Course Profile
English for School and Work ESL Level 3, open, Catholic
Unit 3
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut paste, and otherwise adapt this material for educational purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
©Queen’s Printer for Ontario
Katherine Dick, Waterloo Catholic District School Board
Marilou Eva, Durham Catholic District School Board
Angela Farrell, Toronto Catholic District School Board
Heather Sheehan, Toronto Catholic District School Board
Lead Board
Toronto Catholic District School Board
Course Profile Writing Team
Michelle Asselstine, Toronto Catholic District School Board
Maureen Cassidy, Toronto Catholic District School Board
Word Processor
Heather Pickett
Graphics
Gary Dominick, Printed Word Art
Central Catholic Curriculum Co-operative
Institute of Catholic Education
Unit 3: Building a Sense of Community – Contributions of Immigrants to Canada
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6
Unit Developer(s)
Michelle Asselstine, Toronto Catholic District School Board
Maureen Cassidy, Toronto Catholic District School Board
Development Date: June 1999
Students develop an understanding of the contributions of immigrants to the building of Canada. Through activities using media works and informational, narrative and poetic texts, students explore the legacy of immigrants and make connections to their own roots and Catholic faith traditions. Reflecting upon their personal experiences and those of their families, students recognize their roles and responsibilities in Canada’s past, present, and future. Students discover the relationship between some important aspects of history and geography and current Canadian issues and recognize the influence of these subject disciplines on artistic expression, while expanding their repertoire of learning strategies. Making comparisons, expressing opinions, media terminology and the use of the passive voice are the language structures addressed in this unit.
Ontario Catholic School Graduate Expectations: CGE 1d, e, g, h, i, 2a, b, c, e, g, 3b, c, d, e, f, 4b, c, f, g, 5a, b, c, e, g, 6c, e, g, 7e, f, g, h.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, 02, 03, 04 CREV.01, 02, 03, 04 CWRV.01, 02, 03, 04, CSCV.01, 02.
Specific Expectations: COR1.01, 02, 03, 04, 05, 06, 07, 2.01, 02, 3.01, 02, 4.01, 02, 03, 04, CRE1.01, 04, 2.01, 02, 3.01, 02, 03, 4.01, 02, 03, CWR1.01, 02, 03, 2.01, 02, 03, 04, 05, 3.01, 02, 03, 06, 07, 08, CSC1.01, 02, 03, 04, 2.04, 06.
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Activity 1 |
A Cultural Mosaic |
300 minutes |
|
Activity 2 |
A Scattering of Seeds |
375 minutes |
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Activity 3 |
Just A Minute |
375 minutes |
|
Activity 4 |
Listening to the Voices of Others |
300 minutes |
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Activity 5 |
Beyond 2000 |
375 minutes |
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Activity 6 |
Portraits of Canada |
375 minutes |
· Teachers collect many materials prior to the unit: A Scattering of Seeds: The Creation of Canada videotape series available from McNabb & Connolly (905) 278-0566, Marsha Boulton’s Just A Minute series (3 volumes), Cultural Profiles from The School of Social Work, University of Toronto, Coast To Coast: Canadian Stories, Poetry, Non-Fiction & Drama, Images of Canada kit available from Prentice-Hall Ginn Canada, Building Literacy in the Classroom videotape series available from Irwin Publishing and Conversation Gambits (LTP).
· Teachers consult any of the following ESL grammar series to supplement the activities in this unit: Basic English Grammar, Focus on Grammar, Grammar Connections 3 or English Fast Forward 3.
· Students record new words on the Vocabulary graphic organizer (see Appendix C) and word derivatives on the Wordsmithing Log (see Appendix V).
· Several key visuals are used throughout the unit: What Are the Gospel Values – Guiding Principles of a Christian Way of Life (see Appendix A), Career Clusters (see Appendix K), The Writing Process (see Appendix E), and Elements of Visual Production and Media Terminology (see Appendix X).
· Teachers should contact their diocesan office to obtain a directory that lists the names and addresses of religious communities in the diocese. Teachers should compile a list of these religious orders to distribute to the students to be used in their preparation of a Heritage Minute on the religious heritage of their school community. Teachers should try to invite a member of a religious community (e.g., the local pastor) to visit the class and make an oral presentation on the history of the church in the community.
· Teachers should investigate the possibility of inviting a guest speaker from a cultural organization to discuss the role and contributions of its members to Canadian society (e.g., Catholic Cross-Cultural Services, Chinese-Canadian Intercultural Association, Canadian Polish Congress, Italian Cultural Institute).
· As a follow-up to the study of the newspaper series Beyond 2000, students may wish to conduct their own study surveying both adolescent and adult immigrants and comparing their findings with those published in The Toronto Star.
· Teachers remind students to reflect upon the entries selected from this unit for inclusion in the ESLCO course portfolio. Each entry must be accompanied by one of the four samples on the Portfolio Reflection Sheet (see Appendix 1.6).
· requisite skills of ESLBO
· some familiarity with graphic organizers
· beginning familiarity with gospel values, the Corporal and Spiritual Works of Mercy, and a beginning vocabulary associated with the Catholic faith
· some familiarity with the format and layout of a newspaper acquired in ESLBO
· graphic organizers
· conferencing
· co-operative learning
· role-playing
· video clips
· reporting
· formal written assignments
· modelling
· performances
· learning logs
· checklists
· rubrics
· graphic organizers
· video presentation
· storyboard
· student-teacher conferences
· portfolio
· self-assessment
· peer-assessment
· role-playing
· anecdotal records
Barry, J., ed. Coast To Coast: Canadian Stories, Poetry, Non-Fiction and Drama. Toronto: ITP Nelson, 1995. ISBN 0-17-604704-2
Barry, J., ed. Departures. Toronto: ITP Nelson, 1991. ISBN 0-17-603089-1
Bates, S. Amazing 2: News, Interviews and Conversations. Scarborough, ON: Prentice Hall Allyn & Bacon, 1999. ISBN 013-082271
Berish, L., S. Thibodeau, and M. DeRosa Wilson. Grammar Connections 3. Scarborough, ON: Prentice Hall Regents Canada, 1996. ISBN 0-13-333304-3
Borovilos, J. Images: Canada Through Literature. Scarborough, Ontario: Prentice Hall Canada, 1996. ISBN 0-13255-8521
Boulton, M. Just A Minute. Toronto: McArthur & Company, 1999. ISBN 1-55278-024-4
Boulton, M. Just Another Minute. Toronto: Little, Brown and Company, 1997. ISBN 1-55278-025-2
Boulton, M. Just A Minute More. Toronto: McArthur & Company, 1999. ISBN 1-55278-072-4
Brown, P.C. and D. Ploske. Guide to Grammar Usage. Toronto: ITP Nelson, 1997. ISBN 0-17-605619
Francis, D., J. Hobson, G. Smith, S. Garrod, and J. Smith. Canadian Issues: A Contemporary Perspective. Toronto: Oxford University Press, 1999. ISBN 19-541134X
Gaetz, L. Before Brass Tacks: Basic Grammar. Scarborough, ON: Prentice Hall Allyn & Bacon, 1999. ISBN 013-0838411
Keller, E. and S. Warner. Conversation Gambits: Real English Conversation Practices. London: Language Teaching Publications, 1988. ISBN 0-906717-59-0
Kolpin, R. Global Links: Connecting Canada. Toronto: Oxford University Press, 1999. ISBN 19-5413334.
Koechlin, C. and S. Zwaan. Teaching Tools For the Information Age. Toronto: Pembroke Publishers, 1997. ISBN 1-55138-084-6
The New Catholic Study Bible, St. Jerome Edition. Huntington, Indiana: Our Sunday Visitor, Inc., 1985.
Quinlan, D., M.J. Pickup and T. Lahey. Government: Participating in Canada. Toronto: Oxford University Press, 1999. ISBN 19-5412796
Tracey, L. A Scattering of Seeds. Toronto: Doubleday Canada Limited, 1999. ISBN 1-55278-086-4
Walker, D. Teaching Ideas For Media Literacy. Booklets 1 - 6. Toronto: Toronto Catholic District School Board, 1998.
