Imagine a perfectly rational, logical person, one with a perfect memory, but one who has no emotions.
Scary, huh? Sort of a psychopath? Yet we have spent countless hours and sums over the past century or so developing a machine that embodies exactly this fantasy, and many of us now spend hours each day interacting with these devices—perfect logic, perfect memory, and no emotions. In fact… don’t turn around… you’re probably reading this on one right now.
Real psychopaths have a will of their own and present obvious danger to those around them. Machines represent the will of their creators and users, and so computers—fortunately—act only as psychopaths in the movies (2001, A Space Odyssey) or in the hands of actual psychopaths. (Whether or not a device with latent psychopathic tendencies magnifies psychopathic tendencies in each of us would be an interesting area of study.)
Further, as Joseph Weizenbaum (Computer Power and Human Reason) and others have pointed out, tools are not merely the embodiments of instrumental reason. (Instrumental reason, you could say, arises when we generalize the values of technology to all values.) Tools embody the values of their creators and they become part of the human world in which they are used—once created, they become part of the way we picture the world and our role in that world.
Consequently, as Weizenbaum also points out, all technology is educational—one function of education is cultural transmission, and technology is intimately bound up with any culture.
Once upon a time, a human being grabbed a rock and used it as a hammer. She may have put it down, looked around, and thought, “Gee, I never realized how many hammers are lying around here.” Technology begins—and ends—not with devices external to us, but in our own minds and in our perceptions of the world.
Further, in the long run, the devices we create may replace an older version of the world with a new version in which the values of the device may be mistaken for reality itself. A simple instance will suffice. Experience used to be seamless and whole, one with the rhythms of nature—sunrise, sunset, the cycle of the moon, the seasons. Eventually, European monks decided to build a mechanical bell ringer to remind them of the time to pray. This precursor of our modern clocks (from the French cloche, bell) had no face and simply established a mechanical rhythm, roughly correlated with the times during the day and night when a bell should ring to call the monks to prayer.
Over the past 800 years, we have so internalized and enhanced the mechanism of the clock that most of us would agree that clocks “measure time.” A moment’s reflection will show that they do no such thing. What do they do? Like a metronome, they establish a mechanical rhythm. That’s all. Any interpretation of time with regard to the rhythm of the device belongs to us, although we have largely forgotten this.
Clocks, then, despite their obvious advantages, have also served to mechanize, standardize, and fragment our experience of time.
(Similarly, the moveable type printing press mechanized, standardized, and fragmented our experience of texts.)
Leaping ahead, we may say that computers, because of their astonishing malleability—what do you want the computer to do? We’ll program it to make it do that—don’t simply introduce psychotic rationalism to one portion of reality—say, our experience of time or of a text—they co-opt, rationalize and standardize experience itself. The experience of the computer is the illusion of experience.
Now, Jill or Johnny, I want you to go upstairs and don’t come down until you’ve spent at least one hour doing your homework on your psychopath.
Friday, April 29, 2011
Tuesday, April 26, 2011
Teaching 8th grade history in a Waldorf school in a nutshell…
I produced the following BRIEF outline for my adult students. I have others on other grades that I'll post soon. Hope it's helpful to some; if it's not, ignore it!
Tell stories of cultural changes—in the arts, science and technology—from 1600 to the present. This focuses on the Industrial Revolution and Romanticism (which, of course, should be considered not only as an anti-industrial response, but as the seed of everything from the environmental movement to anthroposophy, not that you’ll tell the students this—see Barfield’s “Romanticism Come of Age.”)
NOTE: Many schools call this a “Revolutions” block and focus also on the American, French, and even Soviet Revolutions. This is fine, but this topic can also wait for 9th grade. (I believe that because many Waldorf schools do not have high schools, they seek to push some high school material—especially cultural history—into the 8th grade curriculum. This may not be a bad thing.)
