Graphic Design / Publications / Branding

Dazjon Ross

Publications

I love to do what we call

ShelfLifeMagazine

Project: To execute a strong concept for a food magazine, based around a celebrity of choice. FocAdobe on the cover, F.O.B, B.O.B, and 2 feature spreads.

Adobe: Photoshop Illustrator

InDesign

On music, traveling and her favorite dish

The Best food you can get from the internet

StorageRoom

Janelle Monae

Finger Clickin’ Good

Save food,money the environment

that will make any party fabulous!303Dishes

&

ZIPGreat ways to save food and the environmentThese creative storage ideas help you organize

food in your pantry, kitchen cabinets, and

freezer. You’ll know exactly what’s in your

kitchen. Make it easier to find what you need in

your kitchen.

Ordering out is easy as clicking 1-2-3

At what point did you realize that you’ve made it?

I had different points where I felt like I had made it. But, um, one of those points was when Prince invited me to perform at his birthday event.

Have you ever doubted yourself or career decisions?

Yes, I’ve doubted myself. There’s times I ques-tion myself like ‘Why doesn’t my record get played on the radio?’

What was the hardest story for you tell in the book?

I think it was the story of...you know, your dad not being around and...you know, really dealing with that and recognizing that that it’s had an effect on your life.

What will we learn about you that we don’t know from your music?

I think people will be surprised by some of my background and some of the things that I experienced on the street level.

As a veteran on a label with so many young rappers, what’s your rela-tionship with the other guys in the G.O.O.D. Music camp?

When I hear the younger guys I get inspired. When I hear Big Sean kicking a verse, I’m like “Yo, that’s ill,”

Dinner isServed

cha

irs

December 2012

Dimensions:

23.5’’Wx25.5’’Dx38.75’’H seat: 18.5’’H

Frame is solid birch painted white with high-gloss lacquer finishSeat, back and arm rests are faux grey leatherComfortable upholstered seat and backSilver nailhead trimSeat is high-density foamMade in China

stickaroundarmchair

CopperReal good chair

Dimensions:overall: 23.5’’Wx25.5’’Dx38.75’’H seat: 18.5’’Hdetails:

Copper plate over steelThe Real Good Chairships flat and foldsalong laser-cut lines tocreate a dynamic andcomfortable chair. Asskinny as a supermodel yetfar more sturdy.

CHAIRSCatalogue

Project: To display simplistic, modern publication design of an in- store furniture catalouge

Adobe: Photoshop

InDesign

We all have a favorite.

For lovers of French living room Chairs, it could be our classic Stick Around arm Chair.

For devotees of kick-back comfort, it may be the Butterfly leather Chair.

No matter what style of Chair you like best, you’ll find it here. So relax. For unique Chairs,

you’ve come to the right place.Cover image Vivian Chiu’s “Inception” chair. A series of nested chair-like objects, inspired by the nested realities in the eponymous film.The mechanism works so that the pegs fit into the grooves of the chair one size bigger and slides into place so that the horizontal edge between the chair seat and back line up. The simple mechanism allows the chairs to be taken apart and put together with ease.

chairs

Lighting Fixture Aoverall: 25.75”dia.

x12.75”Hcanopy: 6”dia.x0.75”Hcord: 94”

Lighting Fixture Boverall: 18”dia.x9.5”Hcord: 114”canopy: 5” dia.

Lighting Fixture Coverall: 34.25”dia.x10”H

Lighting Fixture Doverall: 25.75”dia.

x12.75”Hcanopy: 6”dia.x0.75”Hcord: 94”

Lighting Fixture Eoverall: 18”dia.x9.5”Hcord: 114”canopy: 5” dia.

Lighting Fixture Eoverall: 34.25”dia.x10”Hcanopy: 6”dia.x0.75”Hcord: 94”

Lighting Fixture Goverall: 18”dia.x9.5”Hcord: 114”canopy: 5” dia.

Lighting Fixture Hoverall: 34.25”dia.x10”H

Watts up !