Wowk, J. and T. Jason. The Issues Collection: Multiculturalism. Toronto: McGraw-Hill Ryerson Limited, 1993. ISBN 0-07551450-8
Bates, S. Amazing 2 News, Interviews and Conversations. Scarborough, ON: Prentice Hall Allyn & Bacon, 1999. ISBN 013-082245-2
Building Literacy in the Classroom - Literacy Strategies for Teachers by Teachers Grades 9-12. The Metropolitan Toronto School Board, 1997. Available from Irwin Publishing (416) 798-0424.
A Scattering of Seeds. Toronto: White Pine Pictures, 1998.
Grosse Île: Harbour of Tears. Hull, Quebec: Good Earth Productions, 1998.
Tales From Golden Mountain: The Chinese Canadian Experience. Kelowna, B.C.: Filmwest Associates, 1996.
Land of Hope. Volumes I and II. Ottawa, ON: National Film Board of Canada, 1996.
Canadians in the Global Community: Images of Canada. Toronto: Prentice Hall Ginn Canada, 1997. ISBN 013-1483218
Glavich, Sister Mary Kathleen S.N.D. Saints Kit. Chicago: Loyola University Press, 1994. ISBN 0-8294-0800-2
Shirts, G. Bafà Bafà: A Cross-Cultural Simulation. Delmar, CA: Simulation Training Systems. Available from S & B Books (905) 629-5055; fax (905) 629-5054.
We Are Canadians. Snapshot 10 Changing Patterns. CRB Foundation. Toronto: Prentice Hall Ginn, 1994. ISBN 0-13-285933-5
Explore Canada. CD-ROM. Canadian Heritage Parks Canada, 25 Eddy Street, Hull, Quebec K1A 0M5. Distributed by NAS Educational Software Inc., 91 Heatherton Way, Thornhill, ON L4J 3E7 (905) 764-8079.
Focus on Grammar. Intermediate/Advanced. CD-ROM White Plains, NY: Addison Wesley Longman, 1998. ISBN 0-201-89881
Azar Interactive: A Multimedia Grammar Experience. CD-ROM Toronto: Prentice Hall Regents Canada, 1998. ISBN 0-13-982703
ELLIS: English Language Learning and Instruction System. CD-ROM Canadian Version 2.1. Distributed by NAS Educational Software Inc., 91 Heatherton Way, Thornhill, ON L4J 3E7 (905) 764-8079 or CALI Inc., 1-888-756-1570.
The Rosetta Stone Language Laboratory. CD-ROM. Harrisonburg,VA: Fairfield Language Technologies, 1997. 1-800-788-0822
The Grammar ROM. Toronto: Addison Wesley Longman, 1999. ISBN 0-58-77272
Tensebusters. CD-ROM. Distributed by NAS Educational Software Inc., 91 Heatherton Way, Thornhill, ON L4J 3E7 (905) 764-8079.
CRB Heritage. Project
http://www.heritageproject.ca
White Pine Pictures
http://www.whitepinepictures.com
CALI Inc.
http://www.cali.com
Notebook
http://www.notebook-news.com
Beyond 2000
http://www.thestar.com
Multiculturalism in Canada
http://www.pch.gc.ca3csp-pec/english/about/multi/index.htm
Heritage Canada
http://www.pch.gc.ca
Time: 300 minutes
By examining their own ethnocultural backgrounds, students develop an understanding of the contributions of immigrants within their own communities in Canada and recognize the role they themselves play in Canada’s present and future. Through the construction of a class community quilt, students visually contribute their histories to the evolving story of Canada and its future. Furthermore, students explore the contributions made by cultural communities within Canada and to Canada as a whole, using their own family experiences as a reflective model. The language focusses for this activity are a contrastive analysis of the past tense versus the future tense, first person narrative voice, and the use of time expression phrases or conditionals, such as: "in the future", "before coming to Canada".
Ontario Catholic School Graduate Expectations: CGE 1d, g, i, 2c, e, 3c, e, 4g, 5e, 6c.
Strand(s): Oral and Visual Communication, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, 04, CREV.04, CWRV.02, 03, 04, CSCV.01.
Specific Expectations: COR1.01, .02v, .03, 2.01, 3.01v, 4.02, CRE2.02, 3.03, 4.02v, .03, CWR1.03v, 2.01, .03, .04, .05, 3.01v, .02v, .03v, .07, .08, CSC1.03, 2.06.
· In preparation for this activity, teachers decide what material to use for the quilt’s construction. Either paper or fabric could be used. In choosing a material, teachers should keep in mind that students need to write on and attach pieces of paper and/or fabric to the quilt. It should be large enough to accommodate all students in the class and provide them with the necessary space to attach both their personal reflection and any signs, symbols, and/or pictures related to their contribution.
· Teachers should provide students with the necessary materials for constructing their "patch" for the classroom quilt. Teachers should consult the school art department as well as the school library/resource centre for any materials that could be used.
· Teachers should ensure that all students have access to a camera or arrange for student use of school cameras.
· Teachers should review with students the past tense and introduce the use of the future tense as well as time expression phrases and conditionals.
· requisite reading and writing skills acquired in ESLBO
· interview and questioning skills acquired in Unit 2, Career Exploration
· use of a web diagram
· use of English translation dictionaries
· use of the first person narrative
1. As a prewriting activity, teachers activate students’ prior knowledge of contributions made by immigrants to Canadian history and culture by asking probing questions and acting as a scribe to collect the student generated information on a transparency or the chalkboard.
2. Students use a web diagram to record their responses.
3. Students use the information gathered in Unit 2, Activity 1 on graphic organizers, Comparisons of Interests, Attitudes, and Skills (see Appendix L) and Self-Awareness Inventory (see Appendix M) to design a second web diagram reflecting their own contributions to their Canadian communities and to forecast their contributions in the future. Students may also want to refer back to their Dream Path collages constructed in Unit 2.
4. Students use conversation gambits to gather information from human resources in their ethnocultural communities, such as cultural centres, community parishes, and cultural newspapers. Students request information about the contributions made by members of their cultural communities to Canadian society. Some gambits used to request information from someone are: "Could you tell me…", "I’m calling to find out…", "I’d like to talk to someone who…", "Do you know…", "Do you happen to know…".
5. Students gather evidence that demonstrates the contributions of their ethnocultural community to Canadian society. The information collected could be in the form of photographs, samples of handicrafts, fabric and/or trimmings representative of their countries and cultures of origin, informational pamphlets, and advertisements circulated within their communities for use on the class quilt.
6. Teachers review the past tense and introduce the future tense through the use of appropriate communicative activities. Fun with Grammar is a teacher’s resource book that contains many communicative, interactive, task-based games.
7. Teachers and students collaboratively design a visual tool to record student reflective writing into categories indicating time periods: the past, the present, and the future.
8. Students use the visual tool to organize the information they have collected in their communities.
9. Students use the first person narrative voice to write a reflective piece expressing their knowledge of past and present contributions of their ethnocultural communities to Canadian society and to forecast their future contributions to their own communities and to Canadian society.
10. Teachers give students copies of the key visual The Writing Process (see Appendix E) to keep in their notebooks. Teachers guide the students through all stages of the writing process using this key visual. Teachers model each step by using think alouds.
11. Teachers assign each student a square on the class quilt instructing students to fill the space using their reflective writing and any of the material they collected during their investigation of their ethnocultural communities. Teachers should encourage students to research quilt patterns in their culture and incorporate this knowledge into their designs.
12. Teachers provide students with guidelines and requirements for the completion of their square on the quilt. Students should be instructed to represent the past, the present, and the future of their communities including school, parish, and ethnocultural communities, within Canadian society.
13. Teachers adapt the Rubric for Assessing a Collage (see Appendix 1.1) and use it to evaluate the quilt patch. Teachers distribute the adapted rubric and review the criteria with the students. Teachers can refer students to their Dream Path collages for models of Levels 1, 2, 3, and 4 work.
