Conference on Teaching Race in the Classroom - Part 2

In Part 1 of this series of posts I provided an introduction to the National Museum of African American History and Culture, the site of the professional learning event I attended last week entitled Let's Talk: Teaching Race in the Classroom.

Why attend an event like this? I suppose I'd respond by asking, "Why NOT?" Why don't more educators think deeply about issues of race and racism and how they impact classroom practice, the development of racial identity, and the health and well-being of children?

On our first day, after brief introductions, we worked together to develop some ground rules and group norms.

After we agreed to these norms, we spent the morning and early afternoon getting to know one another. This was painful for me and many of the other introverts in the room. These are just not activities I enjoy doing, but I understand the necessity for learning about one another, honoring our similarities and differences, making connections, and developing a level of comfort with others that allows us to view the classroom as not just a safe space, but a brave one. After this we did some active listening activities and then got into small groups to define and discuss race and racism. The small group then broke into pairs and we shared personal stories. When all the groups came back together we took some time to do a quick written reflection, and then shared one word that described how we were feeling.

We ended at 4 pm and I had the opportunity to spend the rest of the afternoon in the museum. I took advantage of the lack of a line to hit the history galleries and spent all my time on Concourse 3, reading and taking in all that I could.

On the second day we began with a gallery exploration before the museum opened. What a change from my time in the gallery the prior afternoon! I can't tell you what a gift it was to have so much time in the museum, but even more so, to have time to explore before the crowds descended was incredible. We broke into groups and participated in the Zinn Education Project activity entitled The Color Line. Each group was responsible for making a series of predictions before we entered the gallery. Here are the questions we tackled.

• Predict the measures that were taken to keep Indians and blacks from uniting, or that may have even made them to feel hostile toward one another.
• Predict laws or policies adopted to discourage white indentured servants and black slaves from running away together.
• Predict how poor whites and white indentured servants were taught to believe that they were superior to and didn’t have anything in common with blacks.
• Predict how blacks and whites were kept separate, so that whites would not even imagine getting together with blacks.
• Predict the measures adopted to ensure that on every plantation there were enough white overseers in relation to black slaves.

After our walk through the gallery it was clear that numerous colonial laws were enacted to create division and inequality based on race. The roots of race as a social construct were planted here. In examining this history it is possible to understand the origins of racism in the United States and who benefits from it.

Our day continued with two outstanding presentations. The first, Bias in Childhood: When Does it Emerge and How Do We Reduce It? was delivered by Melanie Killen of the University of Maryland at College Park. She shared the fascinating results of the work she and her graduate students have been conducting. I learned so much from this presentation. I was struck by some of the misconceptions people hold about bias in childhood. These include:

• Children are colorblind.
• Children only learn prejudice from adults.
• Children are not selfish and do not care about fairness and equality.

Melanie shared the results of a study she led that was commissioned by CNN. In this study, a group of 145 African-American and Caucasian children, ages 6 and 13, from six schools across three states were shown images that were designed to be ambiguous and asked the following questions:

• "What's happening in this picture?"
• "Are these two children friends?" 
• "Would their parents like it if they were friends?" 

The study explored how children’s interpretations of the images changed when the races of the characters were switched and found differences between the races as young as age 6. You can learn a bit about that study in this introductory video.
You can view the remaining segments on this research in Kids on Race: The Hidden Picture Part 2 and Kids on Race: The Hidden Picture Part 3.

The results were astounding and frankly, a bit depressing. We did learn that school diversity reduces implicit bias and boosts expectations for inter-racial friendships in school. We also learned that there is NO RESEARCH to suggest that a colorblind approach is effective. What we do know is that:

• We do not create bias by talking about it.
• Children already have opinions about race.
• Teachers can give children the tools to notice and reject bias and discrimination.

The second presentation of the day, Middle Childhood & Teens: Cognitive Development, Racial Identity Development, and Talking About Race, was delivered by Erin Winkler of the University of Wisconsin. Through the lens of Piaget and Vygotsky, we looked at how racial identity and bias develop. Once incredibly discouraging note from this presentation was the cyclical nature of bias. We know that society primes us for implicit bias, and implicit bias reinforces inequality in society. So, the question becomes, how do you break this cycle?

Erin shared a lot of good information about the development of racial identity for African Americans (Cross' model) and White Americans (Helms' model). We learned that taking a colorblind approach backfires because racism and bias cannot be addressed if we fail to recognize it. Children exposed to a colorblind approach often have trouble recognizing not only subtle racism and racial bias, but also explicit racism. Ultimately, colorblind language renders structural racism invisible. Let that one sink in for a moment ... This means we must get comfortable talking about race, racism, and inequality. We must normalize talking about race in the classroom.

