1. Designing Meaningful Assessments for PERA (for English Language Arts, Science, and Social Studies) Julianna Cucci Elizabeth Kahn Shirley Morikuni

2. Workshop Objectives Participants will leave here today with ideas about how to revise or design Type II and/or Type III Assessments that can be used in their own classrooms to provide meaningful data, to guide instruction, and to document student growth.

3. What does the law say about assessment of students and teachers?

16. Different ways of thinking curriculum = coverage of material curriculum = descriptors of what students will be able to do assessment = way to assign grade assessment = way to evaluate learning and teaching BEST ASSESSMENT covers most material or most challenging BEST ASSESSMENT gives the most information about student learning

17. Let’s do an assessment activity that we’ll use to illustrate concepts that we will be focusing on.

18. Objective/Standard ● Interpret the central idea (theme) of a poem ● Support the interpretation with specific evidence from the poem

19. Assessment Fame is a bee. by Emily Dickinson Fame is a bee. It has a song— It has a sting— Ah, too, it has a wing.

20. Student Response 1 This text has a central idea saying that this person is a bee. He is mean and scary because bees sting and some people are allergic to them and have a bad reaction, even die. The bees can fly so it’s easy for them to attack you. This person like a bee is something to watch out for. Student Response 2 The central idea of the poem is that fame has its ups and downs. The poem expresses this theme by comparing fame to a bee. At times it can make you feel happy and on top of the world because like a bee “it has song.” However, it is not always good, like a bee sting. Someone might try to hurt you if you are famous (“It has a sting”). Fame also has “a wing” which means it can fly away from you like a famous athlete who gets old and nobody cares about him any more. So fame can be good but it can also bring sorrow.

21. Student Response 3 This text has a central idea saying that this person is a bee. He is mean and scary because bees sting and some people are allergic to them and have a bad reaction, even die. The bees can fly so it’s easy for them to attack you. This person like a bee is something to watch out for. Student Response 4 The central idea is that fame is like a bee. My evidence is that it has “a song,” “a sting,” and “ah, too, it has a wing.” All of that is like a bee because bees sing, sting, and have wings, which is the central idea the poem tries to say.

22. Assessment Activity 1. Rate the 4 student responses from strongest to weakest. 2. Based on #1, make a list of the skills and/or strategies that students need to be able to perform to do a task like this. 3. Imagine that in a class of 30 students,  3 had responses like #2  7 had responses like #1  8 had responses like #3  12 had responses like #4 Brainstorm possible classroom activities you would design for the class to prepare them to do a task like this at the highest level.

23. There are many different purposes for assessing student growth.

24. diagnosis of student skills, knowledge, etc. student placement student grades identification of student needs (extra help, tutoring, etc.) decisions about promotion, retention, summer school, graduation, etc. college or career readiness

25. teacher evaluation teacher self-reflection instructional decision making comparison among schools or to state or national norms

26. We maintain that the most important purpose of assessment is helping guide teachers in designing instruction for their classrooms (day to day, week to week, and so on).

27. What is the optimal way to design assessment to inform instruction?

28. Type II and III assessments are most useful in terms of classroom instruction.

29. Less effective are Type I assessments and assessments that rely on forced- choice:

30. often no immediate feedback difficult to determine the thinking behind the student responses difficult to find causal links in student performance and instruction limited basis for collaboration among teachers promotes use of repeated practice tests usually not authentic tasks

31. The problem with instruction that focuses on repeated practice with Type I assessments… You don’t fatten the pig by weighing it!

32. The value of Type III assessments…

33. What works best for assessment that is meaningful and useful for guiding instruction? tasks that are authentic, meaningful, and worthwhile tasks that reflect what we want students to be able to do open-ended responses (student show their thinking) mirrored tasks to reveal growth

34. assessments used by multiple teachers/classes (professional learning teams) collaboration within teams in creating rubrics, evaluating student work, designing instruction, and reflecting on how to improve instruction and assessments.

35. What are mirrored assessments? same essential task(s)/question(s) same level of difficulty (reading level, directions, critical thinking, abstraction, etc.) same conditions same rubric for evaluating responses

36. Write a composition interpreting the central idea or theme of the poem “Dreams.” Support your interpretation with specific evidence from the poem. Dreams By Langston Hughes Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly. Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

37. How do we best assess reading, writing, and speaking to aid instruction? Literacy:

38. Are there skills a student must be able to do before others can be learned? How can we prepare students to understand challenging works of literature? What does a reader have to know or be able to do in order to understand a challenging work? How do we understand literature? What is the process? Inquiring Teachers Want to Know...

39. Hillocks-Ludlow Taxonomy What is a taxonomy? A way to organize the skills students need to learn to read for complexity.

41. Hillocks-Ludlow Taxonomy Students respond to a text in an informal reading inventory where each answer reflects specific comprehension skill types.

42. Hillocks Reading Taxonomy In the inventory, answers to the questions are divided into two levels: 1) literal questions: answers appear directly in the text 2) inferential questions: answers are cued in the text but not directly stated in the text

43. Hillocks-Ludlow Taxonomy Basic Stated Information Key Detail Stated Relationship Identifying frequently stated information that presents some condition crucial to the story. Identifying a detail that appears at some key junction of the plot and bears a causal relationship to what happens. Identifying a statement that explains the relationship between at least two pieces of information in the text.

44. Hillocks-Ludlow Taxonomy Simple Implied Relationship Inferring the relationship between two pieces of information closely juxtaposed in the text. Complex Implied Relationship Inferring the relationship(s) among many pieces of information spread throughout large parts of the text. A question of this type might concern, for example, the causes of character change.