NOTE: Many schools teach U.S. history in 8th grade. If this is done according to the theme of “human transformation of the world”—the inner world of human consciousness and, more important for 8th graders, the outer world of politics, economy, and technology—and not as “mere” U.S. history, then this is fine (but not an ideological necessity). From this point of view—the cultural—wars are less important than they would be from a different point of view.
Depending on the direction you choose you will have an endless supply of fascinating biographies from which to choose (and you can create a longer list from which students may choose projects). Because you have honed your techniques in teaching history in grades 5, 6, and 7, the practice of using human lives to narrate events and illustrate themes will come easily to you. Whittle down the number of lives with which you will contend and don’t belabor any too much (presentation and review for each; no need to spend days and days on John and Abigail Adams, for goodness sake; but, if you love John and Abigail Adams, then have at it).
The lives of inventors and industrialists point to the themes of urbanization, industrialization, transportation, and communication. The world moves rapidly from a perennial simplicity to the acceleration we experience today (Henry Adams, tongue in cheek, saw such an acceleration in human use of energy that he predicted the end of the world in 1926. He was right.) But be on the lookout for the quirks and foibles of your characters (the quirky, foible-full eighth graders love them)—James Watt was so terrified of steam power that he never built an industrial steam engine—he worked on table-top models.
Revolutions, again, point to a larger question about teaching history to youth in general. Life has always been brutal (nasty, brutish and short, in Hobbes’s formulation), from ancient slaughter through torture to modern genocide and holocaust. You can easily acknowledge this—and other forms of human suffering, as in the story of Buddha—without indulging it. Please choose biographies that inspire by example, and mention brutality matter-of-factly in passing. An experienced teacher I know assigned Schindler’s List as a class reader in 8th grade; I believe this is wrong—not that individual 8th graders won’t pick up such books on their own, or that students shouldn’t read exactly this in a few years—because we shouldn’t expose students to the brutality of human existence before they can contend with it in their own emotional lives. To ask them to do so stunts their inner growth, and may—in the presence of other life-factors—express itself in unhealthy, risky behaviors like cutting, drug abuse, or eating disorders.
Tell stories of cultural changes—in the arts, science and technology—from 1600 to the present. This focuses on the Industrial Revolution and Romanticism (which, of course, should be considered not only as an anti-industrial response, but as the seed of everything from the environmental movement to anthroposophy, not that you’ll tell the students this—see Barfield’s “Romanticism Come of Age.”)
NOTE: Many schools call this a “Revolutions” block and focus also on the American, French, and even Soviet Revolutions. This is fine, but this topic can also wait for 9th grade. (I believe that because many Waldorf schools do not have high schools, they seek to push some high school material—especially cultural history—into the 8th grade curriculum. This may not be a bad thing.)
NOTE: Many schools teach U.S. history in 8th grade. If this is done according to the theme of “human transformation of the world”—the inner world of human consciousness and, more important for 8th graders, the outer world of politics, economy, and technology—and not as “mere” U.S. history, then this is fine (but not an ideological necessity). From this point of view—the cultural—wars are less important than they would be from a different point of view.
Depending on the direction you choose you will have an endless supply of fascinating biographies from which to choose (and you can create a longer list from which students may choose projects). Because you have honed your techniques in teaching history in grades 5, 6, and 7, the practice of using human lives to narrate events and illustrate themes will come easily to you. Whittle down the number of lives with which you will contend and don’t belabor any too much (presentation and review for each; no need to spend days and days on John and Abigail Adams, for goodness sake; but, if you love John and Abigail Adams, then have at it).
The lives of inventors and industrialists point to the themes of urbanization, industrialization, transportation, and communication. The world moves rapidly from a perennial simplicity to the acceleration we experience today (Henry Adams, tongue in cheek, saw such an acceleration in human use of energy that he predicted the end of the world in 1926. He was right.) But be on the lookout for the quirks and foibles of your characters (the quirky, foible-full eighth graders love them)—James Watt was so terrified of steam power that he never built an industrial steam engine—he worked on table-top models.