Details:• Cotton-poly-acrylic

fabric:oatmealSinuouswiresuspension

• Tuxedostainedhardwoodlegs

• Reversibleseatcushion• Benchmade• MadeinUSA

Parlouroatmealchair

Details:Linen/rayon chair fabric:naturalVelvet seat cushion fabric:mustardSinuous wire suspensionBenchmadeMade in USA

club 2-tonechair

Dimensions:overall:30”Wx30”Dx34.5”Hdetails:

Tubular iron frame witha light antiqued zincfinish; water-based clearmatte powdercoatEach leather panel willhave natural variationsin color and markings;each chair is uniqueHand-stitched hides; handlaced leather edgingMinimal assembly; nohardware requiredMade in India

1938 leather Butterfly chair

2 3

Up an

d Com

ers :

The

Oppo

sites

Bad @$* Resume’s: Stu

nning creative

resume desig

ns from Devia

nt Art

Voice of the People: What inspires me. . .

Epic Sites: EXCITE your brain!

Typographic Style: Picking the right typeface

Hypo Magazine was

created with motivated,

eager-to-learn professionals, editors,

executives, students and faculty in mind.

Our goal is to

help artists who have few

resources on hand other than their own

desire to make a difference and help art and design

grow into its new 21st Century role.

You don’t need the best equipment, the

biggest budget or even management support to

accomplish worthy goals. The only requirement is a willingness

to learn and a mind open to new ways of thinking about art

4 5

The PERUSING the student art on his Web site recently, as he does somewhat obsessively throughout the day, the British collec-tor Charles Saatchi happened upon an entry from a painter named Liu Yang. This artist had posted images of seven of his works, including a painting of a factory set against a haunt-ing gray background and a work on paper depicting a woman’s elongated torso.

pposites

continued on page 10

“I can’t speak a lot English. Sorry. But I love art.. . .”

Unlike European, American or Australian users of the site, who use their Web pages there to tell the world everything about themselves — their favorite artists, what movies and books inspired them, their convictions about art or politics — Mr. Liu, a student at the Sichuan Fine Arts Institute, simply wrote: His message trailed off in a few lines of Chinese that read in part: “I admit that my knowledge of art is limited at present. However, I am sure I can learn quite a bit from your Web site.”Soon Mr. Saatchi began to notice that Mr. Liu was not alone. Every day more art students from China were posting their work at Stuart (short for Student Art), a popular nook of Mr. Saatchi’s recently reinvented Web site, saatchi-gallery.co.uk).Known a decade ago for spotting talent and turning his discoveries into superstars, as he did with so-called Young British Artists like Damien Hirst and Rachel Whiteread, Mr. Saatchi is fixated these days on Chinese artists, the hottest sector of the global market. And when he saw these shyly tentative Web postings. “There are so many artists in China who want their work to be seen,” he said in a recent interview at his London home, pausing every now and then to scan the large computer screen on his desk. “These students, like all the

others, want to know what’s going on around the world.”So in January he decided to create a Chinese version of his Web site to cater to that audience. Working in a warren of makeshift offices in the basement of his Eaton Square home, 16 experts now oversee both the popular Saatchi Gallery site, which is getting more than six million hits a day, and a site in Mandarin, accessible from the home page, that went online two weeks ago.

1

What inspires you?

Stories of inspiration from young people in

their craft

Tips and Tricks to makE your

resume as bad as you Are

The Oppositesflip the page to see the genius!

HYPOMagazine

Hypo MagMagazine

Project: To design a magazine of choice. I chose to create Hypo magazine to be inspirational and get the motors running of writers block ridden designers.

Adobe: Photoshop InDesign

6 7

How to in a good way

standout

3. LEAVE SOME DETAILS OUTSome people include their entire life history and every personal detail on their résumé. Your job as a clerk at the corner store 10 years ago won’t ever get you a job in Web design. Mentioning it only takes focus away from your relevant work experience. Keep your marital status, age and grades off, too.

4. MAKE IT PERFECTYou are a professional, so attention to detail is critical. Everything on your CV should line up, every pixel should be absolutely perfect.

5. USE A GRID Why is the grid so important for a Web designer’s résumé? . “If you’re not using a grid, you run the risk of giving the impression that you don’t have an understanding of basic design principles,” Olliekav warns us. For those employers with no design background, grids make your résumé look cleaner and more organized.

6. MAKE IT PRINTABLEWhen working on designs for websites, you are allowed to have dark, moody and texture-heavy backgrounds. They look fantastic on your browser, but they are simply inappropriate for résumés.

1. MAKE IT A SUMMARYYour résumé needs to tell an employer (at a quick glance) the details most relevant to him or her. This means the whole thing should fit on one page! If you’re a Web designer, keeping it short and punchy is even more important. Sure, writing for Web is different than writing for print, but by showing your potential employer that you can keep things concise, you are actually showcas-ing an important Web skill. Besides, you need to leave something to talk about in the interview!