45. Hillocks-Ludlow Taxonomy Inferring a generalization about the world outside of the work from the fabric of the work as a whole. These questions demand a statement of what the work suggests about human nature or the human condition as it exists outside the text. Author’s Generalization

46. Hillocks-Ludlow Taxonomy Structural Generalization Generalizing about how parts of the work operate together to achieve certain effects. To belong properly to this category, a question must first require the reader to generalize about the arrangement of certain parts of a work. Second, it must require an explanation of how those parts work in achieving certain effects.

47. Hillocks-Ludlow Taxonomy So how is this inventory taxonomic? The reading inventory is based on the assumption that if readers can’t recall or find information stated directly in the text, they won’t be able to make inferences based on that information. Therefore, the levels of questions build in order of complexity and are taxonomic.

48. Eleven By Sandra Cisneros What they don't understand about birthdays and what they never tell you is that when you're eleven, you're also ten, and nine, and eight, and seven, and six, and five, and four, and three, and two, and one. And when you wake up on your eleventh birthday you expect to feel eleven, but you don't. You open your eyes and everything's just like yesterday, only it's today. And you don't feel eleven at all. You feel like you're still ten. And you are--underneath the year that makes you eleven. Like some days you might say something stupid, and that's the part of you that's still ten. Or maybe some days you might need to sit on your mama's lap because you're scared, and that's the part of you that's five. And maybe one day when you're all grown up maybe you will need to cry like if you're three, and that's okay. That's what I tell Mama when she's sad and needs to cry. Maybe she's feeling three. Because the way you grow old is kind of like an onion or like the rings inside a tree trunk or like my little wooden dolls that fit one inside the other, each year inside the next one. That's how being eleven years old is. You don't feel eleven. Not right away. It takes a few days, weeks even, sometimes even months before you say Eleven when they ask you. And you don't feel smart eleven, not until you're almost twelve. That's the way it is.

49. Only today I wish I didn't have only eleven years rattling inside me like pennies in a tin Band-Aid box. Today I wish I was one hundred and two instead of eleven because if I was one hundred and two I'd have known what to say when Mrs. Price put the red sweater on my desk. I would've known how to tell her it wasn't mine instead of just sitting there with that look on my face and nothing coming out of my mouth. "Whose is this?" Mrs. Price says, and she holds the red sweater up in the air for all the class to see. "Whose? It's been sitting in the coatroom for a month." "Not mine," says everybody. "Not me." "It has to belong to somebody," Mrs. Price keeps saying, but nobody can remember. It's an ugly sweater with red plastic buttons and a collar and sleeves all stretched out like you could use it for a jump rope. It's maybe a thousand years old and even if it belonged to me I wouldn't say so. Maybe because I'm skinny, maybe because she doesn't like me, that stupid Sylvia Saldivar says, "I think it belongs to Rachel." An ugly sweater like that, all raggedy and old, but Mrs. Price believes her. Mrs. Price takes the sweater and puts it right on my desk, but when I open my mouth nothing comes out. "That's not, I don't, you’re not...Not mine," I finally say in a little voice that was maybe me when I was four.

50. "Of course it's yours," Mrs. Price says. "I remember you wearing it once." Because she's older and the teacher, she's right and I'm not. Not mine, not mine, not mine, but Mrs. Price is already turning to page thirty-two, and math problem number four. I don't know why but all of a sudden I'm feeling sick inside, like the part of me that's three wants to come out of my eyes, only I squeeze them shut tight and bite down on my teeth real hard and try to remember today I am eleven, eleven. Mama is making a cake for me tonight, and when Papa comes home everybody will sing Happy birthday, happy birthday to you. But when the sick feeling goes away and I open my eyes, the red sweater's still sitting there like a big red mountain. I move the red sweater to the corner of my desk with my ruler. I move my pencil and books and eraser as far from it as possible. I even move my chair a little to the right. Not mine, not mine, not mine. In my head I'm thinking how long till lunchtime, how long till I can take the red sweater and throw it over the school yard fence, or even leave it hanging on a parking meter, or bunch it up into a little ball and toss it in the alley. Except when math period ends Mrs. Price says loud and in front of everybody, "Now Rachel, that's enough," because she sees I've shoved the red sweater to the tippy-tip corner of my desk and it's hanging all over the edge like a waterfall, but I don't care.

51. "Rachel," Mrs. Price says. She says it like she's getting mad. "You put that sweater on right now and no more nonsense." “But it's not--" "Now!" Mrs. Price says. This is when I wish I wasn't eleven, because all the years inside of me--ten, nine, eight, seven, six, five, four, three, two and one—are pushing at the back of my eyes when I put one arm through one sleeve of the sweater that smells like cottage cheese, and then the other arm through the other and stand there with my arms apart like if the sweater hurts me and it does, all itchy and full of germs that aren't even mine. That's when everything I've been holding in since this morning, since when Mrs. Price put the sweater on my desk, finally lets go, and all of a sudden I'm crying in front of everybody. I wish I was invisible but I'm not. I’m eleven and it's my birthday today and I'm crying like I'm three in front of everybody. I put my head down on the desk and bury my face in my stupid clown-sweater arms. My face all hot and spit coming out of my mouth because I can't stop the little animal noises from coming out of me, until there aren't any more tears left in my eyes, and it's just my body shaking like when you have the hiccups, and my whole head hurts like when you drink milk too fast.