Revolutions, again, point to a larger question about teaching history to youth in general. Life has always been brutal (nasty, brutish and short, in Hobbes’s formulation), from ancient slaughter through torture to modern genocide and holocaust. You can easily acknowledge this—and other forms of human suffering, as in the story of Buddha—without indulging it. Please choose biographies that inspire by example, and mention brutality matter-of-factly in passing. An experienced teacher I know assigned Schindler’s List as a class reader in 8th grade; I believe this is wrong—not that individual 8th graders won’t pick up such books on their own, or that students shouldn’t read exactly this in a few years—because we shouldn’t expose students to the brutality of human existence before they can contend with it in their own emotional lives. To ask them to do so stunts their inner growth, and may—in the presence of other life-factors—express itself in unhealthy, risky behaviors like cutting, drug abuse, or eating disorders.
Thursday, April 14, 2011
Main Lesson or Seminar Teaching in a Waldorf School (...or Anywhere You Care to Teach)
Waldorf schools begin each day with what has come to be called a “main lesson”—an unfortunate term in that it subtly denigrates all the other classes of the day, although this was not Rudolf Steiner’s intention.
The high school at which I teach calls these classes “seminars” because that’s descriptive of the way we teach them, it doesn’t connote elementary education, and it doesn’t denigrate other classes.
Many of the ideas and practices recorded here have evolved over my twenty-six years of teaching; what seems simple and obvious to me now in some cases took more than ten years to become so. But slow learning is better than none at all, and it is sometimes deeper than faster learning.
I wrote the following for my teacher education students, and I share it here for the reason I initially started this blog—to provide access to things I had written for which I occasionally get requests. It saves time if they’re here to read or copy—no offprints or email attachments. This document presents main lesson primarily as a middle school history teacher might approach it because the course in which I present it is Teaching History in a Waldorf School, Grades 5-8. Teachers of other grades and other subjects will make their own adjustments.
Finally, I refer in here to doodling and to note-taking, both of which I've written about elsewhere on this blog.
Business
I begin by calling the class to order and getting business out of the way—announcements, attendance, and so forth. To say the morning verse before this—as I once did—now strikes me as bizarre. The verse prepares us to learn. So why prepare to learn and then spend ten minutes on trivial matters?
Morning Verse
Once business is accomplished, I usually say the verse with my class, although, given that many of them often arrive half asleep and malnourished, I sometimes ask them to walk or run around the school building (I used to teach in a room that had a running track just outside the back door, and a lap around this—even if calmly walked—usually brought the students back to me calmer and more alert). Then we say the verse together.
I ask politely for quiet before we begin. I never insist that students say the verse, only that they are quiet and respectful to those who do. If necessary, if no one chooses to say it, I say it myself and students listen. That’s fine. It happens perhaps once with a new group, but usually not again.
I also usually ask a student to begin the verse. If I begin it every morning, I am the one with initiative, my voice is heard, and I may be the only one who utters the word “I” that begins the verse—students joining gradually, “…into the world,” leaving off the “I look.” There are other ways to accomplish this—through regimentation and discipline—but I’ve chosen this different way. I believe this practice is fine to use with students beginning in roughly sixth grade. Before this, I wouldn’t call on their “I” so much.
For Middle School Only
After the verse, perhaps 10 minutes of singing, recorder playing, or speech. I don’t do “mental math” unless we are in a math block. If I did happen to decide to do it, I wouldn’t do it on the same day as recorder or singing or anything else. I don’t find anything about “circle time” in Steiner’s work, and I believe that his request for economy in teaching asks me to get on with my history lesson. (Math requires extra practice, it’s true, but this can be scheduled at a different point in the day, not during main lesson.) In high school classes, I don’t even do any of this, but proceed right to the lesson.
Main Lesson or Seminar
First review (feeling, judgment, discussion), then new material (thinking—but warm and interested thinking), then, if time remains (which I believe it should in middle school, perhaps less in high school), work (will).