14. Students complete their squares on the class quilt.
15. Students make an oral presentation about their square on the quilt. Peers and teacher assess the presentation using the Rated Checklist for Assessing an Oral Presentation (see Appendix 1.3) and the adapted version of the "Rubric for Assessing a Collage" (see Appendix 1.1).
1. Summative assessment – reflective writing - Rubric for Assessing Creative Writing (Appendix 1.0)
2. Summative assessment – oral presentation - Rated Checklist for Assessing an Oral Presentation (Appendix 1.3 )
3. Summative assessment - quilt patch - adapt Rubric for Assessing a Collage (Appendix 1.1)
4. Peer assessment -oral presentation and quilt patch - Rated Checklist for Assessing an Oral Presentation (Appendix 1.3 ); adapt Rubric for Assessing a Collage (Appendix 1.1).
· Some students require more individual support in order to complete their personal reflections. Teachers address these concerns during the conferencing component of the writing process.
· Some students require teacher direction in locating community-based sources of information. This information should be available through guidance departments as well as community outreach centres and local Catholic agencies.
Azar, Betty Schrampfer. Basic English Grammar. Combined Volume. Second Edition. Chapters 5 and 6. New Jersey: Prentice Hall Inc., 1996. ISBN 013-3683176
Cultural Profiles. The University of Toronto. School of Social Work. AMNI Centre. 1998.
Keller, Eric and Sylvia T. Warner. Conversation Gambits: Real English Conversation Practices. London: Language Teaching Publications, 1988. ISBN 0-906717-590
Woodward, S. Fun with Grammar. Toronto: Prentice Hall Allyn & Bacon Canada, 1998. ISBN 0-13-567926-5
The Canadian Ethnocultural Council.
http://www.web.net/cec
Catholic Cross-Cultural Services. Scarborough, ON, M1K 5H4. (416) 757-7010; fax (416) 757-7399.
Appendix 1.0 - Rubric for Assessing Creative Writing
Appendix 1.1 - Rubric for Assessing a Collage
Appendix 1.3 - Rated Checklist for Assessing an Oral Presentation
Time: 375 minutes
A Scattering of Seeds celebrates Canada's rich cultural and linguistic diversity by portraying the poignant stories of the immigrants who helped to shape our nation. As students explore the story of Father McGauran, an Irish priest who ministered to the sick at Grosse Île, a quarantine station in the St. Lawrence during the 1840s, they understand the plight of this unsung Canadian hero and his legacy. Students discuss issues related to immigration, such as religious discrimination/tolerance, racism and stereotyping. In this activity, students analyse videos depicting a variety of immigrants to identify images, sounds, and camera techniques used by the filmmakers to create each portrait. The language focus addressed in this activity is the use of the passive voice and the vocabulary related to the theme of immigration. Media terminology and the elements of visual production are introduced through the use of a key visual.
Ontario Catholic School Graduate Expectations: CGE 1d, e, g, h, 2a, e, 3b, e, 4g, 6c, 7f.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, 02, 03, 04, CREV.02, 03, CWRV.01, 02, 03, 04, CSCV.01, 02.
Specific Expectations: COR1.03, .04v, .05v, .06, .07, 2.01, .02, 4.01v, .02, .03, .04v, CRE1.01, .04, 2.01, .02v, 3.01, .02, .03, 4.02, .03v, CWR1.01v, .02v, .03, 2.01v, .02, .03, .04, .05, 3.01, .02, .03, .07v, .08, CSC1.01v, .02, .03v, 04v, 2.06.
· Prior to the activity, teachers invite students to assemble a collection of mementos representative of their ethnocultural backgrounds and to bring the objects to class for Activity 2. Teachers activate students' prior knowledge about immigration by discussing their experiences. Teachers should give careful consideration to the way in which the students’ immigrant/refugee experiences are handled in class discussions and activities. Students should reflect on the cultural mosaic created in Activity 1.
· Teachers should be sensitive to the fact that some students have come to Canada as refugees without bringing mementos. They may wish to share a story or memory.
· The primary resource for this activity is a Canadian videotape series entitled, A Scattering of Seeds, which highlights the roles played by immigrants in the creation of Canada. It can be used by the students as a springboard for sharing their own and their family's experience. Each of the twenty-six episodes depicts a different immigrant group. The web site (http://www.whitwpinepictures.com) is a rich source of information about the series.
· Teachers should show several episodes of A Scattering of Seeds to broaden students' understanding of the immigrant experience. If possible, teachers should select episodes that reflect both the cultural diversity of their class and gospel values.
· Teachers should consult the Media Department of their board to locate this videotape series and any other videotape on the theme of immigration.
· If A Scattering of Seeds is unavailable, teachers could use one or more of the following videotapes to introduce the immigrant experience: Beyond Golden Mountain: The Chinese Canadian Experience, Land of Hope, Volume I and II and Grosse ÎIe: Harbour of Tears.
· Teachers should collect a variety of advertisements from the past and present, used by the Government of Canada to promote immigration during the last century. The Canadian Heritage web site is one source of information.
· Teachers need to locate a world map and current census data to illustrate the waves of immigration in the last century. Teachers should consult the news browser called Notebook, an excellent source for current events material suitable for ESLCO students. This web site is one source of information about the current crisis in Kosovo.
· The Saints Kit is an excellent source of research material for the culminating activity.
· All students should have a copy of What Are the Gospel Values - Guiding Principles of a Christian Way of Life (see Appendix A).
· Through modelling, teachers introduce the passive voice explaining that it is more common in writing than in speaking. Teachers should collect examples from the newspaper or subject-specific textbooks to illustrate uses of the passive voice.
· some familiarity with the immigration process
· beginning vocabulary related to the Catholic faith
· some familiarity with the use of graphic organizers
· requisite grammar skills of ESLBO
Before Viewing Videotape 1: Grosse Île - Harbour of Tears
1. In groups, teachers invite students to share their collections of mementos, stories, and/or memories, explaining to their peers why these hold such great sentimental value. Teachers elicit responses from the students and record them on an overhead transparency or the chalkboard. Teachers distribute advertisements used by the Canadian government to attract immigrants to this "Land of Opportunity". Teachers introduce the terms "push" and "pull " factors by having students reflect on their own experience and identify the reasons why immigrating to Canada was appealing to their families and why the idea of leaving their country was so difficult. Record the students’ responses on a T-chart labelled “Why Immigrate?” (see Appendix U). Allow time for the students to tell their stories.
2. Teachers introduce the videotape, Grosse Île: Harbour of Tears by locating this island in the St. Lawrence on a map of Canada. Teachers introduce the concept of quarantine by discussing the term "communicable disease" and giving an example, which is familiar to the students (e.g., chickenpox). Using a web, teachers record words related to this concept (e.g., germs, bacteria, contagious, infectious). Teachers should take this opportunity to discuss derivatives: contagion (n.), contagious (adj.), infection (n.), infectious (adj.). Students should record this pattern in a log (see Appendix V- Wordsmithing Log).
3. To prepare students for the content that will be presented in the video, teachers discuss the primary mode of Trans-Atlantic transportation of the early immigrants - a sailing vessel which took six weeks to make the crossing. Visuals (e.g., photographs, slides, illustrations) should be used to help the students “picture” the scene. To anticipate what they will see in the video, students share how they came to Canada and the length of time from departure to arrival. Teachers can make reference to the Old Testament writing in the Book of Exodus to show how immigration has been present throughout history and the need for people under such stress to reach out to God for their strength.
4. Teachers brainstorm with the students some of the hardships which the immigrants experienced on such a long sea voyage and record their responses on a chart or chalkboard (crowded, unsanitary conditions on the ships, lack of fresh water and air, lack of nutritious food).
5. Teachers introduce unfamiliar vocabulary: “coffin ships”, “fever ships”, “timber ships”, vessels, cholera, dysentery, typhus, smallpox, famine, orphan, quarantine station, push/pull factors, Celtic, Gaelic, clogging, and legacy.
6. Teachers pose several focus questions: Why is the summer of 1847 referred to as the 'Summer of Sorrow'? What was Canada's attitude toward the early immigrants?