After taking all this in, we ended our day in small groups based on grade-level affinity (I went with the elementary folks) and continued to process what we were learning in the context of the issues we face at our own institutions.

I learned so much in these first two days that I was a bit overwhelmed. I spent quite a bit of time thinking about how to share this information with preservice teachers. We teach human growth and development in our program, but I'm not sure that the formation of racial identity is something that is even addressed. You can bet this is something I'll be lobbying for.

This was just the beginning of my journey during this incredible week of learning. Stay tuned for more. I'll be back tomorrow to share the content of the conference from days 3 and 4.

Conference On Teaching Race in the Classroom - Part 1

Last week I had the privilege of and honor of spending the entire week at the National Museum of African American History and Culture for a professional learning event entitled Let's Talk: Teaching Race in the Classroom. Here is the description that led me to register for this experience:

Race is an aspect of our American culture that is often ignored, glossed over or mishandled. Additionally, to succeed in promoting equity, tolerance, and justice, childhood is the time to address these issues by understanding children’s development and encouraging positive feelings about their racial and cultural identity, as well as others’.  Working with youth makes it incumbent that educators are prepared to address issues of race whenever they surface such as in history or social studies lessons or when current events brings them forward such as events in our recent history.

Through presentations from researchers in the field, small group discussions, and reflective exercises participants will engage in conversations about race/racism, explore ways to address issues and topics that will meet students where they are in their racial development, and practice techniques for creating safe space for difficult discussions.

I walked to and from the museum each day, giving myself time to reflect and think about what I was learning. Even after a long train ride home, and a weekend to further reflect, I still have much to process. I don't think I've ever learned as much at a conference or workshop before this, and after 29 years in education, that's really saying something.

We met in the education classrooms of the museum for our sessions, but we had time each day to wander through the exhibits. Even after 5 days, I didn't get to see everything the museum had to offer.

The layout of the museum is both inspirational and metaphorical. To get to the history galleries, you descend in an elevator, moving back through time.

When the doors open on the third concourse level, it is dark and cramped, and your exploration begins with the transatlantic slave trade. This level, Slavery and Freedom, covers the years 1400-1877.

When you reach the end, you wind your way up a ramp into another time period. This level, Defending Freedom, Defining Freedom: The Era of Segregation, covers the years 1876-1968.

When you reach the end of this level, you once again walk up a winding ramp, slowly moving out of darkness into the light. This level, A Changing America, covers the years 1968 and beyond.

Once you leave the history galleries, visitors can enter the "Contemplative Court" for a bit of quiet reflection. In this large open space, water cascades down from the Oculus, a glass circle on the north side of the building that allows natural light to filter down into the center of the waterfall.

The upper floors are comprised of an interactive gallery, Community galleries (L3), and Culture galleries (L4).

Being in this place, this space, was so important to understanding issues of race. In the previous years this workshop was taught, participants did not have the benefit of spending their time in the space that is the museum. I am grateful to have had this opportunity as a member of the 4th cohort.

I was struck by so many things while here, but experiencing the history in this way laid a strong foundation for the ideas I had to grapple with during the week. During our time in the exhibit spaces we were encouraged to find artifacts and stories that could serve as entry points into conversations on race. Here are a few that struck me.

Ticket stub for Washington, DC to Montgomery, AL for Selma-Montgomery March.

Denim vest worn by Joan Mulholland during Civil Rights Movement.

Straw hat worn during the 1966 March Against Fear.

Bust of Maggie Walker.

Desks, sign, and wood-burning stove from the Hope School.

Quilt made from suiting samples with embroidered flower details.

Dress designed by Anne Lowe.

Shards of stained glass from the 16th Street Baptist Church.

This is just the beginning of the story of my week. Stay tuned for more. I'll be back tomorrow to flesh out some of the content of the conference.

Poetry Sisters Emulate Lord Byron

This month's challenge was set by Kelly and it was to write in the style of Byron’s poem, She Walks In Beauty, Like the Night. You can read the poem at Bartleby.

The form this poem takes is three sestets in iambic tetrameter. THAT I can do. But the theme? Oy ... I tried mightily, I really did. I wrestled with poems on teachers and refugees, as well as one on sisters. Nothing really worked. However, a theme that's been on my mind lately kept coming back, so I had to go where the poem took me. This one is untitled.

She climbs this hill awash in grief
the weight of loss so sharp, so new
most days she cries in disbelief
does all she can to make it through
the minutes, hours, moments brief
when all her thoughts have turned to you.