Review
The review has three functions. The first is to come to some judgment, conclusion, or opinion regarding the material of the previous day (or previous days; there are clearly times when a “summing up” involves matter learned over several days—observing the changes in form and feeling as we pass from Egyptian through archaic Greek to classical Greek postures in sculpture, for example). This may take five minutes, and it may take nearly an hour. It’s good for me to have a plan for the day, but I am almost always willing to stray from it if student questions (legitimate questions) ask for a longer discussion or review.
A more mundane function of the review is to give notes from the day before, which I put on the board and then answer questions while students copy them. I developed this technique as I became increasingly aware of the strangeness of the process of asking students to pay careful attention to what I am saying while also remembering and writing down what I just said fifteen seconds ago. This splitting of consciousness, I believe, works against actual learning (it’s a necessary skill in college, but can be developed quickly late in high school). By giving notes the day after a presentation, we cover the material twice, and students can listen without interruption to new material.
The third function of the review is to address a question with which I have left the class on the previous day (see below). Again, doing this may take a couple of sentences, shedding a little light in the darkness, or it may yield a full-blown discussion.
(Steiner: “When they return on the following day they again have the spiritual photographs of the previous day’s lesson in their heads. I connect today’s lesson with them by a reflective, contemplative approach—for example, a discussion on whether Alcibiades or Mithradates was a decent or an immoral person.
When I make an objective, characterizing approach on the first day, followed on the next day by reflection, by judgments, I shall allow the three parts of the threefold human being to interact, to harmonize in the right way.” Education for Adolescence, p. 52)
New Material
Following the review, I present new material. I ask students to listen quietly. I ask them NOT to take notes (see review above).* I ask them to hold all questions, and to jot down any questions while I am speaking in order to ask them at the end of my presentation (which my students have taken to calling “Story Time with Steve”). Student questions can turn a twenty minute story into an hour’s drudgery as they ask about what I was just about to address, or they ask interesting but digressive questions. I resolve not to digress too much or to interrupt myself during this time, too. Unless behavior absolutely requires it, I won’t stop the class for an elbow bump or a giggle. The start-stop of “regular” discipline can lead to greater chaos than overlooking small slights. If necessary, I can make a note and address it later. If I can and need to, I can calmly walk over to a student without breaking my speech and turn him around, or remove a note from her hand, or otherwise indicate that a behavior is unnecessary.
I allow students to doodle, to knit, or otherwise to quietly, privately occupy their hands. I fought this for more than ten years before I awoke to the fact that I had been a good, attentive student my entire life, through graduate school, and had doodled incessantly, despite all attempts to make me stop. As long as my students are listening and not distracting each other, their quiet activity doesn’t bother me.**
A history presentation involves four basic elements:
1. Creating distance in time, a sense of time;
2. Creating a sense of space—how far is it from here to there; how would you travel in those times? And of place—what is the geography, how would someone living then experience it, how did it influence these people? What is the climate?
3. Creating a sense of character—what we often call “biography,” although really I’m simply telling stories of different lives (birth dates, father’s occupation, and other such trivia are usually inconsequential and the students and I know it; or these things can be included easily in notes on the following day if it is necessary to have some record of them).
4. And creating a sense of an event or happening. Any more than this is unnecessary in middle school, and much more than this is not even necessary in high school; discussions bring out 5. the larger themes—I don’t “teach” them, we discover them in conversation, usually in review. (See Steiner’s work for specific indications for themes and topics for each year, including approaches to history in high school years.)
(Steiner: “Let us take another example, a history lesson. In the teaching of history there is no apparatus, no experiment. I must find a way of again adapting the lesson to the life processes, and I can do this as follows. I give the children the mere facts that occur in space and time. The whole being is again addressed just as during an experiment, because the children are called upon to make themselves a mental picture of space. We should see to it that they do this, that they see what we tell them, in their minds. They should also have a mental picture of the corresponding time. When I have brought this about, I shall try to add details about the people and events—not in a narrative way, but merely by characterization.” Education for Adolescence, p. 52)
Questions
Following story time, I ask for questions. Sometimes there are none; students bask in what they have just heard. Other times, I haven’t said what I thought I said, or been heard as I meant to be heard, and I have to explain or present something again. I generally try to answer all questions, but, if necessary, I end the section by promising to answer questions privately or address them in the future.
