Creative Lessons by Woodring College of Education Students

In our winter 2008 issue on Schooling as if Democracy Matters, we published an article on the curriculum developed at Teachers College, Columbia University around the Hurricane Katrina tragedy. Using the HBO documentary by Spike Lee, Margaret Crocco and Maureen Grolnick developed a curriculum called Teaching the Levees: a Curriculum for Democratic Dialogue and Civic Engagement. The goal was to use a contemporary social issue in order to help students engage in a democratic dialogue that the event raised.

Students at the Woodring College of Education at Western Washington University have created lessons that bring content from their own discipline (English, social studies, science, art, music, math, physical education) to the democratic discussion that they are trying to generate. We have created this public space for students and teachers to share their ideas. We also invite teachers and students from other parts of the nation and around the world to enter into our conversation. We will keep adding to this post over the years as more and more people share their comments.

Here's a more fundamental question to reflect upon as well: Can we imagine a high school experience that integrates the disciplines around major social issues and engages students in democratic dialogue and civic action? Our very fragmented approach to the study of high school subjects is deeply entrenched in our system. Does this approach prepare all students adequately to participate in a 21st century democracy that is constantly reinventing itself? Can our schools create a public that is capable of sustaining this republic in an increasingly complex and global world? Add your thoughts.


Example from student, Brook Landers:

Dawn Sodt, Lucy Castro and I, MIT students of the Woodring College of education created this integrated curriculum, which combines fine arts and foreign language studies in order to teach the film "When the Levees Broke."

Featured Lesson:

All the King’s Horses and All the King’s Men

What is the culture of New Orleans, and can it be restored after Katrina?

For High School Students

Disciplines: Art, Language Arts, Theatre, Music

Our respective disciplines are Spanish and Art. In this context, our approach to this assignment is based on the culture of New Orleans. What struck us after watching Spike Lee’s documentary, When the Levees Broke, was the strength of the cultural connection each of the inhabitants had to New Orleans regardless of their socio-economic background. This made us curious about how this culture evolved and what made it so strong. There might be lessons here for all of us as we continue to struggle with assimilation into our own increasingly multi-cultural society. Therefore, we posed the question:

Is it important to put New Orleans back together again?

There are many perspectives from which to approach this question. Among them are political, economical, ecological, and sociological perspectives. However, all of those disciplines fall under Cultural and we want students to realize the complexity of the people involved which is important as a prerequisite in any discussion from any other angle. We want students to come to feel the sense of identity each of the New Orleanians expressed in Lee’s movie.

Our Unit on the Breaking of the Levees involves Language and Art, both outcomes of a culture and both considered to be major characteristics of New Orleans life.

First, students will engage in a simulation exercise to understand how new languages form when cultures and languages collide. Students will be asked to combine two versions of the same poem, one written in English, and one written in Spanish. Unique translations of the poem in “Spanglish” will evolve out of the exercise.

The second project for our unit plan is a group inquiry project that culminates in a reader’s theatre production using visual and audio components. We have produced a product similar to what students could produce to give you a sample.

This exercise is sure to raise more questions than it answers. In fact, we do not expect the students to actually answer the above question. We want them, as explained above, to describe a portrait of what New Orleans as a culture represents and to consider what it means to them as citizens of a country in which such a culture exists.

Objective 1.1
o In pairs, students will research one of the four “roots” of New Orleans culture. They will collect images and facts, quotes, and salient ideas that they find interesting while researching.
o Students will understand that the Creole culture of New Orleans has been influenced over time by four main root cultures: 1. French, 2. African American, 3. Spanish, and 4. Native American.
o Students will present knowledge gathered through research in the final reader’s theatre.
o Bloom’s taxonomy: Knowledge

Objective 1.2
• Students will watch selected excerpts from the HBO documentary video: When the Levees Broke. Students will record quotes that stand out as particularly meaningful or poignant.
• Students will understand the main historical, social, and cultural effects of Hurricane Katrina.
• Students record poignant quotes while watching the documentary. These quotes will be incorporated into the final reader’s theatre.
• Bloom’s taxonomy: knowledge