Such little things bring laughs and tears
some photos, medals, written notes
the story of your too few years
compiled among these anecdotes
she’d trade them all, these souvenirs
to wrap you up and hold you close.

But now she holds you in her heart
remembers you and all you loved
with joy a bitter counterpart
to grief that comes in waves and floods.
There is no map for how to start
your life without your most beloved.

Poem ©Tricia Stohr-Hunt, 2017. All rights reserved.

You can read the poems written by my poetry sisters at the links below. Andi may not be poem-ing right now, but she's still in our hearts and keeping up with us as time allows.

• Tanita Davis
• Kelly Fineman
• Sara Lewis Holmes
• Laura Purdie Salas
• Liz Garton Scanlon

I do hope you'll take some time to check out all the wonderful poetic things being shared and collected today by Carol at Beyond Literacy Link. Happy poetry Friday friends.

Poetry Sisters Write Golden Shovels

The challenge we undertook this month was to write a Golden Shovel poem. This form was invented by Terrance Hayes. Most Golden Shovels are written in homage to Gwendolyn Brooks, though it is possible to write one to another poet's poem. In writing a golden shovel, the writer must first borrow a favorite line or lines from a poem to create their own. The words from this line become the end words of the new poem. You can read more about this form in the Poetry Foundation piece entitled Introduction: The Golden Shovel.

The poem we chose our lines from was Pied Beauty by Gerard Manley Hopkins. I have highlighted the line that comprises the end words I used.

Pied Beauty 
by Gerard Manley Hopkins

Glory be to God for dappled things –  
   For skies of couple-colour as a brinded cow;
      For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
   Landscape plotted and pieced – fold, fallow, and plough; 
      And áll trádes, their gear and tackle and trim.

All things counter, original, spare, strange;
   Whatever is fickle, freckled (who knows how?)
      With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
                                Praise him.

In December I wrote my first love poem when we wrote ekphrastic poems for an image selected by Andi. It was a complete surprise when that poem went the way it did. When this one went in the same direction, I was befuddled, as I am not particularly romantic or sentimental. Despite this fact, I have a soft spot in my heart for this one. Maybe it's because our 23rd anniversary is on June 4th. In any case, here is my poem.

Love's Beauty
     after Gerard Manley Hopkins

In the landscape
of my heart, you are plotted
like a ship’s course, straight and
true. You are stitched, pieced,
glued, affixed on every fold.
My love will not grow fallow.
You are my yes and
always. Onward, together we will plough.

Poem ©Tricia Stohr-Hunt, 2017. All rights reserved.

You can read the poems written by my poetry sisters at the links below. Sara drove to New Mexico with her daughter, so she'll be posting in a few days. Look for her poem after she's had a chance to regroup. We're missing Andi and holding her in our hearts as she deals with the loss of her beloved son. Please keep her in your thoughts, prayers, and hearts as well. 

• Tanita Davis
• Kelly Fineman
• Sara Lewis Holmes
• Laura Purdie Salas
• Liz Garton Scanlon

I do hope you'll take some time to check out all the wonderful poetic things being shared and collected today by Buffy Silverman at Buffy's Blog. Happy poetry Friday friends.

Monday Poetry Stretch - Rictameter

Created in 1990 by two cousins, rictameter is a nine line poetry form in which the 1st and last lines are the same. The syllable count is 2/4/6/8/10/8/6/4/2.

You can learn more about this relatively young form at Wikipedia, or read some examples at Shadow Poetry.

I hope you'll join me this week in writing a poem in the form of rictameter. Please share a link to your poem or the poem itself in the comments.

Monday Poetry Stretch On a Tuesday - Abhanga

I don't think I've ever tried a poetic form from India, so I thought this would be a good week to try one. The abhanga is form that originates in Marathi, one of the major languages of India. The form is stanzaic, written in any number of quatrains. Here are the guidelines:

• stanzas are syllabic, with 6/6/6/4 syllables each
• lines 2 and 3 are rhymed, with lines 1 and 3 unrhymed (x a a x)
• internal rhyme is often used

That's it! I hope you'll join me in writing and abhanga this week. Please share a link to your poem or the poem itself in the comments.

Monday Poetry Stretch on a Tuesday

Exams have ended, graduation is over, and summer school has already begun. Apparently, there is no rest for the weary.

I am heartbroken for a friend who has lost her son and have been struggling to find the right words. I suppose in times of loss there are no words that are "right," but hopefully there are words that express the depth of my sorrow for her and the support I am sending across the miles.

Form feels a bit restrictive this week, so I'm thinking poems of love and light would be good. I hope you'll join me in writing this week. Please share a link to your poem or the poem itself in the comments.