Details, Recapitulation
If there are details I need to add that weren’t central to my presentation—a perspective on life in those times, an anecdote that isn’t central but that illuminates something relevant, and so on—I add them at this point. If we’re short on time, I keep it short. If the review and presentation have gone quickly, I can “digress” and add a lot. This time also allows me to briefly recapitulate or synopsize the material I have presented.
(Steiner: “I now describe and draw the children’s attention to what they heard in the first part of the lesson. In the first part, I occupied their whole being; in the second, it is the rhythmic part of their being that must make an effort. I then dismiss them.” Education for Adolescence, p. 52)
A Last Question
I complete my presentation in two important ways, ways that, although they may take only a few seconds of time, lay the foundation for my future teaching, give the students something to chew on overnight, and lay the ground for good discipline (which is to say, good behavior, which is to say, an attitude of wanting to learn, to hear what I have to say). I ask an open-ended, discussion question, such as, “You learned today about all the different characteristics of cave paintings. What do you make of these? In particular, why is it important—I’ll tell you that I believe it’s very significant—that these paintings have a black outline around them?” Students may leap to answer immediately, but they know I won’t say more until the next day. They can talk on the playground, ask mom and dad at dinner, or forget the question until I remind them the next day, but they’ve heard it and taken it in. The question previews the next day’s review.
Anticipation
I also make a statement about what we’ll learn the next day. It may be prosaic—“Tomorrow we’ll move on to the study of ancient Egypt”—but it’s better if I can make it slightly mysterious—“Tomorrow you’ll learn about people who gave coffins as great gifts.” Whether they remember or not, these questions work in the students overnight and they enter the classroom ready to learn (and ready not to misbehave). I believe these few seconds are the single greatest discipline technique I know. I also know that if I don’t write down my question and topic, I will likely forget them until the class is dismissed. Even if I can conduct the lesson without notes, I write down these items in order to remember them.
Work
Then we get to work on essays, drawings, or paintings. We may go to the library to do research. The longer I teach, the less necessary I believe homework to be, and I try, especially in middle school, to have students complete their work, or at least the bulk of it, in class. We clean up our work (“Mr. Sagarin, can I keep working during recess?” “Yes, you may”), stand quietly behind our chairs, and are dismissed for snack and recess.
Attention
So this is what I aim at. It rarely goes as planned and never perfectly. But more important than anything listed above is attention to the students. Do I need to shorten my presentation because the students are exhausted? Fine. Does something I read inspire them, and I keep reading for an extra twenty minutes, and continue the next day? An example: One year I read a portion of Voltaire’s Candide to a class, simply to give them the flavor of his writing and thinking. They were so taken by it that we read a chapter a day for the rest of the block. I had not intended to do anything like this, but see great value in attending to students’ actual interests. Does my review fall on deaf ears? I’ll cut it short and spend an evening thinking about how to present it in a way that these students can hear.
Also, and this is tough to write about clearly, I try to be specifically aware of each student—I’m not good at this, but I try to make sure each student speaks at least once in each class (and that some students don’t speak too much). I try to pay attention to those who need attention and leave alone those who seem to need to be left alone. Also, if something I’m teaching relates to the circumstances of one of the students, directly (parent dies in real life; parent of historical figure died young) or indirectly (this student is obsessed with fairness, and someone I’m teaching about was known for being extremely fair), I keep the student in mind. I don’t blurt out, “Oh, and Johnny, didn’t your father die young, too?” In fact, I’m likely to try to be more tactful in discussing the historical circumstances, rather than less, given what I know. These may not be the best examples, but I think the point—lessons meet real life, we hope tactfully, in a classroom—is clear.
“Typical” Main Lesson (That is, one that never actually occurs)
10 min.: Class business.