Objective 1.3
• Students will create and perform a reader’s theatre including art and music that will symbolize the complex and unique New Orleans culture. Information gleaned from student research and the HBO documentary video: When the Levees Broke will be incorporated into the reader’s theatre.
• Students will be able to address the overarching questions:
Why is it important to put New Orleans back together?
Would we want to build it back in the same way?
What would you leave out if you were to rebuild New Orleans?
• Students will complete a written response to the questions posed throughout post-reader’s theatre discussion. The response should incorporate emotional responses to the reader’s theatre and include supporting information gathered while listening to the students-directed presentation.
• Bloom’s taxonomy: Evaluation

Objective 1.4
• Students will be given a poem in English as well as Spanish. The task will be to combine the two languages into a new language just as the Creole language is a mixture of different languages.
• Students will understand how languages and cultures collide and are combined to form new cultures.
• Students will turn in a unique poem that presents a unique language formed by combining Spanish and English.
• Bloom’s taxonomy: Understanding, Synthesis

1. Context:
In the Spanish classroom, students have just finished a unit on Chicano culture. Students understand the way in which Hispanic cultures mix with the American culture to form a new “Chicano” culture within the United States. In the same way, multiple cultures have blended together over time to form a unique Creole culture in New Orleans.
In the art class students have just completed a unit on contemporary socially responsive art work and artists. In this unit, students will collaborate and create their own socially responsive piece of artwork.

2. Purpose:
Millions of American citizens where uprooted and labeled “refugees” after Hurricane Katrina hit New Orleans in 2005. Who was affected? How did the United States respond to the disaster? Why is it important we rebuild New Orleans? Motivated by the quote, “You can’t embrace the branch if you don’t know the root,” we will work to understand the precious culture unique to New Orleans.

3. Teaching/learning activities:
a. Presentation of excerpts from Spike Lee’s HBO Documentary: When the Levees Broke:
Students will view footage of Hurricane Katrina and the aftermath of the storm through this documentary. They will listen carefully to the citizens of the 9th ward present opinions, observations, and emotions. While watching the film, students will record phrases, ideas, and salient quotes. After viewing selections from the film, students will each select five quotes from the interviews and narration. Students will write out a sentence or two for each of the quotes explaining what issue it is related to and how it is an important issue to address for the future of New Orleans.

b. Exploratory Research of Creole culture:
Students will be divided into pairs and assigned one of the “roots” of Creole culture: 1) French culture, 2) Spanish culture, 3) Native American culture, or 4) African American culture. Students will be asked to research their assigned aspect of New Orleans life and collect images, quotes, and ideas that represent Creole culture. Information and images gathered through research will be recorded and incorporated into the final reader’s theatre project at the end of the unit.

c. Language creation simulation:
Students will read a poem relating to Hurricane Katrina in English. They will read the same poem in Spanish. Their job will be to creatively combine both poems in order to present the same poem in a new language (“Spanglish”). The activity will simulate the way in which a new language or for that matter a new culture is born.

d. The Reader’s Theatre:


1. Students will brainstorm to come up with ideas of creating a readers’ theatre from these ideas and how to incorporate visual and audio components for a production of the readers’ theater. They will take a vote on which ideas to work on together for a single class project.
2. Students will divide the work for the project up into pieces to be assigned to smaller groups within the class.
3. Students will devise a timeline in which work must be done with the culminating production time determined by the teacher.
4. Each group will write a plan with a calendar listing goals for each day and a list of tasks they expect to complete to reach those goals in the form of a check list. Each student will get a copy and one copy for each group will be turned in to the teacher. A copy of each will be posted on a board for all to see so that all groups are aware of the progress of each.
5. The teacher will check in with each group each day to determine their progress, to keep them on-task, and to aid them with any difficulties they encounter. It will be likely that a group will become sidetracked by information they discover so the final goal and product must be kept firmly in their minds.
6. Students will present their final product as a readers’ theater at an assembly or in front of an audience of their choosing within reason and possibility.
7. A class discussion and review following the presentation will be very important and might well take a full day. Begin with asking questions regarding their performance and any comments they received from the audience. Then ask questions to elicit comments and feedback about the process of a whole class project: – How well did it work? Did everyone feel involved? Did everyone feel they had a meaningful part to play in putting the project together and performing? Next, ask the students how their perspective on New Orleans has changed as a result of their work on this project? Follow this up by asking if they have thought of relating this new perspective to how they think about their own community culture. How important is their own community culture to them? If a natural disaster happened to (Bellingham) and they were dispersed across the country would they want to come back? Why or why not? These are just some of the questions that you might ask but, providing adequate time for closure is important. You might do this by asking for a written response to some of these questions.
Questions will percolate out of the discussion. Example questions include: 1) why is it important to put New Orleans back together? 2) Would we want to build it back in the same way? 3) What would you leave out? 4) How much is racism and poverty a part of the culture that evolved? 5) Why do the residents of New Orleans feel so rooted to their home?