2. KEEP IT SIMPLE AND UNDERSTANDABLEWhen designing a CV, remember first and foremost that you are a designer, but don’t go overboard. Many people over-design their résumé. It’s a chronic problem: they’ll add so many fancy bits that the actual content gets lost. Most design jobs are all about your ability to organize content, so simplify, simplify, simplify!But that doesn’t mean boring either.

7. LINK TO YOUR ONLINE PROJECTSDisplaying URLs for your projects is cru-cial. If the employer will be viewing the résumé as a PDF, link the URLs back to your portfolio or the projects themselves.

8. DON’T USE A TEMPLATEA little inspiration here and there never hurt anyone. But imagine you submitted a résumé and it was the exact same as someone else’s? Gosh, would your face be red. If you are a Web designer, you probably wouldn’t want to use a template for your portfolio website either. Take some time and think about the impres-sion you want to make: I bet it isn’t that you can enter data into a template.

9. UPDATE IT OFTENMake sure you update it every time you update your portfolio and make it accessible from your portfolio.

10. SHOW YOUR PERSONALITYYou are a designer, so I hope you have your own style. Steve Stevenson, from his interests, sounds like an interesting guy. Olliekav used his love of Japanese culture to give his résumé a personal touch without going overboard. If the job you’re applying for requires a lot of creative thinking, the employer wants to know you’re not a pixel pusher or a drone. Bonus: If You’re Going to Break the Rules, Do It Well!

Let’s now take a look at some

useful ideas and guidelines that

in our humble opinion may help

you to achieve a great, compact

and beautiful CV.

8 9

Like many before her, Alice Roi’s road to becoming a fashion designer was unconventional: She received her bachelor’s degree in fine arts from New York University and after continu-ing her studies at Parsons School of Design, she held various posts at Elle and Fashion Group International. But soon it becameapparent that fashion consulting was not satisfying Alice’s creativity. Bravely armed with a strong vision, she decided to take a chance and set up her own design house. The incredible effort paid off. After only three years, the label already represents a new sense of New York style.

What Me?

Tiara Canizares originally from Queens, NY began dancing at the age of 6 at the On Stage Contemporary Theatre of Arts and then later with Aspiring Young Artist Inc. With Aspiring Young Artist Inc. Tiara has won the praise dance competition at the McDonalds Gospelfest and has competed in various other competitions such as IDC and NADAA.

Daisy Joo, a junior at Sharon high school, is a violin student of Jin-Kyung Joen at the New England Conservatory Preparatory Division. Daisy has been the first prize winner of the New England Philharmonic’s Young Artist competition, the Quincy Symphony’s “Young Artists Performs” Concerto Competiton, the Waltham Philharmonic’s Concerto Competition, and the Parkway Concert Orchestra’s Violin Competition.

Kellyn Baron is a young artist from Lockport, NY and is new to the Jamestown area. She received a Bachelor of Art with a concentration in painting from the State University of New York College at Brockport in 2009. Kellyn spent the last semester of her college career studying art at the University of Portsmouth in Portsmouth, UK. She has a great passion for artistic expression and continues to explore new creative endeavors.

My name is Daman Holland and I currently live in Randolph , N.Y. where I own a dance studio Sole’s Expression Dance. I have danced for 20 years, studied with many teachers at various dance schools including Fredonia State University. I am well versed in many styles of dance including Ballet, Jazz, Hip Hop, Tap, Modern, and ballroom. I love to teach young people the art of dance and how to express themselves through dance refining their technique to improve them as a better dancer.

inspires

12 13

Eight Ways of Looking at a Typeface

For the first ten years of my career, I worked for Massimo Vignelli, a designer who is legendary for using a very limited number of typefaces. Between 1980 and 1990, most of my projects were set in five fonts: Helvetica (naturally), Futura, Garamond No. 3, Century Expanded, and, of course, Bodoni.

For Massimo, this was an ideological choice, an ethical imperative. “In the new computer age,” he once wrote, “the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.” For me, it became a time-saving device. Why spend hours choosing between Bembo, Sabon and Garamond No. 3 every time you needed a VVVenetian Roman? For most people — my mom, for instance — these were distinctions without differences. Why not just commit to Garamond No. 3 and

never think about it again? My Catholic school education must have well prepared me for this kind of moral clarity. I accepted it gratefully.