3 min.: Verse.
15 min.: Music, but not in high school (I still wonder how necessary this really is in a main lesson period).
20 min.: Review (highly variable; and I increasingly think of this as the period of “real” learning—new material is an introduction…); discussion; note-taking.
20-30 min.: New material, including questions and added description (longer in HS).
1 min.: Question.
1 min.: Preview.
30-40 min.: Work; giving and collecting assignments. If everyone’s doing well, I can get some work done, too. (Shorter, but still present, in HS.)
Dismissal.
The high school at which I teach calls these classes “seminars” because that’s descriptive of the way we teach them, it doesn’t connote elementary education, and it doesn’t denigrate other classes.
Many of the ideas and practices recorded here have evolved over my twenty-six years of teaching; what seems simple and obvious to me now in some cases took more than ten years to become so. But slow learning is better than none at all, and it is sometimes deeper than faster learning.
I wrote the following for my teacher education students, and I share it here for the reason I initially started this blog—to provide access to things I had written for which I occasionally get requests. It saves time if they’re here to read or copy—no offprints or email attachments. This document presents main lesson primarily as a middle school history teacher might approach it because the course in which I present it is Teaching History in a Waldorf School, Grades 5-8. Teachers of other grades and other subjects will make their own adjustments.
Finally, I refer in here to doodling and to note-taking, both of which I've written about elsewhere on this blog.
Business
I begin by calling the class to order and getting business out of the way—announcements, attendance, and so forth. To say the morning verse before this—as I once did—now strikes me as bizarre. The verse prepares us to learn. So why prepare to learn and then spend ten minutes on trivial matters?
Morning Verse
Once business is accomplished, I usually say the verse with my class, although, given that many of them often arrive half asleep and malnourished, I sometimes ask them to walk or run around the school building (I used to teach in a room that had a running track just outside the back door, and a lap around this—even if calmly walked—usually brought the students back to me calmer and more alert). Then we say the verse together.
I ask politely for quiet before we begin. I never insist that students say the verse, only that they are quiet and respectful to those who do. If necessary, if no one chooses to say it, I say it myself and students listen. That’s fine. It happens perhaps once with a new group, but usually not again.
I also usually ask a student to begin the verse. If I begin it every morning, I am the one with initiative, my voice is heard, and I may be the only one who utters the word “I” that begins the verse—students joining gradually, “…into the world,” leaving off the “I look.” There are other ways to accomplish this—through regimentation and discipline—but I’ve chosen this different way. I believe this practice is fine to use with students beginning in roughly sixth grade. Before this, I wouldn’t call on their “I” so much.
For Middle School Only
After the verse, perhaps 10 minutes of singing, recorder playing, or speech. I don’t do “mental math” unless we are in a math block. If I did happen to decide to do it, I wouldn’t do it on the same day as recorder or singing or anything else. I don’t find anything about “circle time” in Steiner’s work, and I believe that his request for economy in teaching asks me to get on with my history lesson. (Math requires extra practice, it’s true, but this can be scheduled at a different point in the day, not during main lesson.) In high school classes, I don’t even do any of this, but proceed right to the lesson.
Main Lesson or Seminar
First review (feeling, judgment, discussion), then new material (thinking—but warm and interested thinking), then, if time remains (which I believe it should in middle school, perhaps less in high school), work (will).
Review
The review has three functions. The first is to come to some judgment, conclusion, or opinion regarding the material of the previous day (or previous days; there are clearly times when a “summing up” involves matter learned over several days—observing the changes in form and feeling as we pass from Egyptian through archaic Greek to classical Greek postures in sculpture, for example). This may take five minutes, and it may take nearly an hour. It’s good for me to have a plan for the day, but I am almost always willing to stray from it if student questions (legitimate questions) ask for a longer discussion or review.