7. Teachers distribute the graphic organizer Video Fast Facts (see Appendix W) prior to the viewing of the video and review its format.
8. Teachers lead a discussion on the components of an effective video: striking images, evocative soundtracks, innovative camera techniques, engaging dialogue, and creative special effects (see key visual Appendix X - Elements of Visual Production and Media Terminology, key visual).
9. Teachers provide models of each of these features of video and engage students in a discussion asking them to make comparisons and weigh the advantages and disadvantages of each element of visual production. A variety of video clips should be used to stimulate a discussion.
During the Viewing
10. Students view the videotape identifying information that will assist them in the completion of their graphic organizers. Teachers encourage students to make predictions and to assess the accuracy of their hypotheses. Teachers could use the pause function to allow students time to take notes.
After the Viewing
11. Working with a partner, students complete the Video Fast Facts graphic organizer.
12. Teachers review the graphic organizer Video Fast Facts, eliciting responses from the students.
13. Teachers divide the class into groups of four. Each member of the group is assigned a specific role: recorder, materials manager, timekeeper, or monitor. Students explore the case histories of various individuals on Grosse Île: a member of a religious community caring for the sick, a member of the medical profession trying to ease the suffering of the immigrants, the ambulance driver Monsieur Masson Dompierre, a person suffering from typhus or cholera and respond to a set of questions. These questions serve as a comprehension check: What was this individual's role at Grosse Île?, What qualities did each individual possess?, What was the person's attitude toward his/her work? How was this person heroic? Remind students to refer back to Appendix A and Appendix K and to consider the concept of selfless service to community.
Before Viewing Videotape 2: The Force of Hope - The Legacy of Father McGauran
14. Teachers set the stage for the viewing of the videotape The Force of Hope: The Legacy of Father McGauran, the second episode in the Scattering of Seeds series by locating Ireland on a world map. The term "famine" is introduced through a discussion of the failed potato crops of the Irish farmers. Using the “Why Immigrate?” T-chart, teachers brainstorm with the students the reasons for the Irish immigration during the 1840s. (see Appendix U).
15. Teachers present a thumbnail sketch of a young Irish Canadian priest named Father Bernard McGauran who was assigned to Grosse Île immediately following his ordination. Pose a focus question prior to viewing the film: What qualities did Father McGauran possess that made him an ideal candidate for this very challenging ministry?
16. Teachers distribute the graphic organizer Video Fast Facts (see Appendix W).
During the Viewing
17. Students view the film The Force of Hope and take notes. Teachers use the pause function to allow students sufficient time to record their information.
After the Viewing
18. Working in pairs, students discuss the focus question and complete their graphic organizers. Students should be encouraged to share their opinions as a class.
19. Using the organizer What Are the Gospel Values - Guiding Principles of a Christian Way of Life (see Appendix A), students discuss how Father McGauran lived his life according to these values.
20. Teachers discuss the Spiritual and Corporal Works of Mercy with the students and relate these acts of kindness to the story of Father McGauran.
21. In the film, one of the elderly residents of St. Brigid's compares the home to the Biblical mustard seed. Students read “The Parable of the Mustard Seed” (Matthew 13:31) and explain the significance of the allusion. Teachers should take this opportunity to draw parallels between “The Parable of the Sower and the Seeds” (Luke 8:11-15) that was referenced in Seedfolks (Unit 1, Activity 6) and this videotape, as seed symbolism is embedded in this course profile.
22. As a culminating activity, students research the religious heritage of their school community and prepare an oral presentation showcasing the patron saint/lay figure after whom their school is named. Teachers lead a discussion with the students having them brainstorm the characteristics of an effective presentation. Teachers may wish to show one of the Heritage Minutes, such as "Nellie McClung" to assist the students in planning their presentation.
23. Students can consult the CRB Heritage Project web site for video making tips and view some "Student Created Minutes". If the school is not named after a patron saint or lay figure, the students could research the religious heritage of the local parish.
24. Teachers should remind students that their presentations must address the following reflective sentence stems: "Our founder______________ was an advocate for …", "Like her/him, we the students of __________________________ Catholic High School pledge to …". Students complete the second stem by identifying a project that they will undertake which carries on the work of their founder (e.g., If the founder was an advocate for the poor, the students could volunteer to work at a local food bank or collect non-perishable items and donate them to members of their community who are in need).
25. Using the key visual Learning Strategies (see Appendix T), students complete a learning log (see Appendix H).
26. Teachers assess the oral presentation using the Rated Checklist (see Appendix 1.3 ).
1. Formative assessment - Learning Log (Appendix H)- anecdotal comments
2. Summative assessment - Video Fast Facts (Appendix W) - anecdotal comments
3. Summative assessment - oral presentation - Rated Checklist for an Oral Presentation (Appendix 1.3)
· Some students may need to view the videotapes several times in order to complete the activities.
· Transcripts of the videotapes should be available to students.
· Students may need to use first languages to explain the content introduced in the videos or to seek clarification about issues raised in the films.
Ekstrom, R. The New Concise Catholic Dictionary. Dublin, Ireland: Columba Press, 1995. ISBN 0-89622-622-0
The New Catholic Study Bible, St. Jerome Edition. Huntington, Indiana: Our Sunday Visitor, Inc., 1985.
O'Gallagher, M. Grosse Isle: Gateway to Canada, 1832-1937. Sainte Foy, Quebec: Carraig Books, 1984.
O'Gallagher, M. Eyewitness: Grosse Isle, 1847. Sainte Foy, Quebec: Carraig Books, 1995.
Tracey, L. A Scattering of Seeds. Toronto: Doubleday, 1999.
A Scattering of Seeds. Toronto: White Pine Pictures, 1998.
Grosse Ile: Harbour of Tears. Toronto: Good Earth Productions, 1998.
Beyond Golden Mountain: The Chinese Canadian Experience. Kelowna, B.C.: Filmwest Associates, 1996.
Land of Hope: Volumes I and II. Ottawa, ON: National Film Board of Canada, 1996.
Glavich, Sister Mary Kathleen S.N.D. Saints Kit. Chicago: Loyola University Press, 1994.
White Pine Pictures
http://www.whitepinepictures.com
Heritage Canada
http://www.pch.ca
Celtic Studies Department, St. Michael's College, University of Toronto, 81 St. Mary Street, Toronto, ON, M5S 1J4 (416) 926-7145; fax (416) 926-2330.
Catholic Cross- Cultural Services
Archdiocese
Religious communities
Local parish
Appendix H - Learning Log
Appendix U – “Why Immigrate?”
Appendix V - Wordsmithing Log
Appendix W - Video Fast Facts
Appendix 1.3 - Rated Checklist for an Oral Presentation
Time: 375 minutes
Through activities using media works, such as the CRB Heritage Minutes and informational and narrative texts, students develop an understanding of Canada's rich heritage. They discover the elements of a Canadian identity by evaluating the contributions of significant individuals depicted in the Heritage Minutes. Students recognize that the early settlement of Canada brought French Catholic families and Catholic missionaries to establish the roots of present Catholic traditions within this country. Students create their own storyboard depicting one of Marsha Boulton's historical anecdotes. The storyboards could be dramatized or videotaped. The language foci in this activity are the use of the passive voice to describe historical events and the conventions of dialogue.
Ontario Catholic School Graduate Expectations: CGE 1d, 2a, b, e, g, 3b, e, f, 4g, 5c, 6e, 7e.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, 02, 03, 04, CREV.01, 02, 03, CWRV.01, 02, 03, 04, CSCV.01, 02.
Specific Expectations: COR1.01, .02, .04v, 2.01, .02, 3.01, .02, 4.01v, .03, .04, CRE1.01, .04, 2.01, .02, 3.01, .02, .03, 4.02, .03, CWR1.01, .02v, .03, 2.01, .02, .03, .04, .05, 3.01, .02, .03, .06, .07, .08, CSC1.01v, .02v, .03, .04, 2.06.