52. But the worst part is right before the bell rings for lunch. That stupid Phyllis Lopez, who is even dumber than Sylvia Saldivar, says she remembers the red sweater is hers! I take it off right away and give it to her, only Mrs. Price pretends like everything's okay. Today I'm eleven. There's cake Mama's making for tonight, and when Papa comes home from work we'll eat it. There'll be candles and presents and everybody will sing Happy birthday, happy birthday to you, Rachel, only it's too late. I'm eleven today. I'm eleven, ten, nine, eight, seven, six, five, four, three, two, and one, but I wish I was one hundred and two. I wish I was anything but eleven, because I want today to be far away already, far away like a runaway balloon, like a tiny o in the sky, so tiny-tiny you have to close your eyes to see it.

53. Hillocks and Ludlow Hierarchy of Reading Comprehension Reading Inventory “Eleven” by Sandra Cisneros Basic Stated Information Identifying frequently stated information that presents some condition crucial to the story. What question has Mrs. Price asked the class? Key Detail Identifying a detail that appears at some key junction of the plot and bears a causal relationship to what happens. When Mrs. Price asks the question, describe how Rachel responds. Stated Relationship Identifying a statement that explains the relationship between at least two pieces of information in the text. To whom does the red sweater apparently truly belong? @ 2013 by Hyde Park Education Group. All rights reserved Sandra Cisneros “Eleven” Reading Inventory with Student Responses LITERAL QUESTIONS

54. Hillocks and Ludlow Hierarchy of Reading Comprehension Reading Inventory “Eleven” by Sandra Cisneros Simple Implied Relationship Inferring the relationship between two pieces of information closely juxtaposed in the text. In the story, Rachel wishes she were 102. How would being 102 help her talk to Mrs. Price about the sweater? Complex Implied Relationship Inferring the relationship(s) among many pieces of information spread throughout large parts of the text. A question of this type might concern, for example, the causes of character change. When Mrs. Price puts the sweater on Rachel’s desk, Rachel compares the red sweater to a “big red mountain” and later to a “waterfall.” What do these comparisons (similes) suggest about how Rachel’s feels about Mrs. Price’s actions? Explain how you know. @ 2013 by Hyde Park Education Group. All rights reserved INFERENTIALQUESTIONS

55. Hillocks and Ludlow Hierarchy of Reading Comprehension Reading Inventory “Eleven” by Sandra Cisneros Author’s generalization Inferring a generalization about the world outside of the work from the fabric of the work as a whole. These questions demand a statement of what the work suggests about human nation or the human condition as it exists outside the text. What comment does Sandra Cisneros suggest about challenges girls face while growing up? Give evidence to support your answer. Structural Generalization Generalizing about how parts of the work operate together to achieve certain effects. To belong properly to this category, a question must first require the reader to generalize about the arrangement of certain parts of a work. Second, it must require an explanation of how those parts work in achieving certain effects. Cisneros presents the story of a girl’s eleventh birthday in the middle of the text. Explain how this story relates to the first four paragraphs of the text. Present evidence from the story to support your answer. @ 2013 by Hyde Park Education Group. All rights reserved INFERENTIAL QUESTIONS

56. “Eleven” Inventory Data

57. Analysis of Assessment Data (“Eleven”) 1) Which student(s) seems to be struggling the most? 2) Which student(s) seems to be the most advanced? 3) If this were a whole class, what levels of the taxonomy, if any, have most students mastered? 4) If this were a whole class, at what point on the taxonomy do students begin to have difficulties? 5) In designing instruction for these students, what level(s) of the taxonomy should be the next focus of instructional activities/unit?

58. How does the Hillocks- Ludlow Taxonomy relate to CCSS and the Bloom’s Taxonomy?

59. GOAL: R.L. 10 Range of Reading/Level of Text complexity Read and comprehend literature, including stories, dramas, and poems, in the appropriate text complexity band proficiently. Hillocks and Ludlow Hierarchy (1984) CCSS Reading Literature 9 th -10 th grade Standards Bloom’s Old and New Taxonomy Basic Stated Information Identifying frequently stated information that presents some condition crucial to the story. R.L. 1 Key Ideas and Details Cite strong and thorough textual evidence to support analysis of what the text says explicitly. Knowledge/Remembering Bringing to mind specifics, methods, patterns, structures, or settings. Key Detail Identifying a detail that appears at some key junction of the plot and bears a causal relationship to what happens. Stated Relationship Identifying a statement that explains the relationship between at least two piece of information in the text. Comprehension/Understanding Summarizing, paraphrasing, interpreting facts, as opposed to just recalling them. @ 2013 by Hyde Park Education Group. All rights reserved H Hillocks-CCSS-Bloom’s Connection

60. @ 2013 by Hyde Park Education Group. All rights reserved Simple Implied Relationship Inferring the relationship between two pieces of information closely juxtaposed in the text. R.L. 1 Key Ideas and Details Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences drawn from the text. Application/Applying Using abstractions (such as rules of procedure, generalized ideas or methods) in particular concrete situations Complex Implied Relationship Inferring the relationship(s) among many pieces of information spread throughout large parts of the text. A question of this type might concern, for example, the causes of character change. R.L. 1 Key Ideas and Details Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences drawn from the text. R.L. 3 Key Ideas and Details Analyze how complex characters, e.g. those with multiple or conflicting motivations, develop over the course of a text, interact with other characters, and advance the plot or develop the theme. R.L. 4 Craft and Structure [When studying a passage or small portion of a work,] determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone. Analysis/Analyzing Clarifying the basis for an arrangement of communication. Author’s generalization Inferring a generalization about the world outside of the work from the fabric of the work as a whole. These questions demand a statement of what the work suggests about human nature or the human condition as it exists outside the text. R.L. 2 Key Ideas and Details Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details. Synthesis/Creating Putting together, arranging and combining pieces of data in such a way as to have a structure of pattern not clearly there before.