A more mundane function of the review is to give notes from the day before, which I put on the board and then answer questions while students copy them. I developed this technique as I became increasingly aware of the strangeness of the process of asking students to pay careful attention to what I am saying while also remembering and writing down what I just said fifteen seconds ago. This splitting of consciousness, I believe, works against actual learning (it’s a necessary skill in college, but can be developed quickly late in high school). By giving notes the day after a presentation, we cover the material twice, and students can listen without interruption to new material.
The third function of the review is to address a question with which I have left the class on the previous day (see below). Again, doing this may take a couple of sentences, shedding a little light in the darkness, or it may yield a full-blown discussion.
(Steiner: “When they return on the following day they again have the spiritual photographs of the previous day’s lesson in their heads. I connect today’s lesson with them by a reflective, contemplative approach—for example, a discussion on whether Alcibiades or Mithradates was a decent or an immoral person.
When I make an objective, characterizing approach on the first day, followed on the next day by reflection, by judgments, I shall allow the three parts of the threefold human being to interact, to harmonize in the right way.” Education for Adolescence, p. 52)
New Material
Following the review, I present new material. I ask students to listen quietly. I ask them NOT to take notes (see review above).* I ask them to hold all questions, and to jot down any questions while I am speaking in order to ask them at the end of my presentation (which my students have taken to calling “Story Time with Steve”). Student questions can turn a twenty minute story into an hour’s drudgery as they ask about what I was just about to address, or they ask interesting but digressive questions. I resolve not to digress too much or to interrupt myself during this time, too. Unless behavior absolutely requires it, I won’t stop the class for an elbow bump or a giggle. The start-stop of “regular” discipline can lead to greater chaos than overlooking small slights. If necessary, I can make a note and address it later. If I can and need to, I can calmly walk over to a student without breaking my speech and turn him around, or remove a note from her hand, or otherwise indicate that a behavior is unnecessary.
I allow students to doodle, to knit, or otherwise to quietly, privately occupy their hands. I fought this for more than ten years before I awoke to the fact that I had been a good, attentive student my entire life, through graduate school, and had doodled incessantly, despite all attempts to make me stop. As long as my students are listening and not distracting each other, their quiet activity doesn’t bother me.**
A history presentation involves four basic elements:
1. Creating distance in time, a sense of time;
2. Creating a sense of space—how far is it from here to there; how would you travel in those times? And of place—what is the geography, how would someone living then experience it, how did it influence these people? What is the climate?
3. Creating a sense of character—what we often call “biography,” although really I’m simply telling stories of different lives (birth dates, father’s occupation, and other such trivia are usually inconsequential and the students and I know it; or these things can be included easily in notes on the following day if it is necessary to have some record of them).
4. And creating a sense of an event or happening. Any more than this is unnecessary in middle school, and much more than this is not even necessary in high school; discussions bring out 5. the larger themes—I don’t “teach” them, we discover them in conversation, usually in review. (See Steiner’s work for specific indications for themes and topics for each year, including approaches to history in high school years.)
(Steiner: “Let us take another example, a history lesson. In the teaching of history there is no apparatus, no experiment. I must find a way of again adapting the lesson to the life processes, and I can do this as follows. I give the children the mere facts that occur in space and time. The whole being is again addressed just as during an experiment, because the children are called upon to make themselves a mental picture of space. We should see to it that they do this, that they see what we tell them, in their minds. They should also have a mental picture of the corresponding time. When I have brought this about, I shall try to add details about the people and events—not in a narrative way, but merely by characterization.” Education for Adolescence, p. 52)
Questions
Following story time, I ask for questions. Sometimes there are none; students bask in what they have just heard. Other times, I haven’t said what I thought I said, or been heard as I meant to be heard, and I have to explain or present something again. I generally try to answer all questions, but, if necessary, I end the section by promising to answer questions privately or address them in the future.
Details, Recapitulation
If there are details I need to add that weren’t central to my presentation—a perspective on life in those times, an anecdote that isn’t central but that illuminates something relevant, and so on—I add them at this point. If we’re short on time, I keep it short. If the review and presentation have gone quickly, I can “digress” and add a lot. This time also allows me to briefly recapitulate or synopsize the material I have presented.