· The CRB Heritage Project web site (http://www.heritageproject.ca) is the first source to consult as it features annotations and thematic groupings of each of the sixty Heritage Minutes, lesson plans on "Building a Heritage Minute", models of "Student Created Minutes", examples of storyboarding, and tips for using the Heritage Minutes to foster critical thinking skills, as well as a very comprehensive webography.
· The toll free telephone number for the CRB Heritage Project is 1-800-567-1867.
· In preparation for this activity, teachers locate the primary resources: We Are Canadians (CRB Heritage Project) which contains a videotape with forty Heritage Minutes; Images of Canada (CRB Heritage Project) which is a kit comprised of a videotape containing ten additional Heritage Minutes; as well as multiple copies of student booklets describing Canadian paintings, photography, literature, and recording artists. In addition, teachers consult any one of the three volumes in Marsha Boulton's Just A Minute series. The bibliography at the end of this activity contains pertinent information about all of the resources referenced.
· Two of the Heritage Minutes, the 1917 Halifax Explosion and the innovation of the hockey goalie mask by Jacques Plante in 1959, have been recreated as comic books by McClelland & Stewart publishers and are distributed by Macdonald's restaurants.
· Teachers should consult with members of the Canadian and World Studies Department to obtain resources and suggestions about Canadian historical figures and events. The staff of the Visual Arts Department could provide models of storyboarding and student created videos as well as the names of some peer facilitators who could mentor the ESL students during the process.
· In choosing vignettes from the Heritage Minutes or the Just A Minute series, teachers analyse the texts or videotapes to identify: language structures, unfamiliar vocabulary, idiomatic expressions, and stylistic features.
· Teachers take into consideration the following criteria when making their selections for this activity: student interest and level of language acquisition, cultural diversity, and the language features of the text. As some reading selections lend themselves more easily to storyboarding than others, teachers should guide students during the selection process.
· Marsha Boulton's first collection of Canadian anecdotes - Just a Minute - has several engaging retellings of historical events: "Clothes Do Not Make the Man" (Esther Brandeau - a distinctly different immigrant confounds the system, pp.33-35), "The Saint of Dawson City" (Father William Judge, a Jesuit who ministered to the miners, pp.69-71), "You're Not Even a Person” (Emily Ferguson Murphy, the first woman magistrate, pp.114-116) and "Who Was That Masked Man?" (Jacques Plante, the man who invented the hockey face mask, pp.138-140).
· Some of the following anecdotes from Just A Minute More might prove interesting: "No Prison in the Woods" (Mary Ann Shadd pp.24-30), "Lily of the Mohawks, Genevieve of New France" (Kateri Tekakwitha pp.55-64), or "A Man in a Hurry" (John Grierson and the NFB, pp. 146-160).
· Some suggested titles from Just Another Minute include: “The Running Man” (Thomas Longboat, pp.125-128), "That Long Distance Feeling" (Alexander Graham Bell, pp.178-181), "Hats Off To the Beaver" (Castor canadensis – our national rodent, pp.16-19) or "The Right To Be Beautiful" (Elizabeth Arden, pp.101-105).
· Teach the students the techniques and vocabulary related to storyboarding and video production: camera shots (long, medium, and close-up), camera movement (pan, tilt, and dolly), camera angle (eye level, bird's eye, worm's eye), frames, stick figures, and the blue screen.
· ResourceLines 9 (Prentice Hall Ginn Canada), has a very comprehensive section on media literacy (Chapter 4 – "Viewing" pp.213-216).
· some understanding of the elements of a story
· some familiarity with basic Canadian history and geography concepts acquired in ESLAO/ESLBO
· some familiarity with media works (e.g., videotapes) and media terminology
Before Viewing the Heritage Minute on Jacques Plante
1. Teachers model the art of storytelling by recounting the history of a person or event familiar to the students, using exaggeration, invention, and the selective omission of specific details.
2. Teachers elicit from the students the characteristics of this oral rendition and record their responses on an overhead transparency or the chalkboard.
3. Teachers pose a focus question and record the students' responses: What are the limitations of oral history? Elicit from the students the types of historical information (e.g., oral history, archaeological evidence, and written documents).
4. Teachers provide the students with a printed version of the Heritage Minute on Jacques Plante and instruct students to read the script. Teachers ensure that students understand key words and phrases that are introduced in the reading selection and which will appear in the videotape on Jacques Plante. Teachers show the videotape and students take notes. Following the viewing of the video, the students work in pairs to complete a graphic organizer (See Appendix Y - Deconstructing a Heritage Minute).
5. Teachers review the graphic organizer eliciting responses from the class and recording them on an overhead transparency.
6. Teachers select three of four Heritage Minutes depicting Canadian historical events, Canadian achievements, and Canadian firsts, and pose focus questions: What is the story? What is the primary source of historical information in the vignette? Why is the anecdote appealing?
During Viewing
7. Students view three or four Heritage Minutes as a class.
After Viewing
8. In pairs, students complete a graphic organizer analyzing the vignettes. (See Appendix Y - Deconstructing a Heritage Minute.)
9. As a class, students share their notations on the graphic organizer. Teachers lead a discussion having the students identify and list the stylistic features of a Heritage Minute.
10. Teachers introduce the concept of storyboarding by showing the students a model. Through discussion and questioning, students identify the key features of a storyboard: shot number, scene/sequence number, a basic sketch, description of action/camera angle, narrative and/or sound effects, length of time for each shot and total cumulative time for the video. The primary medium used to create an effective storyboard is dark pencil (preferably HB lead). Teachers provide students with a template of a storyboard called Create a Storyboard (see Appendix Z).
11. Teachers divide the class into small groups and provide the students with an annotated list of selections from Marsha Boulton' s series, Just A Minute. Each group selects one of these historical anecdotes to storyboard. Assign a leader for each group to take responsibility for any resources that the group is using, and to ensure that each group member is involved in the various steps of the process.
12. Individually, students read the Just A Minute selection and discuss the most striking images that came to mind as they read the anecdote. Teachers instruct the students to record ten jot notes about the most fascinating facts in their notebooks.
13. Group members meet to compare their notes and compile a master list of information that they can organize thematically or chronologically. Students must decide which facts should be dramatized and which ones should be told in narration.
14. Teachers direct students to the CRB Heritage Project web site and instruct the group to examine the storyboard based on the Jacques Plante Heritage Minute as well as the Student Created Minutes.
15. Teachers review the conventions concerning dialogue. Students should note that the narrative should be short (two or three lines per frame) and can be accompanied by sound effects.
16. Students create a storyboard.
17. Students who wish to videotape their Heritage Minute should consult the Heritage Project web site for useful tips on "low tech" and "high tech" finishes. If students submit a videotape, teachers can adapt the Rated Checklist for an Oral Presentation (see Appendix 1.3) to evaluate their work.
1. Formative assessment - participation - Checklist for Assessing Group Work (Appendix 1.5)
2. Summative assessment - storyboard - ChecBric for Assessing a Storyboard (Appendix 1.4)
· Some students may require additional support in order to complete the script for the storyboard.
· Students who require enrichment should be encouraged to videotape their storyboards.
Boulton, M. Just A Minute. Toronto: McArthur and Company, 1999. ISBN 1-55278-024-4
Boulton, M. Just A Minute More. Toronto: McArthur and Company, 1999. ISBN 1-55278-072-4
Boulton, M. Just Another Minute. Toronto: Little, Brown and Company Limited. ISBN 1-55278-025-2
Dawe,
R., B. Duncan, and W. Mathieu. ResourceLines 9. Toronto: Prentice Hall
Ginn, 1999.
ISBN 0-7702-6648-7
Hilker, D. and S. Harper. Elements of English 9.
Toronto: Harcourt Brace Canada, 1999.
