a school with low test scores. I totally disagree. All of us struggled on this journey and all of us became stronger as a result. We had to experience inquiry-based learning and be reminded how our students struggle. We had to re-assess how much “struggle” is needed in order to learn. Critical thinking involves “struggle.” It is difficult. There were times when we doubted whether or not we would become an authorized world school. This journey has paid off when it comes to embracing the NEW Illinois Learning Standards/ Common Core State Standards. Iles teachers are confident in the knowledge that their units of inquiry are aligned with the standards. Their classroom assessments have been developed as a result of developing their IB unit planners. Through the required reflection process, revisions are a continuous process. Teachers think through the essential knowledge students are to gain and then create an inquiry-based learning environment that is transdisciplinary. I am not a big fan of measuring success solely through test scores, but that is the game schools are forced to engage in. With Iles School being a gifted magnet school, state test scores have not provided Iles School with an effective evaluation measure of student growth in the areas of reading and math. Since the implementation of the Primary Years Programme, Iles School did realize a significant improvement in their state science test scores. I attribute that improvement to all staff members being involved in the development and implementation of the school’s Programme of Inquiry. The entire faculty took a critical inventory of what students were and were not learning at each grade level and made the necessary adjustments. In my mind, there is no “magic” involved with implementing the Primary Years Programme. Schools that are successful in the implementation of the IB programmes are paying attention to all of the details involved with a sound educational program and they maintain that focus. Curriculum development goes far beyond aligning test questions to standards. Teachers within an IB programme are not teaching alone within their own classroom. Teachers are accountable to their grade level colleagues and the school’s POI through implementation of the unit planners, meeting regularly with the IB coordinator, looking at student work, and making necessary revisions through the reflection process. Teachers are expected to attend additional IB workshops after authorization to deepen their understanding of inquiry-based learning and share their successes with other educators. It has been my experience as an educator that we are not always willing to invest in a process that is going to take several years to implement. I get the impression that we are so hungry for a quick fix that we have our staff members go off in many different directions to try to “fix” different pieces. Conversations tend to focus on the “outputs” of learning such, assessments, student work, and test scores. The IB experience is thorough. It makes everyone go through the entire curriculum development process so everyone has an understanding of the essential knowledge that we want students to gain and what learning outcomes are expected. It is important to start at the very beginning. What is our mission and focus as a school? What is our language policy? How do we value the “mother tongue” language of our students (Iles School has over 30 different languages spoken in the homes of its students)? What do we want students to learn? How do

students learn? What is our assessment policy? How will we know that students have mastered a concept? Can we improve upon this learning process? The development and implementation of a strong POI builds self-confidence in both teachers and students through its rigorous demands. I realize that I have a somewhat different experience than others since my views are from the experience of being principal of a gifted magnet school. I do need to mention that there is often a misunderstanding about IB programmes at the elementary and middle school levels. Since the IB programmes were initially developed at the high school level, people mistakenly assume that the IB primary and middle year programmes are only for gifted students. It is important to clarify that these programmes are to be implemented within a school for ALL students. Iles School happens to be a school already developed as a gifted magnet school. The essential element of inquiry-based learning strives to meet the needs of ALL learners. I do strongly believe that the needs of gifted children are best met when they are able to learn with their intellectual peers all day, every day. I also understand that this is not always possible. When this setting is not possible, I believe that the IB programme provides opportunities for gifted children that are not always present in a regular school program. The IB programme requires students to learn a foreign language. Iles students study Chinese and its culture for one hour a week in grades one through five and one and one-half hours a week in grades 6-8. Schools may select the foreign language for students to study. Iles School made the decision to study Chinese as a means to prepare students for their future. The language spoken by the most people in our world is Chinese. It made sense to us that in order for our students to be globally competitive, they should have an understanding of the Chinese culture. Community service is another requirement within all four IB programmes. Students are expected to research a topic, take action to make a difference, and then reflect upon that project. Fifth grade students work in small groups with a mentor who provides them with a learning opportunity to research a local issue and create and implement an action plan, one that utilizes the learner profile attributes that they have developed since they entered Iles School in first grade. This Exhibition Project is an example of authentic assessment. The curriculum developed at Iles School is filled with learning that involves creativity and critical thinking skills. I encourage you to look at the Iles School web site at http://www. sps186.org/schools/iles/ and view the teacher pages—read the newsletters and look at the photos of student work—to give you an idea of a program that is meeting the needs of gifted children. Upon entrance at Iles School, students maintain their own online electronic learning portfolio that their parents can also access. During student led conferences, the electronic portfolio is studied by the family and used to discuss the children’s learning. Students are able to communicate to their parents their learning strengths and areas where they need to improve. Through this process, they gain responsibility for their own learning. Other “c” words that come to my mind as I conclude (no, conclude does not count, neither does count) my description of the IB journey and its programmes are these: cohesive, comprehensive, cooperation, community, and challenge. IB breeds success because the entire learning community is engaged in all aspects of the learning process. IB prepares our students for