Then, after a decade, I left my first job. Suddenly I could use any typeface I wanted, and I went nuts. On one of my first projects, I used 37 different fonts on 16 pages. My wife, who had attended Catholic school herself, found this all too familiar. She remembered classmates who had switched to public school after eight years under the nuns: freed at last from demure plaid uniforms, they wore the shortest skirts they could find. “Jesus,” she said, looking at one of my multiple font demolition derbies. “You’ve become a real slut, haven’t you?”

It was true. Liberated from monogamy, I became typographically promiscuous. I have since, I think, learned to modulate my behavior — like any substance abuser, I learned that binges are time-consuming, costly, and ultimately counterproductive — but I’ve never gone back to five-typeface sobriety. Those thousands of typefaces are still out there, but my recovery has required that I become more discriminating and come up with some answers to this seemingly simple question: why choose a particular typeface?Check the flip >>>

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/12 1

Idiom

NYS TESOL Annual ConferenceOct. 28-29

Melville Marriott Hotelwww.nystesol.org/annualconf/

1 Collaborative Conversations3 Conversations in Support4 Acting6 Resources for the Common Core10 Talking is learning14 Small Talk24 Conversation Table

Regular Features/ Special Announcements

8 Promising Practices12 Book Review17 SIGs and Regions18 Members Only Website22 Editorial Notes22 Upcoming Idiom Themes22 Calendar and

Announcements23 NEW Membership Form

That effective collaboration benefi ts students (and teachers alike) is affi rmed by the well-deserved attention it has received most recently in the professional literature (see, for example, DelliCarpini, 2008,

2009; Honigsfeld & Dove, 2010; NACTAF, 2009; NEA, 2009; Pawan & Ortloff,2011) and in the TESOL educational community (e.g., themes of 2011 New York State and Kentucky TESOL conferences). Acknowledging the importance of collaborative exchanges among teachers is not a completely novel idea, though. Close to three decades ago, Judith Warren Little (1982) examined the differences between more and less effective schools and found that the more effective ones had a greater degree of collegiality. She noted four unique characteristics of collegiality (or collaboration) in successful schools, where teachers participate in the following activities:

• Teachers engage in frequent, continuous, and increasingly concrete and precise talk about teaching practice. •Teachers are frequently observed and provided with useful critiques of their teaching. • Teachers plan, design, evaluate, and prepare teaching materials together. • Teachers teach each other the practice of teaching (pp. 331– 332).

Consider what Warren Little’s (1982) frequently quoted four key ideas could mean for ELLs in today’s schools. What if we translated her seminal fi ndings into a contemporary framework of four Cs, in which “collaborative” serves as a defi ning adjective, followed by a key activity or desired teacher behavior necessary for improved student learning? • Collaborative Conversations: Through enhanced communication, all teachers have the opportunity to develop ownership and shared responsibility for ELLs’ learning. • Collaborative Coaching: Through an encouraging school climate and supportive framework, teachers offer and receive feedback on their teaching practices.

• Collaborative Curriculum Development: Through curriculum mapping and alignment and collaborative materials development, teachers match both their longterm and day-to-day instructional goals and activities.

Collaborative ConversationsBy Andrea Honigsfeld

Contents

This issue’s theme:

Conversations

Continued on page 12

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/122 3

President, Nanette Dougherty

NYC Public Schools First

Vice President, Rebekah Johnson LAGCC, CUNY

Second Vice President, Christy Baralis South Huntington

School District

Second Vice President Elect, Olivia Limbu Pace University

Past President/TESOL Liaison, Constance Dziombak Mount Vernon

City Schools

SIG Coordinator, Laura Van Tassell South Huntington

School District

SIG Assistant Coordinator, Jennifer Scully Consultant

Regions Coordinator,Tina Villalobos Hicksville Public

Schools Assistant

Regions Coordinator, Lynn Ellingwood Brighton Central

School District

Membership & Marketing Chair, Patricia Juza Baruch College, CUNY

Assistant Membership Chair, Drew Fagan Teachers College,

Columbia University

Curriculum and Standards Chair, Maria Dove Molloy College

Assistant Curriculum and Standards Chair

Position Open

Professional Concerns Chair Porfirio Rodriguez, East Ramapo

CSD Professional Concerns Assistant

Chair Position Open Publications/

Technology Chair, Fran Olmos Yonkers Public

Schools Idiom Editor, Cara Tuzzolino Werben Nassau

Community College Dialogue Editor, Sue Peterson St. John’s University Webmaster, David

Hirsch New York City Business Manager/Treasurer L.