61. @ 2013 by Hyde Park Education Group. All rights reserved Structural Generalization Generalizing about how parts of the work operate together to achieve certain effects. To belong properly to this category, a question must first require the reader to generalize about the arrangement of certain parts of a work. Second, it must require an explanation of how those parts work in achieving certain effects. R.L. 4 Craft and Structure [When studying an overall work,] determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone. R.L. 5 Craft and Structure Analyze how an author’s choices concerning how to structure a text, order events within it (e.g. parallel plots), and manipulate time (e.g. pacing and flashbacks) create such effects as mystery, tension, or surprise. R.L. 6 Craft and Structure Analyze a particular point-of-view or cultural experience reflected in a work of literature from outside the US, drawing on a wide reading of world literature. R.L. 9 Integration of Knowledge and Ideas Analyze how an author draws on and transforms source material in a specific work (allusion). Evaluation/Evaluating Judging the value of materials and methods for a given purpose or purposes.

62. ✓ Quick Check Quiz ✓ Serves as a meaningful assessment to gauge students’ level of understanding. ✓ Assessment guides teacher planning. Meet the students where they’re at and create activities that take students to the next level. How can we use the Hillocks-Ludlow Inventory?

63. “Working hierarchically is necessary. For example, if we want students to understand the author’s generalizations in a given work, we need to be sure that they first understand the lower level relationships (Hillocks and Ludlow 1984). But Hillocks warns that working at two or more levels about student competence is likely to result in failure to comprehend, frustration, or even hostility toward literature.” from Writing about Literature. Johannessen, L. R., Kahn, E. A., & Walter, C. C. (2009). Writing about literature (2nd ed.). Urbana, Ill: NCTE.

64. Directing Instruction Darling-Hammond (2011): “It used to be that the job of the teacher was just to get through the curriculum. Now the job is actually to produce high levels of learning — a very different mission for schools” (p. 166).

65. Consult Standards CCSS.ELA-Literacy.RL.9-10.1CCSS.ELA-Literacy.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-Literacy.RL.9-10.2CCSS.ELA-Literacy.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. CCSS.ELA-Literacy.RL.9-10.5CCSS.ELA-Literacy.RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

66. You have read the passage from Boy’s Life and “Emancipation: A Life Fable.” Both texts develop the theme of freedom. Write an essay that compares and contrasts the approaches each text uses to develop the theme of freedom. 6th Grade Literary Analysis Task:

67. What do students need to be able to do? End goals: complex inference to structural generalization support interpretation with evidence

68. Formative Assessment: Making inferences about an author’s use of symbolism Many plays and novels use contrasting places (for example, two countries, two cities or towns, two houses, or the land and the sea) to represent opposed forces or ideas that are central to the meaning of the work. With respect to “Through the Tunnel,” contrast the places that Doris Lessing creates, explaining how the places differ, what each place represents, and how their contrasts contribute to the meaning of the work.

69. That may be fine for AP/Honors students, but what about struggling students? Dr. Rick DuFour (2011), in his article “Work Together: But Only if You Want To,” describes the work of professional learning community, in part, as creating, “a systemic process that ensures that students who are struggling receive additional time and support for learning” (p. 61).

70. But even after he had made the decision, or thought he had, he found himself sitting up on the rock and looking down into the water; and he knew that now, this moment, when his nose had only just stopped bleeding, when his head was still sore and throbbing—this was the moment when he would try. If he did not do it now, he never would. He was trembling with fear that he would not go; and he was trembling with horror at that long, long tunnel under the rock, under the sea. Even in the open sunlight, the barrier rock seemed very wide and very heavy; tons of rock pressed down on where he would go. If he died there, he would lie until one day—perhaps not before next year— those big boys would swim into it and find it blocked. He put on his goggles, fitted them tight, tested the vacuum. His hands were shaking. Then he chose the biggest stone he could carry and slipped over the edge of the rock until half of him was in the cool, enclosing water and half in the hot sun. He looked up once at the empty sky, filled his lungs once, twice, and then sank fast to the bottom with the stone. He let it go and began to count. He took the edges of the hole in his hands and drew himself into it, wriggling his shoulders in sidewise as he remembered he must, kicking himself along with his feet. He was being continually pressed against the sharp roof, which felt slimy as well as sharp. Again he thought of octopuses, and wondered if the tunnel might be filled with weed that could tangle him. He gave himself a panicky, convulsive kick forward, ducked his head, and swam. His feet and hands moved freely, as if on open water. The hole must have widened out. He thought he must be swimming fast, and he was frightened of banging his head if the tunnel narrowed.

71. Soon he was clear inside. He was in a small rock-bound hole filled with yellowish- gray water. The water was pushing him up against the roof. The roof was sharp and pained his back. He pulled himself along with his hands—fast, fast—and used his legs as levers. His head knocked against something; a sharp pain dizzied him. Fifty, fifty-one, fifty- two... He was without light, and the water seemed to press upon him with the weight of the rock. Seventy-one, seventy-two... There was no strain on his lungs. He felt like an inflated balloon, his lungs were so light and easy, but his head was pulsing. He was being continually pressed against the sharp roof, which felt slimy as well as sharp. Again he thought of octopuses, and wondered if the tunnel might be filled with weed that could tangle him. He gave himself a panicky, convulsive kick forward, ducked his head, and swam. His feet and hands moved freely, as if on open water. The hole must have widened out. He thought he must be swimming fast, and he was frightened of banging his head if the tunnel narrowed. A hundred, a hundred and one... The water paled. Victory filled him. His lungs were beginning to hurt. A few more strokes and he would be out. He was counting wildly; he said a hundred and fifteen, and then a long time later, a hundred and fifteen again. The water was jewel-green all around him. Then he saw, above his head, a crack running up through the rock. Sunlight was falling through it, showing the clean, dark rock of the tunnel, a single mussel shell, and darkness ahead.