ISBN 7747-0575-2
Kedves Barlowe, A., et al. SightLines 9. Toronto: Prentice Hall Ginn, 1999. ISBN 0-7702-6646-0
Canadians in the Global Community: Images of Canada. Toronto: Prentice Hall Ginn Canada, 1997. ISBN 0-13-285933-5
Glavich, Sister Mary Kathleen S.N.D. Saints Kit. Chicago: Loyola University Press, 1994. ISBN 0-8294-0800-2
We Are Canadians. Toronto: Prentice Hall Ginn Canada, 1994. ISBN 013-1483218
CRB Heritage Project
http://heritageproject.ca
Canadian Heritage
http://www.pch.gc.ca
Appendix Y - Deconstructing a Heritage Minute
Appendix Z - Create a storyboard
Appendix 1.4 - ChecBric for assessing a storyboard
Time: 300 minutes
Through an examination of the voices of immigrants represented in a selection of Canadian poetry, students reflect on the plight of the immigrant as he/she progresses through the stages of acculturation. Students explore poetic literature and find connections to, and parallels with, gospel values and their own experiences. Using a graphic organizer to analyze the structure, and language of poetic texts (including prayers and songs in the first language), students develop a greater understanding of this genre and recognize issues of social justice. Students demonstrate this learning by composing their own poetry that may include poems, songs, prayers, and meditations as part of a poetry album. The language focus for this activity is the use of figurative language.
Ontario Catholic School Graduate Expectations: 1d, 2a, b, c, 3c, 4g, 5a, b, e, 7e, g.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, .02, CREV.02, .03, CWRV.01, .02, CSCV.02.
Specific Expectations: COR1.02v, .04v, .05v, 2.01, .02, CRE1.01v, .04, 2.01, 3.02, 4.03, CWR1.02v, 2.04, .05, 3.02v, .03, .05, .07, .08v, CSC1.01, .02, .03, .04v.
· In preparation for this activity teachers find a selection of Canadian poems that reflect the immigrant experience and express the immigrant voice. Below is a list of possible choices found in a variety of resources:
· "Equal Opportunity" by Jim Wong Chu (Multiculturalism, p. 55)
- an ironic account of discrimination faced by Chinese immigrants in early Canada
· "What Do We Do With a Variation?" by James Berry (Multiculturalism, p. 43)
- questions how society deals with difference
· "Immigrants the Second Generation" by Kevin Irie (Multiculturalism, p. 90)
- explores the difficult role played by second generation immigrants within their families
· "I Am a Canadian" by Duke Redbird (Multiculturalism, p. 10)
- explores the diverse landscape and people across Canada
· "What Do I Remember of the Evacuation?" by Joy Kogawa (Departures, p. 46)
- a child’s account of the shame and embarrassment experienced by the Japanese during World War II
· "Incident" by Countee Cullen (Departures, p. 109)
- a child’s scarring experience with racism
· "You Have Two Voices" by Nancy Prasad (Transformations, p. 8)
- the struggle to find a voice in a new language
· "I Am a Rock" by Paul Simon (Transformations, p. 30)
- the loneliness of not belonging or fitting in
· Teachers should ensure that cassette tapes and audio recording equipment are available to students for recording their own poetry reading.
· familiarity with the literary devices metaphor, simile and personification acquired in Unit 1, Activity 5
· familiarity with the functions of punctuation, tone, stress, intonation, and emphasis acquired in Unit 1, Activity 4
Before Reading
1. Teachers encourage an open class discussion on the topic of poetry (content, purpose, and forms) to activate students’ prior knowledge and to make them aware of their own familiarity with poetry. Teachers could start by using probing questions such as: What kind of music do you like and why? Do you remember any nursery rhymes or prayers in your native language?
2. Teachers encourage students to bring to class and share examples of poetry and prayers in their native language and music they like. These examples could be read by students or listened to in class and used by the teacher to introduce the terms "theme" and "voice" as these pieces will be familiar to students. Teachers could use the following questions to elicit responses from students which focus on theme and voice: What emotion or feeling is the poet/songwriter expressing in this poem?, Is the poet/songwriter’s voice expressing happiness, sadness, loneliness…and how can you tell?, What do you think the poet/songwriter is talking about in this song or poem?
3. Teachers formally present the terms "theme" and "voice" to students stressing how an author can communicate emotion, thought, and feeling to the reader through these devices.
4. Teachers introduce students to the graphic organizer, What’s in a Poem? (see Appendix AA). Using one of the poems, prayers, or pieces of music brought in by the students, teachers model how to complete the graphic organizer. Students access their key visual What Are the Gospel Values (see Appendix A) throughout this activity.
5. Teachers focus student attention on the selected group of poems for study.
6. Teachers use a poem, such as What Do I Remember of the Evacuation? by Joy Kogawa (see suggested list at the beginning of this activity), as an example with which to model again for students the use of the graphic organizer, (Appendix AA) What’s in a Poem?, and to demonstrate proper dramatic reading of a poem.
7. Teachers activate students’ prior knowledge of the use of tone, stress, intonation, and punctuation learned in Unit 1, Activity 4 and encourage students to make predictions by posing a focus question(s): What does the word evacuation mean? What kinds of emotions did the poet/narrator experience during the evacuation?
During Reading
8. Teachers read the poem aloud to the students and instruct them to ask themselves questions about their predictions.
After Reading
9. Students use their key visual What Are the Gospel Values (see Appendix A) to complete the graphic organizer, What’s in a Poem? (see Appendix AA).
10. To guide students in their reading of the poem, What Do I Remember of the Evacuation?, teachers set the historical context of the poem. In this selected poem, students should be made aware of how Japanese Canadians were treated by other Canadians and by the Canadian government during World War II. Teachers should ask a focus question: Which gospel values were violated by the Canadian people and the Canadian government during this time?
11. Teachers ask students to read the poem to each other in pairs, discussing their thoughts on the poet’s message, feeling, and purpose in the poem.
12. In completing the graphic organizer together, teachers lead students to the conclusion that this poem addresses the themes of fear, discrimination, hate, embarrassment, and memories. Teachers direct students’ attention to the poet’s diction.
13. Teachers ask students to examine Kogawa’s word choice and cite examples that illustrate the themes such as “abandoning”, “forced”, “gun point”, “suffering”, “bitterness”, “spat on us”. Encourage students to use their bilingual dictionaries and Vocabulary graphic organizer (see Appendix C).
14. Teachers divide the class into small groups and assign a specific poem to each group.
15. Students analyse the poem using the graphic organizer What’s in a Poem? (see Appendix Z).
16. Teachers direct students to use their analysis of the poem to prepare a dramatic reading of the poem.
17. Some students may wish to tape their dramatic reading for presentation to the class. Students should be encouraged to use any background music or sound effects which they feel help to convey the poem’s meaning, theme, and voice. Students doing a live dramatic reading may wish to use props and costumes.
18. Teachers instruct students to design their own poetry albums in which to keep all of their work for this activity.
19. Teachers instruct students to compose their own poetry, songs, or prayers individually and collaboratively with their peers giving voice to their own immigrant experiences and experiences dealing with issues of social justice.
20. Teachers make students aware of the expectations for this activity. A suggestion would be three to five individually or collaboratively composed poems, songs, or prayers. Teachers modify the Rubric for Assessing a Portfolio (see Appendix 1.2) and use it to evaluate the poetry album. Teachers review the criteria for evaluation with the students.
21. Students share selections of their own writing with the rest of the class.
22. Teachers should encourage students to embellish their poetry albums by including additional poetry, music, prayers or artwork which they feel is related to the themes of social justice and issues facing immigrants. Students may submit work written in their first language. These additional submissions are not to be evaluated in the poetry album. However, students may submit them for evaluation purposes with their ESLCO course portfolio.
23. Teachers should also seek out and encourage students to submit their work to school literary clubs, local community clubs for social justice, and their parishes for publishing.
1. Formative assessment – dramatic reading - anecdotal comments
2. Formative assessment – participation - Checklist for Assessing Group Work (Appendix 1.5)
3. Summative assessment – poetry album - adapt Rubric for Assessing a Portfolio (Appendix 1.2)
· Some students may be very reluctant to read aloud in class and should be provided with audio recording equipment with which to record their work.
· Some students may require extra teacher direction in analysing the selected poems and in getting started in writing their own poems.
· Teachers should provide the frameworks for writing certain forms of poetry (e.g., acrostic, haiku, cinquain).