Jeanie Faulkner, Cornell University Certified Public

Accountant Jim Stotz

New York State Teachers of English to Speakers of Other

Languages

Executive Board 2010-2011

By Nanette Dougherty, NYS TESOL President

Dear Colleagues,

I hope you have been enjoying a happy, healthy and restorative summer.I would like to update you on some changes and challenges facing educators.On July 13, I attended the Bilingual/ESL COP (Committee of Practitioners)meeting at Teachers College, Columbia University. The most major changesinclude the New Evaluation Law for K-12 teachers and principals:

1. Annual evaluations for all teachers and principals2. Clear, rigorous expectations for instructional excellence, prioritizingstudent learning3. Multiple measures of performance4. Multiple ratings: Four performance levels to describe differences inteacher effectiveness5. The new system should encourage regular, constructive feedback andongoing development6. Significance: results are a major factor in employment decisions.

You can view all documents discussed at the COP Meeting at the followinglink: http://www.p12.nysed.gov/biling/bilinged/BilingualESLCOP.html. For more information about the Common Core Standards, please consult the websiteat: http://www.corestandards.org/ and see the article in this issue.Though it was not considered at this meeting, the 14 Bilingual/ESL TechnicalAssistance Centers (BETACs) across New York State closed permanently onJune 30, 2011. This puts both our schools and our LEP/ELL populations at risk of not having the appropriate resources to meet their educational and programmatic needs over the next fi ve years.

Our new Commissioner of Education, Dr. John B. King, Jr., may not befamiliar with the importance of the resources offered by the BETACs. You may e-mail him directly at: jking@mail.nysed.gov. In addition, you may email the NYS Board of Regents on this issue at: RegentsOffi ce@mail.nysed.gov.At the Melville Marriott October 28-29th, I will be passing the gavel to ourincoming President, Rebekah Johnson. I would like to thank the many wonderful members of my Executive Board and the many SIG and Region Leaders fortheir service to the organization. Special thanks to Cornelia Randolph, a constant support and inspiration, and Fran Olmos, for her guidance.You will be receiving ballots for the Executive Board slate in the mailshortly. Thanks to our Nominating Committee, led by Cornelia Randolph and Terri Brady-Mendez, for their time and efforts. Members, please do not forget to vote for your new leadership in our organization by returning your ballots. Asalways, please continue to keep in touch with issues, concerns, and ideas on how our organization can best serve you. Best wishes for a great school year to all.Peace and blessings to you,

Nanette Dougherty, President, NYS TESOL

P.S. We’re so very excited to be launching our new Members Only website - please read more about it in this issue and log in soon to check it out. Please contact us with ideas!

From the President’s Desk

ExplicitCommunicationby Ellen Terry Vandrew-Wald

The manner in which language and writing are understood and misunderstood promotes success

or failure. Understanding what is said is the key to communicative competence. Explicit communication is dialogue that is clear, sure, and restated when necessary. Crawford (1993) states that the processes of literacy and language learning require learners to be immersed in meaningful, relevant, and functional situations. In this way, students can learn to handle themselves in various situations. Let’s begin with a kindergartener meeting an instructor for the fi rst time. If the child is asked to describe something, perhaps drawing it is a much better way of communicating what happened. Description may not simply be done by talking. The explicit communication would require that the teacher talk and demonstrate so that this student knows what to do. Middle school students who do not speak English can benefi t from explicit communication as well. Classmates might offer to translate for this student, but that means that every utterance requires assistance. When I write the aim and other particulars on the board (I verbally explain to the rest of the class), I open a newcomer’s notebook and write a few of the words from the board in his or her notebook, giving the student explicit communication for instruction by demonstration. The student copies what is on the board. Then I say “Copy.” From that time on, this student knows what the word “copy” means and can copy. Explicit communication with parents is one of the most important types of communication. After all, the parent(s) or caretaker is

the fi rst teacher and the one who can do the most to facilitate a student’s academic success. In parent meetings, I combine simple words with academic language and have the requisite bilingual dictionaries. By explaining and demonstrating slowly and carefully, explicit communication and a good dialogue can be created. When one speaks with humility and caring, the communication is explicit. Explicit communication is the key to all forms of dialogue; if one does’t work, just keep on trying.