4. Homework Assignment:
Students will complete a written response to the reader’s theatre questions posed during the class discussion. The response should incorporate emotional reactions to the reader’s theatre and include supporting information gathered while listening to the presentation.

5. Assessments:
The checklist provided by each group within the class can be used to evaluate each student’s participation by determining to what level they are engaged in each of the tasks listed. Formative assessment is very important and should be tracked carefully. Much student involvement in this project can be pretty subtle so it is important to interact with students asking what they are thinking and how they are proceeding all along the way. The culminating presentation is another source of assessment information. Finally, a written reflection answering some of the questions posed during the Closure will provide individual indicators of involvement, engagement, and how well the lesson provoked further thought and questions.

What Ever Happened to the Schools in Post-Katrina New Orleans?

Editor: In our winter 2008 issue on "Schooling as if Democracy Matters," we published a review of Kenneth Saltman's book, Capitalizing on Disaster: Taking and Breaking Public Schools. In his post below, Saltman adds to the conversation that was started by Margaret Crocco in her update on "New Orleans and its Citizens: Three Years Later" by sharing his views on what is happening to the public school system in New Orleans since the Katrina tragedy. We invite our readers to read the review, Smashed, by Christopher Robbins and join in the conversation.

A Post by Kenneth Saltman

BEWARE TALES OF PROGRESS THAT ERASE THE FULL HISTORY OF DESTRUCTION AND DISPOSSESSION IN THE NEW ORLEANS' SCHOOLS

In my book Capitalizing on Disaster I detailed the vast experiment in neoliberal privatization orchestrated by right-wing think tanks and politicians in the wake of Katrina. I covered the imposition of a massive voucher scheme, no-bid contracting and corporate corruption by those with ties to the Bush administration such as Alvarez & Marsal and Rome Consulting, the dismantling of the public system and union by a for-profit consulting firm, and the replacement of public schools with a charter network. As I argued in the book this has to be understood as a concerted effort to dispossess poor and working class predominantly African American citizens of their communities by the business and political elite of the city and state and to turn them into investment opportunities. I contend that this is part of a much broader movement for privatization and deregulation which is not only about economic redistribution but about the redistribution of political control over public goods and services. As well, I argued these initiatives only make sense in relation to a history of racialized disinvestment in public services and infrastructure that resulted in a city with the least funded urban school system in the country. In short, I argued that the political right capitalized on natural disaster and in the process exacerbated the human made disasters that predated the storm. The consequences were a radical shift in educational governance and material resources away from those most in need of them. It seems to me that honest discussion about the state of the New Orleans schools and communities must take seriously this history and recognize that what is at stake in this is more than a vague notion of educational quality (especially the anti-critical kinds defined narrowly by tests scores) but struggles over material resources and cultural values by competing classes and groups. In other words the role that public schools play for a society theoretically committed to democracy has to be considered. When business and political elites wrest control of schools and communities from the public and then describe it as a gift to the public (the "silver lining in the storm") we are hardly approximating those collective ideals.