72. He was at the end of what he could do. He looked up at the crack as if it were filled with air and not water, as if he could put his mouth to it to draw in air. A hundred and fifteen, he heard himself say inside his head---but he had said that long ago. He must go on into the blackness ahead, or he would drown. His head was swelling, his lungs cracking. A hundred and fifteen, a hundred and fifteen pounded through his head, and he feebly clutched at rocks in the dark, pulling himself forward, leaving the brief space of sunlit water behind. He felt he was dying. He was no longer conscious. He struggled on in the darkness between lapses into unconsciousness. An immense, swelling pain filled his head, and then darkness cracked with an explosion of green light. His hands, groping forward, met nothing; and his feet, kicking back, propelled him out into the open sea. He drifted to the surface, his face turned up to the air. He was gasping like a fish. He felt he would sink now and drown; he could not swim the few feet back to the rock. Then he was clutching it and pulling himself up on to it. He lay face down, gasping. He could see nothing but a red-veined, clotted dark. His eyes must have burst, he thought; they were full of blood. He tore off his goggles and gout of blood went into the sea. His nose was bleeding, and the blood had filled the goggles. He scooped up handfuls of water from the cool, salty sea, to splash on his face, and did not know whether it was blood or salt water he tasted. After a time, his heart quieted, his eyes cleared, and he sat up. He could see the local boys diving and playing half a mile away. He did not want them. He wanted nothing but to get back home and lie down.

73. “Through the Tunnel”NAME _____________________________ Setting and Symbolism English II What is the beach like? (Make a few claims.) How do you know? (Evidence) So what? (Warrant) What is the bay like? How do you know? So what? What is the process of going through the tunnel like? How do you know? So what? What is Jerry like in the beginning of the story? What is he like at the end of the story? How do you know? So what?

75. Reading “Below the Surface” or Being a Critical Reader Authors describe scenes and characters with details that they have chosen on purpose. Many times readers gloss over really cool details that could help them to interpret the author’s message because they are busy looking for the plot and dialogue. This is understandable; they want to know what literally happens. However, if you read only at this surface level, you may miss out on a lot of what an author has to say below the surface, and you may even be fooled into interpreting the wrong message! Signs that a passage is important and should be interpreted: 1.A character says or does something that seems unusual for what you expect. It could just be strange behavior or it could be when a character makes a significant change in personality, attitude, or values. 1.Images, colors, textures, smells, etc. are repeated throughout the course of the novel or story. 1.A statement or passage presents an obvious contradiction. 1.A comparison is made in the form of metaphor or simile or some other form of figurative language. Adapted from: Lee, Carol D. Signifying as a Scaffold for Literary Interpretation: The Pedagogical Implications of an African American Discourse Genre. Washington, D.C.: Distributed by ERIC Clearinghouse, 1993. Print.

76. Different sequences Honors/ AP students:Non-honors students: Read Lord of the Flies as summer reading. Read story for homework. Two days exploring setting/ symbolism from teacher led to small group. Wrote a timed-essay response, graded with AP rubric. Read “Through the Tunnel” as preparation for Lord of the Flies. Read some of the story in class and some as homework. Three or four days exploring symbolism from teacher-led to small group. Wrote small-group paragraphs. Both groups – applied inference making (reading below surface) to future reading experiences.

77. Sample “beach” paragraph The beach represents the peaceful, innocent, pure world of childhood. The beach is “safe.” “All morning he played on the “safe” beach” (78). The beach is sunny also, representing happiness just like childhood is happy. To Jerry, the beach “now seemed a place for small children. A place where his mother might lay safe in the sun. It was not his beach” (82). It was not his beach because he does not want to be all safe anymore. He does not want to be a child anymore; he wants to be a teen. This beach is a place for his Mother, where she can rest with the other mothers and the children. “She was still there, a yellow spot under an orange umbrella” (80). Jerry sees that she is where she needs to be, and as he leaves her to go to the bay, he is where he needs to be. He knows what goes on at the beach, just like he knows what it’s like to be an innocent child. He is taking responsibility to watch for his mother as he learns to grow up out of childhood.

78. Sample “bay” paragraph Jerry notices the bay while walking down to the beach and longs to go there. His mother allows him, despite the “angry” rocks. The water is described with words with positive connotations: “clean, shining, white, sparkling, gleaming, luminous,” yet the rocks are “discolored monsters” and “angry.” The water covers the rocks, hiding many from view, just as adults conceal inner feelings. The bay, then, represents the various layers and complexities of the adult world. The rocks are the true opinions, strife, and conflicts that are suppressed in the face of politeness and political-correctness. The bay is a far more dynamic place than the beach, the waves constantly cover and reveal the rocks while the waves calmly lap at sand on the beach. This parallels the dynamics of the adult and teen worlds which are filled with life-altering choices and experiences.

79. BelowMeetsExceeds Summarizes plot or description, but does not make an inference by connecting separate pieces from the text into an interpretation Clearly states an inference about how the setting represents an idea that is central to a possible meaning of the work as a whole Meets standard, but also shows sophistication in style or original thought in interpretation Goal: Make complex inference about symbolism of setting Goal: Support interpretation with relevant evidence BelowMeetsExceeds Does not use evidence or chooses quotations that do not Uses at least three quotes from passage that supports interpretation and provides sufficient explanation of how evidence supports interpretation Uses more than three pieces of evidence to support complex inference and weaves in sophisticated explanation of how the evidence supports the interpretation.