Barry, J., ed. Coast to Coast. Scarborough, ON: ITP Nelson Canada, 1995. ISBN 0-17-604704-2
Barry, J., ed. Departures. Scarborough, ON: Nelson Canada, 1991. ISBN 0-17-603089-1
Borovilos, J., ed. Images: Canada Through Literature. Scarborough, Ontario: Prentice Hall Canada, 1996. ISBN 013-2558521
Duncan, B., S. Harper, et al. Transitions. Toronto, Ontario: Harcourt Brace Canada, 1996.
Wowk, J., and T. Jason, eds. The Issues Collection: Multiculturalism. Toronto, Ontario: McGraw-Hill Ryerson Limited, 1993.
Appendix 1.2 - Rubric for Assessing a Portfolio
Appendix 1.5 - Checklist for Assessing Group Work
Time: 375 minutes
In this activity, students explore the concept of culture by participating in a co-operative learning game called Bafà Bafà. Through this activity, students have opportunities to reflect on personal and societal experiences of racism, bias, and stereotypes. They develop their media literacy skills by studying a newspaper series, Beyond 2000, which highlights the personal plight of visible minorities in the Greater Toronto Area. Students analyse these newspaper articles as well as narrative texts to heighten their awareness of equity and social justice issues. Students demonstrate their understanding by creating an antiracist poster. Making comparisons and expressing opinions using conversation gambits are the language structures addressed in this activity.
Ontario Catholic School Graduate Expectations: CGE 1d, e, g, h, 2a, c, e,3b, c, d, 4c, 6c, 7e, h.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, .02, .03, .04, CREV.02, .03, CWRV.01, .02, .03, .04, CSCV.01, .02.
Specific Expectations: COR1.02, .04v, .05v, 3.01, 4.01, .03, CRE1.01, 2.01, .02, 3.01, .02, .03, 4.02, .03, CWR1.01, .02, .03, 2.02, 3.01, .02, .03, .04, .06, .07, .08, CSC1.01v, .03v, .04v.
· Teachers obtain a copy of an interactive co-operative learning game developed by Garry Shirts called Bafà Bafà and prepare all the materials in advance. In this game simulation, students assume the role of a member of one of the two dominant cultures - Alpha or Beta - and through a series of activities they experience life in a foreign culture. Unable to communicate with members of the opposite culture, they struggle to understand the experience of an additional language and cultural differences. Through a first hand experience, they begin to identify and understand the roots of racism and discrimination.
· The Toronto Star conducted a year-long study entitled Beyond 2000. This project examined the ethnic and cultural composition of one of the most diverse cities in the world - Toronto. In a series of interviews with visible minorities, each article addressed issues that confronted immigrants, such as discrimination in the workplace, religious intolerance, racism, stereotyping, and culture clash. Although Beyond 2000 explores the challenges that the Greater Toronto Area must face as it enters the next millennium, these same issues are reflected to a greater or lesser degree in many Ontario communities.
· Teachers should consult the web site of The Toronto Star to locate back issues of the series Beyond 2000, which appear about three times a week (http://www.thestar.com).
· The School of Social Work of the University of Toronto has produced a series of sixty cultural profiles which may be obtained free of charge by contacting the AMNI Centre at (416) 946-3824 or fax (416) 978-7072. Teachers should consult the web site for a current list of available titles (http://www.utoronto.ca).
· Teachers review the format of a newspaper and explain the concept of a poll/survey in order for students to understand Beyond 2000 - the study conducted by Goldfarb Consultants.
· Students may require assistance reading and interpreting the data that appears in sidebars in the articles (e.g., graphs, tables, charts, graphic organizers, illustrations).
· Beyond 2000 should be a starting point to explore the themes of equity, diversity and social justice.
· Teachers locate a variety of genres that address these issues.
· Teachers obtain chart paper and markers for this activity.
1. Teachers introduce the co-operative learning game Bafà Bafà by dividing the class into an equal number of Alphas and Betas, the two dominant cultures in this fictional world. Role cards are distributed to the students and the rules of the game are reviewed. Students interact with each other experiencing the frustration of trying to communicate within a foreign culture. Unable to communicate with members of the opposite culture, they struggle to understand the experience of an additional language and cultural differences. Through a first hand experience, they begin to identify and understand the roots of racism and discrimination.
2. Following the game teachers debrief with the students eliciting from them their emotional reactions, questions, and comments.
3. Students write a reflection based on this co-operative learning activity. This reflection may be included in the ESLCO course portfolio.
Before Reading
4. Teachers activate students' prior knowledge about the concept of discrimination by presenting Carole's words from the short story, "So What Are You, Anyway?" (Coast To Coast, p.168). Teachers prepare an overhead transparency containing the quotation: "Carole's mouth drops. Race? What is it? She doesn't understand. Yet she senses that the man is asking a bad question."
5. Teachers ask a focus question: What is race? and record students' responses. Teachers ask students to make predictions about the story.
During Reading
6. Teachers read aloud the story "So What Are You, Anyway?" (pp.168-172). Teachers instruct students to think about this question: Why does Carole fail to understand the term "race”?
After Reading
7. Teachers divide the class into groups of four and distribute a set of questions which serve as a comprehension check: What was the Nortons' attitude toward Carole? How did Carole react to their insensitive question, ‘So what are you, anyway’? Assess Carole's behaviour in light of the gospel values. What does the Nortons' use of the word "Negro" reveal? Who is the intended audience for this piece of writing? If you were Carole, how would you have handled the situation? Have the students use conversation gambits to compose their responses to the open-ended question (e.g., In this situation I would have…, I think I would have…, I know that I would…, I probably would have…).
8. The preliminary activities outlined in steps 1-7 are designed to set the stage for the introduction of the newspaper series, Beyond 2000.
9. Teachers select one short article from Beyond 2000 based on the following criteria: student interest, language accessibility, and cultural diversity. Teachers introduce the selection by providing the students with a brief overview of the cultural group featured in this episode and any challenging vocabulary that appears in the article.
10. Teachers pose a focus question and then read the passage aloud: What is the issue being addressed in this feature article?
11. After the reading, teachers lead a discussion exploring the issue in greater depth. As the students express their opinions, teachers record the responses on a web diagram.
12. Teachers divide the class into small groups and give each group a different article from the Beyond 2000 series. Students are given chart paper and markers and instructed to summarize the article using point form.
13. Students post their completed charts. All groups participate in a Gallery Walk by circulating around the class reading the summaries. Students are given post-it notes and encouraged to respond to what they see on the charts.
14. In a debriefing session, teachers elicit from the students various issues facing immigrants in this country. Teachers record these responses on a chart or an overhead transparency.
15. Students complete a Learning Log (see Appendix H). Students may choose to include this learning log in their ESLCO course portfolio.
16. As a culminating activity, students create an anti-racist poster. Teachers can adapt the Rubric for Assessing a Collage (see Appendix 1.1) and use it to evaluate the poster. Teachers need to review the criteria for an effective poster by discussing the rubric. Teachers provide several models of appealing posters which are discussed and the reasons for their appeal highlighted. Students need to see more than one model for each level on the achievement chart (see ESL/ELD policy document, pp.68-69).
1. Summative assessment – Anti-racism poster - adapt Rubric for Assessing a Collage (Appendix 1.1)
2. Formative assessment - Learning Log (Appendix H) - anecdotal comments
3. Formative assessment - participation - Checklist for Assessing Group Work (Appendix 1.5)
· Some students may need to be provided with a copy of the short story "So What Are You, Anyway?" in order to understand the selection as it is being read aloud by the teacher.
· Some students may need to use first languages to clarify terms such as, "racism", "mulatto" and "stereotyping".
· It may be necessary to provide some students with an abridged version of the Beyond 2000 article as the language used in the article may be too challenging for some ESLCO students.
· Some of the Beyond 2000 articles could raise sensitive issues. Teachers need to preview the material carefully before using it with the students.
· Students may be reluctant to participate in the co-operative learning game, especially if this kind of activity is not familiar to them. Teachers need to spend more time explaining the rationale of the game.