References

Crawford, L. W. (1993). Language and literacy learning in multicultural class-rooms. Needham Heights, MA: Allyn and Bacon. Ellen Terry Vandrew-Wald was born in the Bronx into a multicultural, re-ligious background. Barry Wald, her hus-band, encouraged her to become a teacher. She got her B.A. from Marymount Man-hattan College in 1999 and M.A. in TESOL from Hunter College in 2004. She is a NYC public school K-12 teacher, and also an ad-junct. <ilanawald@yahoo.com>

Everyone listens as Ufualè Afola Amey talks about learning English from her teacher

Dave, a Peace Corps volunteer.

Ahmed El-Habashi, Egypt; Tomoko Kihira, Japan;

Ufualè Afola Amey, Togo; Osiris Romero,

Dominican Republic and Elena Lyumanova, Russia,

come together in anticipation of their panel presentation.

Come to the41st Annual Conference

October 28-29, 2011

New York State Teachers ofEnglish to Speakers of

Other Languages

“Enhancing EnglishLearning: ConnectingCommunities Through

Collaboration”

Marriott HotelMelville, NY

For further information,go to

www.nystesol.org

If you are interested involunteering

or have questions,contact

Conference ChairChristy Baralis atvp2@nystesol.org

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/124 5

replied, “He like (sic) to sleep.” How clever this little girl was! I realized several things during our small talk exchange. This student demonstrated that she understood the word “sleepy”, she connected that understanding to a different context, and she found a way to make it humorous. None of these is easy to do, especially at the beginning of the language acquisition process. Later in the day, I had this student retell the joke to her teacher and some of her classmates. This small talk session was a pivotal moment for this student because she was clearly pleased to see that she could be funny in English. I have noticed that ELLs have the capacity to dissect words in interesting ways, especially when these words are spoken. When native English speakers think about words, we tend to focus on the sum and not the parts. When a student was beginning ELL in second grade, I recall his reading a passage out loud. After encountering the two-syllable word, “awesome”, he pronounced it as if were a threesyllable words, “a – we—some”. Prior to that day, I had never realized that the word “awesome” is comprised of three smaller words: “a”, “we”

A MeaningfulConversation Tool by Joy Scantlebury

How clever this little girl was! I realized several things during our small talk exchange.

“”

and “some”. That was a revelation for me. How awesome! I am sure that many ESL teachers utilize small talk or some variant of it in their classrooms. It is not a novel concept, but I fi nd that it is valuable during a limited amount of time. Conversations, which on the surface may appear superfl uous, are in actuality a gold mine of enriching and relevant information. Joy

Scantlebury is a graduate of Smith College. She received her M.A. in TESOL from Teachers College, Columbia University. Joy currently teaches ESL at Pocantico Hills Central School in Sleepy Hollow, NY. <conset@aol.com> You will be receiving ballots for the Executive Board slate in the mail shortly. Thanks to our Nominating Committee, led by Terri Brady-Mendez, for their time and efforts. Members, please do not forget to vote for your new leadership in our organization by

returning your ballots. As always, please continue to keep in touch with issues, concerns, and ideas on how our organization can best serve you. Best wishes for a great school year to all. Peace and blessings to you, Nanette Dougherty, President, NYS TESOL

P.S. We’re so very excited to be launching our new Members Only

website - please read more about it in this issue and log in soon to check it out. Please contact us with ideas!

Small Talk:Engaging English Language

Learners (ELLs) in a few minutes of small talk prior to

the start of ESL class can be a very useful strategy. The purpose of small talk is not about gauging how grammatically correct my students can speak in English -- although I do make mental notes of students’ grammatical diffi culties for subsequent lessons. It provides the opportunity for my students to be heard in a very relaxed setting, while allowing their English to emerge. It certainly can be a challenge to insert those few minutes during the fast-paced schedule of a typical school day, but I have found it to be a source of valuable information. I often begin the small talk session with an informational “wh” question such as “How was your appointment at the dentist?” or “What did you do after school yesterday?” The responses are quite revealing. Some students, especially those in middle school, are initially guarded, while others seem surprised that I want to know more about them. Gradually as they learn to trust me as well as their classmates, the students slowly open up. It is gratifying to see a once painfully shy kindergarten student now coming to class with daily announcements such as, “You