80. A Four-Day School Week? As a result of rising gasoline and energy prices, school districts are considering ways to reduce costs. The four-day school week is being used in some school districts across the country to save money. This doesn ’ t mean that students spend less time in school; they spend the same number of hours in school each week. On the four days of school, each class period is lengthened about 13 minutes (for a total of about 104 minutes added to each day). Therefore, with a four-day school week, students spend the same number of minutes in school as with the traditional five-day school week. Most schools take either Friday or Monday off. Should school districts implement a four-day school week? Write an essay in which you take a position on this question. Use specific reasons and evidence to support your position.

81. Additional Information Currently, the four-day school week is being used in more than 120 school districts across the country, in states including New Hampshire, Colorado, and New Mexico. Use of the four-day school week also extends to several provinces in Canada, France, and Britain. When districts have a four-day school week, it is done at all levels, elementary, middle, and high school. The majority of districts using a four-day week are small and rural and generally have less than 1,000 students. Researchers report that districts with a four-day week have found savings on utilities, school buses, and long-term building wear and tear. They have found a 20% reduction in transportation, facilities, and food services costs. The four-day week has not reduced a significant part of the budget, which is made up of salaries and textbook costs.

82. There is not much research on the impact of the four-day school week on student achievement, but it has generally found no negative impact. Districts have found that teacher and student absences have decreased with the four- day school week. Districts have saved money on pay for substitute teachers. A decline in the high school drop-out rate and disciplinary referrals has been found in schools with a four-day week. Parents have complained about the cost and difficulty and of finding good childcare for the one weekday when students are not in school but parents are working. With a four-day school week, some students reported experiencing greater fatigue and exhaustion that they believed affected their performance and grades. With a four-day school week, students end up coming to school on the “ day off ” for extracurricular activities and/or athletics. From Donis-Keller, Christine and Silvernail, David L. “ Research Brief: A Review of the Evidence on the Four-Day School Week. ” Center for Education Policy, Applied Research and Evaluation, University of Southern Maine, Feb. 2009.

83. A Four Day School Week Student Response I think a four-day school week is a great idea. It would save schools and taxpayers a lot of money, and it would help students have more time to study and teacher have more time to grade students’ work. There are many reasons for a four-day school week. First, it would save the school a lot of money if they have an extra day where school is not going on. They would not need gas for buses or food for the cafeteria. It is always a good idea when schools find ways to save money and taxpayers like it. Second, students would have more time to study. They could spend Friday (or Monday) on school work and that would leave more time over the weekend for athletic events and family activities. Also parents always like the opportunity for 3-day weekend trips where the family can have fun together and bond. Finally, teachers always say that they don’t have time to grade tests and papers during the week because they are so busy teaching and tutoring students. They have to spend all their weekend time grading rather than spending time with their kids and going to their games and activities. They could do their school work on Fridays or Mondays and have more free time on the weekend. For all of these reasons, a 4-day school week is a great idea that should be done right away. Just think how much you would like it if you only had to go to school 4 days a week and had a 3-day weekend every week!

84. Rubric for Argument Writing 1234 Argument States a position Position is confusing or not clear. Position is mostly clear throughout. Position is clear throughout. Position is clear and the focus is sharp throughout. Uses claims to develop the argument The writing is only a list of claims without support and reasons. There are claims with some supporting evidence. Most claims are supported with evidence. Claims are effective and supported with evidence. Uses evidence and reasoning that links the evidence to the claims. Almost no evidence is provided. Some evidence is provided, but it is limited or repeated. Reasons are missing or incomplete. Evidence is usually specific. Sometimes reasons are given that link evidence to claims. Much specific evidence included. Reasons given link evidence to claims. Responds to arguments and/or evidence on the other side(s) There seems to be little or no awareness of the arguments of the other side(s). The writer seems aware of some arguments/evidence on the other side, and briefly responds to one or more. The writer is aware of the arguments/ evidence on the other side and there is some response to them. Writer aware of the arguments/ evidence on the other side. Responds effectively to them.

85. Is organized Organization is confusing or is without a clear beginning, middle, and end. Transitions and linking words are missing. There is some organization with an introduction, body, and conclusion. There are a few transitions and/or linking words. Organization is clear with an introduction, body, and conclusion. Some transitions and/or linking words are used. Organization is clear and logical with a strong introduction, body, and conclusion. Transitions and linking words are used effectively. Has been proofread Major errors in conventions often cause misunderstanding. Some major errors and many minor errors in conventions sometimes cause misunderstanding. There are some errors in conventions, but they do not cause problems with understanding. There are few errors in conventions, mainly minor errors. Rubric for Argument Writing (cont.) 1234

86. "Indian mascots — you're out: Removing Native American names and mascots from college and professional teams is the right thing to do.” August 25, 2011|By Jack Shakely

87. I got my first lesson in Indians portrayed as sports team mascots in the early 1950s when my father took me to a Cleveland Indians-New York Yankees game. Dad gave me money to buy a baseball cap, and I was conflicted. I loved the Yankees, primarily because fellow Oklahoman Mickey Mantle had just come up and was being touted as rookie of the year. But being mixed-blood Muscogee/Creek, I felt a (misplaced) loyalty to the Indians. So I bought the Cleveland cap with the famous Chief Wahoo logo on it. When we got back to Oklahoma, my mother took one look at the cap with its leering, big-nosed, buck-toothed redskin caricature just above the brim, jerked it off my head and threw it in the trash. She had been fighting against Indian stereotypes all her life, and I had just worn one home. I was only 10 years old, but the look of betrayal in my Creek mother's eyes is seared in my memory forever. So maybe I shouldn't have been surprised when half a century later, a Los Angeles Times editorial about legislators in North Dakota struggling over whether the University of North Dakota should be forced to change its team name and mascot from the Fighting Sioux provoked such a strong reaction. It was an irritant, like a long- forgotten piece of shrapnel working its way to the surface.