· Teachers need to be aware of school policies and protocol in dealing with issues of discrimination that may be disclosed.
Barry, J, ed. "So What Are You, Anyway?" Coast To Coast. Toronto: ITP Nelson, 1995. ISBN 0-17-604704-2
Cultural Profiles. The School of Social Work. University of Toronto. AMNI Centre, 1998.
Shirts, Garry. Bafà Bafà: A Cross-Cultural Simulation. Delmar, CA: Simulation Training Systems, P.O. Box 910, 92014. Available from S & B Books, (905) 629-5055.
Beyond 2000
http://www.thestar.com/thestar/editorial/beyond/990423LFE01-LI-immig23.html
Cultural Profiles
http://www.utoronto.ca
Appendix H - Learning Log
Appendix 1.1 - Rubric for Assessing a Collage
Appendix 1.5 - Checklist for Assessing Group Work
Time: 375 minutes
Students use the knowledge they have gained in this unit about Canada’s identity, its land, and its people, portrayed through various Canadian images, to work co-operatively in design teams to prepare a presentation of one regional Canadian portrait. Some possible regional Canadian portraits are: Canada’s East Coast, Canada’s Native People, the Prairies, Canadian cities, etc. Students prepare a presentation that includes visual, audio and written expressions of the particular Canadian portrait they have chosen. Students use their locating, organizing, recording, synthesizing, and communication skills to complete this activity. The language focus for this activity is the consolidation and reinforcement of all grammar skills introduced in this unit.
Ontario Catholic School Graduate Expectations: CGE1d, i, 2b, e, 3c, e, f, 4b, c, f, 5a, e, g, 6e, g.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations: CORV.01, .02, .03, .04, CREV.01, .03, .04, CWRV.01, CSCV.01.
Specific Expectations: COR1.04v, .05v, .06v, 2.01, 3.02, 4.01, CRE1.01, 2.02, 3.01v, .02, 4.01v, CWR1.01, .02, CSC1.01, .02v, .03v, .04, 2.04v.
· Teachers could use the Canadians in the Global Community - Images of Canada kit which includes: multiple copies of individual catalogues presenting Canadian photographs, paintings, music, literature; Heritage Minutes, 1 teaching guide, 1 audiotape (literature catalogue selections); and Images of Canada (world expositions), and 18 transparencies.
· If this resource kit is unavailable, teachers could consult the CRB Heritage Project or Canadian Heritage web sites and collect material about Canadians in the following fields: music, art, literature, famous Canadians, Canadian symbols and cultural customs, etc.
· Teachers should also consult community and school libraries to gather additional information on literary figures such as Joy Kogawa, Tim Wynne-Jones, Pauline Johnson, Farley Mowat; recording artitsts such as Céline Dion, Alanis Morrissette, Barenaked Ladies; artists such as Emily Carr, William Kurelek, Daphne Odjig; and sports figures such as Wayne Gretzky, Elvis Stojko, Nancy Greene.
· Teachers view the videotapes Building Literacy in the Classroom – Literacy Strategies for Teachers by Teachers: Key Features of Reader’s Theatre (9-12) which demonstrate how to use props and sound in dramatic readings and presentations (see also Unit 1, Activity 4).
· Teachers should consult their school’s art department to gather any pictures or samples of Canadian art, such as the Group of Seven; the Canadian and World Studies department for use of atlases and maps of Canada as well as information on famous Canadians and milestones in Canadian history; the drama department for possible use of props and costumes, and the music department for samples of Canadian music and/or soundscapes. There are also excellent examples and samples of this material in the Canadians in the Global Community - Images of Canada resource kit.
· Teachers provide students with a model of a completed regional Canadian portrait presentation. This could be developed through the use of the Images of Canada resource kit.
· Teachers locate and be able to provide students with access to audio/visual equipment.
· Teachers may also want to plan a field trip to a local gallery or museum in order to stimulate student interest in the activity and aid in activating students’ prior knowledge of Canadian art, history, and geography. In Toronto, some suggestions are the Art Gallery of Ontario, the McMichael Gallery, or the Maritime Museum. Teachers outside the Greater Toronto Area should consult the Ontario Arts Council or the Canadian Heritage web site (http://ww.pch.gc.ca).
· requisite reading and writing skills acquired in ESLBO
· research and presentation skills acquired in Unit 2: Career Exploration
· group work skills
· use of graphic organizers Appendix O - Research Organizer, Appendix P - Print, Appendix Q - Computer and Appendix R - Video
Before Researching
1. Teachers should model a "Portrait of Canada" presentation using the materials found in the Images of Canada kit or their own collected resources. Special attention should be paid to demonstrating to students how to incorporate different forms of media (music, literature, video, and art) into a coherent presentation. For example, teachers should demonstrate how to use music and sound to create a soundscape background for a dramatic reading or role-play while incorporating pictures and props to create an atmosphere or mood.
2. Teachers divide the class into small design teams of approximately four students each and distribute the samples of regional Canadian images found in the Images of Canada resource kit (paintings, photographs, literature, music, famous Canadians and Canadian symbols).
3. Teachers instruct students to browse through all of the material and to make a list of the images that interest them.
4. Students share their interest lists with the other members of their group and select one geographical region of Canada on which to focus.
5. Teachers distribute copies of research graphic organizers (see Appendices O, P, Q, R, and S).
6. Teachers provide students with an expectations checklist, outlining the compulsory components of their "Portrait of Canada" presentation which could include: a dramatic reading of selected Canadian literature, role play of a famous Canadian or regional activity, founding religious community, use of music and/or sound to create a soundscape, and use of pictures to create a mood or atmosphere.
7. Teachers distribute the Checklist for Assessing Group Work (see Appendix 1.5) so that students are aware of the assessment criteria used to evaluate their participation in this activity and also so that they self-assess on a continuing basis throughout the activity.
During the Research
8. The librarian shows students the location of various reference materials in the resource centre and assists them during this activity. Teachers act as facilitators and guide students in the research process.
After the Research
9. Teachers use the Rated Checklist for an Oral Presentation (see Appendix 1.3) to evaluate the Portrait of Canada multimedia presentation. Teachers review the evaluation criteria with the students.
10. Teachers assist students in the construction of a backdrop or booth on which to display their visual and literary samples that reflect their Canadian portrait.
11. Students gather any necessary props and costumes necessary for the presentation of their Portrait of Canada.
12. Each design team presents its multimedia Portrait of Canada to the class.
13. The presentation is assessed by both teacher and peers using the Rated Checklist for an Oral Presentation.
1. Formative assessment - participation - Checklist for Assessing Group Work (Appendix 1.5)
2. Peer evaluation - Portrait of Canada presentation - Rated Checklist for an Oral Presentation (Appendix 1.3)
3. Summative assessment - Portrait of Canada presentation - Rated Checklist for an Oral Presentation - (Appendix 1.3)
· Some students may have difficulty working in a group and could be given the option of working individually or with one partner on this project.
· Some students may require extra teacher direction and supervision in designing and presenting their Portrait of Canada.
Davies, A., et al. Reader’s Theatre. Winnipeg: Peguis Publishers, 1994.
Canadians in the Global Community: Images of Canada. Prentice Hall Ginn Canada, 1997.
Building Literacy in the Classroom: Literacy Strategies for Teachers by Teachers: Key Features of Reader’s Theatre (Grades 9-12). The Metropolitan Toronto School Board, 1997.
CRB Heritage Project
http://www.heritageproject.ca
Canadian Heritage
http://www.pch.gc.ca
Explore Canada. Canadian Heritage Parks Canada. 25 rue Eddy Street, Hull, Québec K1A 0M5. Distributed by NAS Educational Software Inc., 91 Heatherton Way, Thornhill, Ontario L4J 3E7 (905) 764-8079
Appendix O - Research Graphic Organizer
Appendix P - Print Graphic Organizer
Appendix Q - Computer Graphic Organizer
Appendix R - Video Graphic Organizer
Appendix 1.3 - Rated Checklist for an Oral Presentation
Appendix 1.5 - Checklist for Assessing Group Work
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