know what? Yesterday, I lose (sic) a tooth.” There are other times when students express more sensitive issues, which we discuss further in private. One example of this occurred when an ELL in third grade told me during our small talk session that one of the other students in the mainstream class made fun of his speech and called him “stupid.” Neither his classroom teacher nor I had noticed any tension between these two students. The fact that the ELL who mentioned this incident had always felt self-conscious about his ability to speak English prompted my immediate arrangement of a meeting with his teacher and the other student. Fortunately, we were able to resolve the situation, but it taught me to become more vigilant when working with ELLs in the mainstream classroom. It is impressive to listen to a student retell a story or incident, but the most gratifying part is when he or she is able to connect it to a new concept. When studying the concept of cause and effect during a reading lesson, I sensed that only a few students understood this concept, while many did not. Suddenly, one student announced, “Do you

remember when I told you the story about how I accidentally spilled water on the kitchen fl oor?” He proudly continued, “That was an example of cause and effect. The cause was when I spilled water on the fl oor. The effect was when my mom became angry.” His classmates nodded their heads in agreement. It was as if a light bulb had been turned on! I could not have provided a better example of cause and effect! As ELLs become more confi dent in speaking English, more of their personalities emerge. During one of our small talk sessions, I asked a beginning ELL in the fi rst grade, “Where does your brother go to school?” Without hesitation, she stated, “My brother go (sic) to Sleepy Hollow School. Zzzzzzzz. Sleepy School. I am soooo sleepy!” as she put her head on the desk and pretended to sleep. Prior to that comment, I had not seen that humorous side of her. I noticed how thrilled she was that she had made me laugh. I then decided to follow her quip with another “wh” question. I tapped her on the shoulder as her eyes snapped open and her head bobbed up from the table. “What does your brother like to do at school?” I asked. She smiled and impishly

IdiomNews Letter

Project: To design a newsletter to replace to companies current layout.

Adobe: Illustrator (Logo)

InDesign

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/1210 11

Let’s

About Itby Yanick Chery-Frederic

ELLs respond well to lessons in the form of conversations as another way to incorporate some

of the same strategies and scaffolds used for writing. As an example, I often give students a prompt of 5-10 words. For all grades I have used “My greatest surprise.” Fourth graders write about justice. The students use the prompt as a starter and begin writing, eventually producing a well-developed paragraph. These same prompts can be used to maintain intelligent discourse among students. The difference with making conversations the major goal in a lesson is that the discussion will not be based on previous reading and/or writing, but strictly on the present conversation. Self-expression, thoughts, ideas, and opinions will begin and end with clarifi cation through conversation only. Making this an integral part of lessons will address the challenges faced by our ELL

population in verbal communication, and can enhance the student’s listening and speaking skills. Another value with conversations as a major focus is that the vocabulary challenges faced by many of our ELLs will be considered. Our students may have divided language skills. They are comfortable with a specifi c lexicon from the home language, but use a different second language lexicon. A stronger emphasis on classroom conversations will allow for a balance and exchange of word comprehension of similar vocabulary in both languages. Conversations will be a major theme in my ESL classrooms this school year in support of enhancing my students’ oral language skills.

Further Reading Beck, I., McKeown, M., & Kucan, L. (2002). Bringing words to life: Robust vocabulary instruction. New York: Guilford. Gordon, T. (2007). Teaching young children a second language. Westport, CT: Praeger. Yanick Chery-Frederic is an elementary school ESL teacher for grades 2-4 in Central Islip, as well as an adjunct professor of ESL at Suffolk County Community College. She has also taught a Methods undergradu-ate course in TESOL at St. Joseph’s College in Patchogue. <yanick1530@yahoo.com>

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/1218 19

ways in which teaching is like actingAll the World’s A Stage

important teaching persona. As an actor slips into a role through preparation, curiosity, and the desire to share emotion and information with an audience, you can slip into your teaching persona, comprised of your sincere and genuine self with a soupçon of public-role poise, strategic sass, and teacher’s tools you’ve learned throughout your teaching days that help you on the way. Is your persona the classic scholar? Do you have a little playful clown thrown in? Are you the compassionate guide, leading students to the knowledge they already possess? Can you switch hats to that of the taskmaster, pushing for and demanding the very best? It can be useful to think of the teacher role as composed of these different personae that serve useful functions in the various processes of learning, including enabling you to reach students of different backgrounds, needs, and learning styles. Even if you are not like that, your alter ego, “Professor Picky”, can be. Although you are more lenient, “Scholar Strict” can be called upon as necessary to whip an underachieving class into shape. Being a teacher is a public role that requires daily public speaking; why not train for it and