88. Most stories about sports teams and their ethnic mascots are treated like tempests in a teacup. The Times' editorial writer, however, while noting that the solons probably had better things to do, understood the sensitivity and pain that can accompany such a seemingly trivial subject. It is a small matter, perhaps, but far from trivial. Many of the fights over team names and mascots cover familiar territory. Usually the team name in question has been around so long as to lose a good bit of its meaning. The University of Illinois' Fighting Illini, for example, refers to an Indian nation, but now that its Chief Illiniwek mascot has been abandoned, few people make the connection. Nor do they think twice about what the Atlanta Braves or Edmonton Eskimos or Florida State Seminoles represent other than sports franchises. But that doesn't necessarily make the brands benign. And the irony that the football team in our nation's capital is called the Redskins is not lost on a single Native American. The controversy over changing ethnocentric mascot names is not a simple matter of stodgy white alums holding onto college memories. Indians, too, are conflicted. In a 2002 study on the subject, Sports Illustrated reported that 84% of Native Americans polled had no problem with Indian team names or mascots.

89. Although the methods used by the magazine to reach these figures were later criticized, that misses the point. If 16% of a population finds something offensive, that should be enough to signal deep concern. There are many things in this country that are subject to majority rule; dignity and respect are not among them. And it is dignity and respect we are talking about. Since the creation of the National Coalition on Racism in Sports and Media in 1991, that group of Native American organizations has been protesting negative portrayals of Indians, hammering away at what's behind our discomfort with Indian sports mascots. Many of these mascots — maybe most of them — act like fools or savage cutthroats. When I went to an Atlanta Braves game in the 1970s, the Braves name wasn't the biggest problem. It was that cringe-worthy Chief Noc-A-Homa who came stomping and war-dancing his way out of a tepee in center field every time the Braves hit a home run that got to me. He was dressed in a Plains Indian chief's eagle bonnet and acted like a village idiot. To their credit, the Braves retired Chief Noc-A-Homa and his girlfriend Princess Win-A-Lot in 1983, amid assertions by the Brave's home office that the protesters were over-dramatizing the issue.

90. Few people complain about Florida State University calling itself the Seminoles. But its war-painted and lance-threatening mascot Chief Osceola is intended to be menacing, and that's the take-away many children will have. Such casual stereotyping can breed callousness. In the "only good Indian" category, in 1999 the New York Post entitled an editorial about the pending New York-Cleveland baseball playoffs, "Take the Tribe and Scalp 'Em." It isn't easy or inexpensive to remove ethnic and racial stereotypes from college and professional sports. When Stanford University changed from the Indians to the Cardinal in 1972, recriminations were bitter. Richard Lyman, a friend of mine, was president of Stanford at the time. He said the university lost millions of alumni dollars in the short run, but it was the right thing to do. In 21st century America, to name a sports team after an African American, Asian or any other ethnic group is unthinkable. So why are Native Americans still fair game? As benign as monikers like Fighting Sioux and Redskins or mascots like Chief Osceola may seem, they should take their place with the Pekin, Ill., Chinks and the Atlanta Black Crackers in the dust-bin of history. It is the right thing to do. Copyright 2015 Los Angeles Times

91. “Indian Mascots—You’re Out” by Jack Shakely Non-fiction Inventory Basic Stated relationship What baseball cap did the author buy when he went to a Cleveland Indians vs New York Yankees game? Key Detail What was the reaction when Stanford University changed its mascot in 1972? Stated relationship Why does the author’s mother throw his baseball cap in the trash? How does the author respond to those who argue that Native American team names and mascots are not a problem because 84% of Native Americans polled do not see them as a problem?

92. Simple Implied Relationship What does the author mean when he describes his reaction to the LA Times editorial as “an irritant, like a long- forgotten piece of shrapnel working its way to the surface”? Provide specific evidence to support your viewpoint. Why does the author think it’s a problem that some Native American mascots are portrayed as tough fighters and fierce warriors? Provide specific evidence to support your viewpoint. Complex Implied Relationship How does the author’s view of Native American mascots change from the beginning of the article? Provide specific evidence to support your viewpoint.

93. Author’s Generalization What comment does the author make about why eliminating Native American mascots is the right thing to do? Provide specific evidence to support your viewpoint. Structural Generalization Why does the author include the story at the beginning about his experience as a 10 year old? How does it affect the meaning of the article? Provide specific evidence to support your viewpoint. Vocabulary caricature: an exaggerated, cartoonish image. shrapnel: small metal pieces that scatter outwards from an exploding bomb or bullet. solons: wise lawmakers. callousness: lack of sympathy menacing: threatening, dangerous

94. C E R Framework Katherine L. McNeill & Joseph Krajcik Supporting Grade 5- 8 Students in Constructing Explanations in Science

95. CER as mirrored assessment ● Identify what skills students have. ● Identify what skills students need to learn. ● Fine tune instruction. ● Provide a basis for demonstrating student growth (post-test). ● Teacher constructed. ● PARCC samples (constructed response).

96. Write an essay comparing the information presented in the video with that presented in the article “Elephants Can Lend a Helping Trunk” and the passage from “Elephants Know When They Need a Helping Trunk in a Cooperative Task.” Remember to use evidence from the video, the article, and the passage to support your answer. 8th Grade Research Task:

97. Sample Pre-test Polar bears live in the Arctic in a cold, aquatic environment with ice, snow, and water. They swim and hunt seals in the Arctic Ocean. Polar bears have large front paws that are partially webbed, strong claws on all four paws, and a thick layer of fur. Write a scientific argument explaining why you think polar bears are able to survive in their natural environment. (McNeill and Krajcik, 2012)

98. Sample Student Response Polar bears can live in the arctic, because they have adaptations for the environment. Their webbed paws allow them to swim through the water to catch seals. Their claws also allow them to catch seals. Their fur keeps them warm in the cold environment. Adaptations are characteristics that allow an animal to survive in its environment. Getting food and staying warm are both necessary for an animal to live.