(Steiner: “I now describe and draw the children’s attention to what they heard in the first part of the lesson. In the first part, I occupied their whole being; in the second, it is the rhythmic part of their being that must make an effort. I then dismiss them.” Education for Adolescence, p. 52)
A Last Question
I complete my presentation in two important ways, ways that, although they may take only a few seconds of time, lay the foundation for my future teaching, give the students something to chew on overnight, and lay the ground for good discipline (which is to say, good behavior, which is to say, an attitude of wanting to learn, to hear what I have to say). I ask an open-ended, discussion question, such as, “You learned today about all the different characteristics of cave paintings. What do you make of these? In particular, why is it important—I’ll tell you that I believe it’s very significant—that these paintings have a black outline around them?” Students may leap to answer immediately, but they know I won’t say more until the next day. They can talk on the playground, ask mom and dad at dinner, or forget the question until I remind them the next day, but they’ve heard it and taken it in. The question previews the next day’s review.
Anticipation
I also make a statement about what we’ll learn the next day. It may be prosaic—“Tomorrow we’ll move on to the study of ancient Egypt”—but it’s better if I can make it slightly mysterious—“Tomorrow you’ll learn about people who gave coffins as great gifts.” Whether they remember or not, these questions work in the students overnight and they enter the classroom ready to learn (and ready not to misbehave). I believe these few seconds are the single greatest discipline technique I know. I also know that if I don’t write down my question and topic, I will likely forget them until the class is dismissed. Even if I can conduct the lesson without notes, I write down these items in order to remember them.
Work
Then we get to work on essays, drawings, or paintings. We may go to the library to do research. The longer I teach, the less necessary I believe homework to be, and I try, especially in middle school, to have students complete their work, or at least the bulk of it, in class. We clean up our work (“Mr. Sagarin, can I keep working during recess?” “Yes, you may”), stand quietly behind our chairs, and are dismissed for snack and recess.
Attention
So this is what I aim at. It rarely goes as planned and never perfectly. But more important than anything listed above is attention to the students. Do I need to shorten my presentation because the students are exhausted? Fine. Does something I read inspire them, and I keep reading for an extra twenty minutes, and continue the next day? An example: One year I read a portion of Voltaire’s Candide to a class, simply to give them the flavor of his writing and thinking. They were so taken by it that we read a chapter a day for the rest of the block. I had not intended to do anything like this, but see great value in attending to students’ actual interests. Does my review fall on deaf ears? I’ll cut it short and spend an evening thinking about how to present it in a way that these students can hear.
Also, and this is tough to write about clearly, I try to be specifically aware of each student—I’m not good at this, but I try to make sure each student speaks at least once in each class (and that some students don’t speak too much). I try to pay attention to those who need attention and leave alone those who seem to need to be left alone. Also, if something I’m teaching relates to the circumstances of one of the students, directly (parent dies in real life; parent of historical figure died young) or indirectly (this student is obsessed with fairness, and someone I’m teaching about was known for being extremely fair), I keep the student in mind. I don’t blurt out, “Oh, and Johnny, didn’t your father die young, too?” In fact, I’m likely to try to be more tactful in discussing the historical circumstances, rather than less, given what I know. These may not be the best examples, but I think the point—lessons meet real life, we hope tactfully, in a classroom—is clear.
“Typical” Main Lesson (That is, one that never actually occurs)
10 min.: Class business.
3 min.: Verse.
15 min.: Music, but not in high school (I still wonder how necessary this really is in a main lesson period).
20 min.: Review (highly variable; and I increasingly think of this as the period of “real” learning—new material is an introduction…); discussion; note-taking.
20-30 min.: New material, including questions and added description (longer in HS).
1 min.: Question.
1 min.: Preview.
30-40 min.: Work; giving and collecting assignments. If everyone’s doing well, I can get some work done, too. (Shorter, but still present, in HS.)
Dismissal.
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