New Orleans and its Citizens: Three years later

Editor: Authors Margaret Smith Crocco and Maureen Grolnick, whose article, Teaching the Levees: an Exercise in Democratic Dialogue, appears in our winter 2008 issue of the journal, give us an update on their groundbreaking curriculum that ties it to the artistic efforts to give voice to Katrina's victims. Margaret Crocco writes that our readers will find this quite different from what they might read in the popular media. We invite readers to respond to her post or to her article from our Volume 3 Number 1 Issue on "Schooling as if Democracy Matters."

This posting is cross-posted on the Social Issues blog.

A POST FROM AUTHOR, MARGARET SMITH CROCCO

NEW ORLEANS AND ITS CITIZENS: THREE YEARS LATER

Margaret Smith Crocco, Teaching The Levees (Teachers College Press, 2008)

Anyone who saw Spike Lee’s masterpiece, When the Levees Broke, will remember its “star” – Phyllis Montana LeBlanc. Straight-shooting, opinionated, and profane, Phyllis and her husband, mother, sister and autistic nephew were stranded in New Orleans on August 28th 2005 as Katrina struck. Like many native New Orleanians, they discounted the warnings of a massive hurricane until it was too late to evacuate. As the water level in their apartment rose in the days after the storm hit , the rescue helicopters flew past, ignoring their cries for help and moving on to those in even more dire circumstances. Phyllis and her family climbed onto refrigerators to float through water infested with alligators and snakes the two blocks necessary to reach higher ground. Phyllis and her husband spent nearly three years in a FEMA trailer while the rest of her family was relocated to Houston so her nephew could get schooling.

Spike Lee’s decision to tell the story of Hurricane Katrina through stories such as Phyllis Montana LeBlanc’s was not just a brilliant directorial decision (witness the scores of cinematic awards the film has garnered) but a shrewd maneuver in addressing what’s been called the “psychic numbing” and “compassion fatigue” that often accompany natural disasters, genocides, and other human tragedies. If Lee’s intention was to provoke empathetic responses for Katrina victims, his strategy was on target, according to decision researcher Paul Slovic of the University of Oregon.

According to psychological research, we are far more likely to be motivated to help out in the face of disaster if we can put a human face on events. Slovic notes that “images seem to be the key to conveying affect and meaning, though some imagery is more powerful than others” (p.8). He goes on to comment that, “When it comes to eliciting compassion, the identified individual victim, with a face and a name, has no peer” (p.8). For a copy of the full article, see: http://journal.sjdm.org/jdm7303a.pdf

Of course, Spike Lee offers not just one face and one story but well over a hundred faces and stories in his film, which is effective in conveying the multiple perspectives on these events. Over four hours of such narratives, interspersed with analysis and commentary by experts on poverty, race, science and politics, viewers of When the Levees Broke get a full sense of the human dimension, suffering, and costs of Hurricane Katrina. The film makes an extraordinary effort to use art to address the potential collapse of compassion in the face of so much misery.
In an appearance at Teachers College, Columbia University in September 2007 at the launch of the “Teaching The Levees” project, New Orleans City Councilwoman Cynthia Hedge-Morrell noted her gratitude for the tremendous outpouring of assistance from citizens—of all ages, races, and regions—to help New Orleans’ residents get on with life and rebuild (http://www.teachingthelevees.org/?page_id=90 ). I do not claim that Spike Lee’s film can be credited as the cause of this generosity. But to the degree that his film got the story out in such a compelling fashion on HBO, it is clear that When the Levees Broke gave a human face—or many human faces--to this epic story.

So, now, three years later, how are Phyllis Montana LeBlanc and New Orleans faring? Have compassion and volunteerism trumped the government indifference and belated investment in rebuilding to provide solace, support, hope, and meaningful recovery for residents of the city? Well, as you can imagine, the answer is a mixed one.