99. Scientific Explanation as Argument QUESTION How was the Grand Canyon formed? CLAIM The Grand Canyon was mainly formed by water cutting into and eroding the soil. EVIDENCE ●The soil in the Grand canyon is hard, cannot absorb water, and has few plants to hold it in place. ●When it rains in the Grand Canyon, it can rain very hard and cause flash floods. ●The flash floods come down the side of the Grand Canyon and into the Colorado River. REASONING Water moving can cause erosion. Erosion is the movement of the earth’s surface. In terms of the Grand Canyon, the water moved the soil and rock from the sides of the Grand Canyon into the Colorado River where it was then washed away. COUNTER-ARGUMENT (REBUTTAL) Some people may think that the Grand Canyon was caused by a large earthquake, but the Grand Canyon is not near any tectonic plate boundaries. Furthermore, earthquakes in Colorado are rare and do not tend to be very large—largest earthquake on record had a magnitude of 6.6. (34)

100. Big Question: Is the sea lamprey an invasive species that could have a major impact on the Great Lakes? C laim: The sea lamprey is a super predator. CERCER

101. E vidence (Text and lab) Eggs Lamprey Trout Mouth Lamprey Perch How they feed (eat) Gills Movement Digestive System R easoning How does the evidence prove your claim? Be sure to connect each piece of evidence to a scientific principle.

102. “The sea lamprey is a super predator because, first, it produces a lot more eggs (60,000 - 100,000) than the perch (1,000 - 15,000) causing there to be many more sea lamprey to be a predator of the trout/ perch. The scientific principle that supports this is that organisms in a food web are related through producer/ consumer, predator/ prey relationships. If there are more of a predator, it will cause there to be less of the prey.” C E R Writing Sample

103. What makes a quality mirrored assessment?

104. Principles of Quality Mirrored Assessments ● measure what students are able to do, and not a list of facts they know. ● involve students in inquiry, critical analysis and interpretation of data. ● demonstrate a teacher’s understanding that skills build along a hierarchy, and inform the teacher about student skill level. ● have comparable rigor (pre-test isn’t too easy or too hard in comparison to post-test).

105. ● inform instruction -- give teachers an idea of things they need to work on in class to achieve mastery. ● are a work in progress. ● provide opportunities for collaboration among teachers for consistency in the expectations for students. ● provide opportunities for teachers to have meaningful discussions about learning and growth with students (as opposed to discussions about points and percentiles.)

106. Develop at least two mirrored assessments that you could use in your classroom. Assessments should be aligned with CCSS. Select one of the following formats: 1) texts with questions based on the Hillocks- Ludlow Taxonomy. 2) extended written arguments based on provided data, 3) a CER framework that asks students to support claims with evidence and reasoning, A rubric will be necessary for evaluating levels of response to open-ended questions and/or responses.

107. Julianna Cucci jlcucci@uchicago.edu Elizabeth (Betsy) Kahnekahn@uchicago.edu Shirley Morikuni saho@uchicago.edu www.hydeparkeducationgroup.com Hyde Park Education Group

108. Applying Hillocks and Ludlow’s Reading Inventory to Non-Fiction

109. Martin Luther King, Jr. “I Have a Dream” Inventory http://www.archives.gov/press/exhibits/dream-speech.pdf Hillocks and Ludlow Hierarchy“I Have a Dream” Nonfiction Inventory Basic Stated Information Identifying frequently stated information that presents some condition crucial to the story. Why is King demonstrating for freedom? Key Detail Identifying a detail that appears at some key junction of the plot and bears a causal relationship to what happens. What happened five score years ago? Stated Relationship Identifying a statement that explains the relationship between at least two pieces of information in the text. 1) What is the “promissory note” that King has come to cash? 2) List what needs to happen for civil rights devotees to be satisfied. 3) What does Dr. King mean when he asks that his children not be judged “by the color of their skin but by the content of their character”?

110. Simple Implied Relationship Inferring the relationship between two pieces of information closely juxtaposed in the text. Why is the check marked “insufficient funds”? Complex Implied Relationship Inferring the relationship(s) among many pieces of information spread throughout large parts of the text. A question of this type might concern, for example, the causes of character change. King uses figurative language to call for a change: “I have a dream that every valley shall be exalted and every hill and mountain shall be made low. The rough places will be made plain and the crooked places will be made straight.” a) Explain how this quote shows the kind of changes he calls for. b) Provide more examples from other parts of the speech to support your analysis.

111. Author’s generalization Inferring a generalization about the world outside of the work from the fabric of the work as a whole. These questions demand a statement of what the work suggests about human nation or the human condition as it exists outside the text. Based on the speech, what would King suggest is the best way to stand up to injustices happening throughout the world, such as economic poverty, human trafficking, and girls denied education? Structural Generalization Generalizing about how parts of the work operate together to achieve certain effects. To belong properly to this category, a question must first require the reader to generalize about the arrangement of certain parts of a work. Second, it must require an explanation of how those parts work in achieving certain effects. In the last part of the speech, King repeats the phrase “I have a dream ….” a) What effect does he create by repeating this phrase? b) Use textual evidence to explain what impact King’s repetition of this phrase has on the speech’s overall message.