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Susan Rhodes is a recently retired principal of a gifted magnet school for 430 students in grades 1-8 in Springfield, Illinois. Her professional experiences include being a classroom teacher for grades 5-8, gifted resource teacher, school board member, professional development consultant, district math and gifted coordinator, adjunct college faculty member and is PresidentElect for IAGC. She is a survivor of raising two gifted children and enjoys working with parents and teachers to advocate for their gifted children.

the future. And even though testing is a game schools must play, students will do well on mandatory tests without being confined by them. REFERENCES: http://ibo.org/school/search/index. cfm?programmes=&country=®ion=&find_schools=Find October 30, 2014 http://www.ibo.org/iba/commoncore/documents/ IBCommonCorePositionStatement.pdf; October 31, 2014 http://ibo.org/history/ October 31, 2014 http://ibo.org/myib/digitaltoolkit/files/pdfs/learner-profile-en.pdf October 31, 2014 http://www.sps186.org/schools/iles/ October 31, 2014

POETRY Winners of the Torrance Legacy Creativity Awards 2014

Poem by Kathryn Haydon* Dear Teacher,

Hidden by Angelina Goo-Yun Chan Long Grove, Illinois

The speed of sound can’t catch the  trains running on the tracks  of my mind twisting and switching  in a three dimensional  orb, fusing rapid connections on rails lubricated with creativity. Propelled by dramatic force  they steam ahead and I can’t get them to wait for your words  to board.

It may always seem that the grassy shades of emerald are never enough to spark the imagination of the sky so that its canvas of cerulean can never change into the hopeful color of misty tangerine, but in the early mornings when you can only see a speck of periwinkle covered by the light of the stars, there is always the hope that daylight will come soon so the forest will awaken and while the sun rises and gives off its rays of light it does not take long to realize that what your memories have seen are not the same as the others have, so as you breathe in the sunshine the stars have already disappeared into the brightness, but you are still there waiting for a sign of understanding.

*See author’s article, “Safe Haven: Parenting Creative Children Amidst Abundant Conformity”

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Under the Willow by Marlene Schaff Lake Forest, Illinois Silver ropes hang Swish softly As a gentle breeze winds through them Where sunshine filters through the branches The grass is long and soft under me Here I rest By the babbling stream A cool, fresh musical afternoon A soft zephyr brushes my face Washing a feeling of peace over me My mind floats upward Far above the mortal world Into one of daydreams and imagination Sweet sunny meadows and cool, shady forests Skies and lakes a perfect blue I lie, sprawled In the sweetness of summer idleness And my dreams drift through the silver Up into the endless blue sky.

Response to “The Roots of California Photography” Film by Lauren Dauber Frankfort, Illinois Tints of golden and green overtake the streaked sun. Sunsets of lemon and peach summon the merciful night Rugged shorelines and smooth sands contrast as do a bloodthirsty lion and a delicate butterfly. Hatred is overtaken by serenity in the molten-like deserts. Rapids collide, but disturb no one, for they add peace to the day. Tributaries connect and swirl turbulently in the decorative mountains. Insects perform their dance as they dart amongst the bursts of flowers that long for more spacious housing. As you pass through this society, You begin to sense a border between judgment and calmness. Violence, soaken tears, and seeped blood is gone. ., The grace of the Californian mountains.