find useful tools and approaches that may aid in maintaining your interest, creating a positive learning environment, and aiding in efficient classroom management?If you think some training might help you focus your body as instrument and help you channel energy more efficiently and effectively in the classroom, here are some suggestions to get you started: • Take an acting class. Learn how to use body language, breath, and voice to create energy and atmosphere.• Take a public speaking class. Learn relaxation techniques, visualization techniques, and tips for effectively conveying a message.• Join a group such as Toastmasters International, where you’ll learn tips for public speaking. • Listen to and read poetry aloud. Learn about cadence, rhythm, and volume to use your voice more effectively—and to save it from too many of those hoarse, raggedy, “I’ve-spoken-too-much” days! • Similarly, take a vocal or voice training class. Learn specific breathing exercises to strengthen your voice and to become expert in effectively and efficiently using and saving your voice.

Here is a website to get you thinking about your own parallels between acting and teaching: http://www/ jbactors.com/actingphilosophy/ actingquotations.html.

References

Godwin, G. (1974). The Odd Woman. New York: Ballantine Books. http://www/jbactors.com/act-ingphi- losophy/acting-quotations.html Elizabeth Fonseca is an avid trav-eler who has taught ESL/EFL in such coun- tries as Italy, Turkey, and the United Arab Emirates. Her work has been published in the Arabia Review and the Traveler’s Tales series, among others. Her interest in acting stems from high school and community the-ater days, as well as more recent poetry readings. She currently teaches at Nas-sau Community College in New York. <Elizabeth.

fonseca@ncc.edu>

Acting is a sport. On stage you must be ready to move like a tennis player on his toes. Your

concentration must be keen, your reflexes sharp; your body and mind are in top gear; the chase is on. Acting is energy. In the theatre people pay to see energy.

—Clive Swift Good teaching is one-fourth prepa-

ration and three-fourths theater. —Gail Godwin

If “acting is energy,” teaching is many things: a combination of knowl- edge, experience, awareness, exper- tise, and care. It is also the energy we, as language instructors, bring into the classroom that absolutely affects the order of the day. As a theater lover and past occasional performer, I have often thought about the parallels between teaching and acting. Here are a few that come to mind. You’re on stage. All eyes are on you. You’re the initial focal point of attention. Your presence shifts the energy in the room. Sometimes, you literally have a podium, with desks ar- rayed in rows before you like patrons at a theater. There is noise, chatter, laughter, shuffling in the room until the lights dim. Curtain up! Enter stage left, the professor. Cell phones get

put away, or at least discreetly placed to the side. Chitchat dies down. The room is hushed a moment, the pause of anticipation before the first words of dialogue are spoken. All eyes are on you. An actor uses her body to convey information about her character before she even speaks. So do you. How are you dressed? Does what you wear convey some message about your position in this play, your role, your persona as teacher, leader, or facilitator of the energy in the room? How do you walk in? Are your eyes downcast, reflecting your students’ spent energy at the end of a long week, or do they sparkle? Do you walk in the room with pizzazz, transmitting vital energy to them, to create the cycle of give-and-take nec- essary for effective language learning? Do you use gestures, winks, and nods to convey information, emotion, even comedy? These are things worth think- ing about, because one of the most important ways you are like an actor is in this all-important function. Your energy and presence set the tone. Just as audiences must have faith in actors and suspend their disbelief to fully enter into the world the actors are creating, your students must agree to the unspoken contract

of trust that bonds them to you in a vulnerable learning situation. Your ability to create that atmosphere of trust is important; your dynamism helps your class generate energy that in turn feeds you and helps the learning environment be dynamic. This is important for learn- ing as well as for the teacher’s ability to sustain energy and passion both within a class and over her entire run. Actors use their voices as tools, relying on not just word choice but inflection, intonation, varying volume, and the judicious use of pauses to capture the audience’s attention, rivet them, spellbind them, draw them forward in their seats wondering “What’s next?” You too can use your voice itself as a tool that weaves the bewitching spell of energy, dynamism, and trust that makes for a lively and effective learning environment. The show must go on. There are days when you can’t imagine generating that energy at all. On those days, you have to “act as if”: put on your teaching persona as an actor dons a mask or stage makeup, preparing herself to go before the lights. If you don’t show up, or show up without energy, you might flop. This leads us to the all-

by Elizabeth Fonseca

NYS TESOL Idiom Volume 41 Winter 2011/12 NYS TESOL Idiom Volume 41 Winter 2011/1226 27

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