According to the Brookings Institute, which has produced an annual report on conditions in New Orleans since 2005 (http://www.brookings.edu/reports/2007/08neworleansindex.aspx ), positive signs can be found. In a report issued in late August 2008, Brookings indicated that New Orleans’ economy is improving; the population is returning slowly to a growing job sector; the trolley cars on Canal Street are reappearing (http://www.nola.com/news/t-p/index.ssf?/base/news-0/122768062889950.xml&coll=1 ). Eighty-seven public schools have been opened, including many new charter schools, with many new teachers recruited from around the country. Affordable housing, however, especially for low income service workers in the city, remains a big problem. One prominent home rebuilding project (http://archrecord.construction.com/news/daily/archives/081211PittHouses.asp) has been underwritten by Brad Pitt whose “Make it Right Foundation” (http://www.makeitrightnola.org/) has garnered extensive publicity for the architectural distinction of its homes as well as their high-profile celebrity backer.
The Brookings report also notes that “nonprofit groups, business leaders and some politicians are working hard to repair the city’s buildings and improve the criminal-justice and health-care systems.” Groups such as Women of the Storm, levees.org, Citizens for 1 Greater New Orleans, Catholic Charities, and the Citizens Road Home Action Team, among others, are leading the recovery effort on multiple fronts.

Nevertheless, the progress of recovery has proceeded at what seems a glacial pace to many residents of the city. The Californian hired to help rebuild New Orleans, Ed Blakely, has been the subject of much criticism for the slow pace of the recovery, his absenteeism, and the lack of visibility of Mayor Ray Nagin in the process (http://www.nytimes.com/2008/04/01/us/01orleans.html?_r=2&ref=us&pagewanted=all&oref=slogin). Unsurprisingly, many politicians have come in for criticism, at the city, state, and national levels. Many residents are hoping the Obama-Biden administration brings new attention to the city’s plight.

And what about Phyllis Montana LeBlanc? She wrote a book, which appeared in August 2008, while living in the FEMA trailer. Entitled Not Just the Levees Broke: My Story and After Hurricane Katrina, the book was published by Simon and Schuster. LeBlanc did an interview with Salon.com (http://www.salon.com/mwt/feature/2008/08/27/phyllis_montana_leblanc/ ) and seems to have used her faith and family to sustain her throughout the ordeal of the last three years. Spike Lee wrote the forward to the book, and it seems that her colorful personality and commentary have made her into something of a celebrity herself.

Despite the positive aspects of this update on New Orleans three years later, it is also clear that the devastation wrought by Katrina and the continuing debate about how best to remedy the damage and prevent further disasters continue. Let me conclude by turning to other works of art, completed and in progress, which can also be seen as efforts to put a human face on tragedy.

Perhaps you’ve heard of Trouble the Water, the “home movie” shot by self-professed “street hustler” Kim Roberts and crafted by professional filmmakers Tia Lessin and Carl Deal (http://www.salon.com/ent/movies/btm/feature/2008/08/21/trouble_the_water/), which won an award at the Sundance Film Festival. In the works is The New Orleans Tea Party by Marline Otte and Lazlo Fulop (see a clip on YouTube at: http://www.youtube.com/watch?v=PzA4UR-w8PQ ). This film gets at some of the controversies related to rebuilding—by whom and for whom and to what end, with footage shot in early 2008. It also addresses issues of politics—global and local related to Katrina—and the effects of climate change on the city. Finally, the award-winning filmmakers who created Revolution ’67 (http://www.bongiornoproductions.com/REVOLUTION) about the 1967 race riots in Newark, New Jersey, Marylou Tibaldo-Bongiorno and Jerome Bongiorno, are working on a “love story” set in Venice and New Orleans—two cities threatened with extinction in the face of global climate change and rising sea levels. If a love story can make the threat of global climate change and a world that is too “hot, flat and crowded” (http://www.thomaslfriedman.com/bookshelf/hot-flat-and-crowded), as Tom Friedman puts it, real to us, then it will offer an interesting twist on Slovic’s theory that putting a human face on disaster is the best way to trigger a response in action.

If there’s any good news in looking back at the tragedy of Katrina, it may lie in enhanced recognition of the need for more democratic dialogue and civic action about the problems we face as a nation. We can thank enlightened filmmakers like those mentioned here for helping motivate us to engage in both talk and action. With a new administration coming to Washington, DC in January 2009, we can hope that they will join the citizens of New Orleans and concerned citizens across the country in taking the steps necessary to prevent other such disasters and help residents of the Gulf Coast to continue to recover from the lingering problems associated with Hurricane Katrina.