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What Matters Most by Alexandra Trouilloud Norwood, New Jersey When the day is done, the sun recedes into the west. In the fleeting moments before the moon takes its place in the night sky, the dwindling light says good night. It shoos away the opportunities of today, and bows out to let dreams flutter in. It bitter-sweetly reminisces on the little pleasures of the day, and, in the last lingering ray, it shines faith into the sleeping heart that it will rise again. When the world goes dark,stars begin to peek through, like little blessings, marking each little goal accomplished and each dream that was born. The sun is new each day, but what matters most is to make it shine brighter still, every single morning. From an Atlas of a Not So Difficult World by Adelyn Tan Singapore (first half of poem) I am reading this poem, late, in the snug familiarity of my bed, with gentle night-light and sable night sky, stars swimming beyond the glass, warm breaths fogging up the panes. I am reading this poem, curled on a beanbag in a library with her by my side, breaths stirring against my skin, like the winds of time, of change, taking me away from here. I am reading this poem, in a room that is abound with remembrance and days gone by, where the bedclothes are heaped, fresh and steaming with warmth, with the same freedom that the open valise speaks of, a journey ending in success, a triumphant flight. I am reading this poem, as the underground train screeches to a halt, and before heading up the stairs, toward the love that life has bestowed on me. I am reading this poem, by the glow of the laptop screen, where the headlines flash and flicker, for once, joy is splashed across the monitor. I am reading this poem in a waiting room, of meeting eyes and crinkling smiles, more friends than strangers, without fear. . . .

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Personal Legacy by Gabriel Lau Chicago, Illinois (first and last verses) New life is a tree that grows toward the light of day From rocky ground, rugged soil, and silent d esperation, Old roots planted many times in foreign lands. I didn’t want to learn English Except to talk to others and cease being a ghost. To strive to love oneself is to learn to love others, A fountain that refreshes the thirsty and exhausted. To understand oneself is to understand others, Being friendless, a stranger in strange new lands. One must be a friend to oneself, So as to find the friend in others Among faces and crowds. ... To be bold as a red dragon is intimidating, Fuming smoke and fire towards its enemies, Heavy of breath, crushing foes from its weight, Spiked and horned, spitting poison— Thus in my strength I push my way forward to prosperity Against all odds. One’s boldness leads from sharp turns to daredevil crossroads, Encountering intersections within oneself where Two armies meet toward each other’s destruction. A third force, which is courage, turns the tide of the battle. To know one’s own fears and overcome them is bravery of the highest order, More than waging war against any villain in the world, For we are often our own villain, And yet— God is within us, The one who helps you help yourself.

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An Ode to Sight, a Lament for Eyes by lnhwa Kang Seoul, South Korea (first two verses and last three verses) Lightly flitting, side by side, Wandering, bright and curious eyes, Shifting glances, coy warm gaze, Peering gaily through nights and days, Stumbling, stoic, heavy lashes, Pressing darkness without flashes Enveloped with care, shrouded in shade, A world without, doomed to fade, ... Then finger and wrist, and rigid thumb, I felt the art with her as one, I sensed her smile, a spreading peace, Together we felt the art beneath. We left that day no longer apart, United through the world of art, Though her eyes were helpless to see the light, I cherished the sight of that darkest night. We returned often to that stone man, Holding gently to his hand, Eyes closed tightly to the world of light,

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It is the vision of the Illinois Association for Gifted Children that the diverse expressions of gifts and talents of all individuals are valued by society.

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Responsibility for nurturing, encouraging, and supporting the full development of potential in children and youth is accepted and shared by their families, educators, and communities. Individuals value themselves and their accomplishments. Their contributions are celebrated by society.

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Goals  









To promote advocacy efforts that benefit gifted and talented children by establishing an effective political network. To develop standards of quality for what teachers and other professionals need to know about educating children with gifts and talents. To develop standards to evaluate the appropriateness of programs and services which affect the lives of children with gifts and talents. To foster professional growth of educators by providing opportunities to learn about standards of quality for understanding and teaching children with gifts and talents. To network with others by disseminating news and information to educators and parents through regular communication in the form of a newsletter, journal and the Internet. To work cooperatively with the Illinois State Board of Education, universities, and other organizations that serve children with gifts and talents.

For more information, contact us at: IAGC 800 E. Northwest Highway, Suite 610 Palatine, IL 60074 Tel: (847) 963-1892 Fax: (847) 963-1893 Website: iagcgifted.org

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Our membership list may be given or sold to outside groups. Please check this box if you want your name excluded from this list.



We urge you to consider making an additional DONATION to IAGC to assist in our committee work. IAGC is a 501(C)3 nonprofit organization and your donation is tax deductible to the extent the law allows. Please help us to continue our committee work with your donation. Donation

$ __________________

ANNUAL DUES $50.00

$ __________________

Total check (to IAGC)

$ __________________

Mail to: IAGC 800 E. Northwest Highway, Suite 610 Palatine, IL 60074

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