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Check out this Presentation designed by Jessica Beattie.

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Podcasting is a great tool for Reflection! 

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Podcasting is a great tool for Reflection! 

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Teaching Podcasting: A Curriculum Guide for Educators

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Guidance on planning classroom instruction.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Google Slides interactive notebooks + 20 activities to fill them

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There are TONS of awesome multimedia activities you can do with interactive notebooks. Get the how-to’s and a downloadable template to get started!

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Visual Resource- Picture Book Basics- Sketches and Layout

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Visual Resource- Picture Book Basics- Sketches and Layout

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In the second part of a series for illustrators starting out in Picture Books , Words & Pictures Illustration Editor John Shelley takes a look at planning images and layout.

So you have a story, and maybe some character studies and other sketched drawings. The next stage is to plan out the book and make a dummy.

Storyboards

A common starting point for illustrators is to mark out a storyboard on a single sheet of paper, representing the whole book in small thumbnail sized squares. This allows the artist to pencil in the basic design of each page, plan how the story unfolds over the pages, divide up the text, see where the dramatic points are, and consider the rhythm of the images. As the sketches are thumbnail size and very simple it's an easy matter to rub out and redraw. Some illustrators draw tiny sketches or write the text on sticky notes which they can switch around the pages, though I find these have the annoying habit of curling up and falling off!

Sketching and Layout

Having roughly planned the book it's time to make larger sketches for each page or spread. Personally I draw pencil roughs at A5 size per page (so A4 for a double page spread) scan these to make my dummy and later enlarge for the final artwork stage, but everyone will have their own method.

All books (indeed all illustrators!) are different and the variety of style, composition and design is much too big a subject to summarise here. However here are a few commonly accepted pointers:

Boxed, Vignette, Spot and Full Bleed

(This may sound somewhat obvious, but it's worth clarifying!) In classically constructed books, a "
boxed" illustration has straight defined edges, possibly with a border or frame, and sits within the confines of the page, so there is a gap between the image and the trim (i.e. the edge of the page). The illustration might be cropped from a loose-edged original, or painted to a ruled edge. As the border encloses the scene these are particularly suited to images with a considered, balanced composition.

Vignettes are illustrations with faded or loosely defined edges. The loose edges incorporate the white of the surrounding page to give the image space, lightness and draw the viewer into the scene.

A spot illustration is a small free-floating motif, usually with no background. In picture books spots are particularly useful as visual addenda to the main narrative. Bleed refers to part of an illustration that runs off the page edges, ' full bleed' means an image that entirely fills the page and is cropped by the trim. Nowadays very many picture books are full bleed throughout, however it's particularly effective when suddenly brought into play for the most dramatic and panoramic images.

Big or Small?

A small image on a page surrounded by white space focuses on detail, so it might suggest quiet intimacy, or a key-hole view of a drama about to unfold. Some books begin with smaller images, then gradually open up to full bleed as the drama unfolds. The reverse can work too - big to small. A classic example of this approach is Sendak's
Where the Wild Things Are, where the first and last illustrations are small, with very wide white margins, while the central fantasy spreads are full bleed.

Another use of small images is to break up a series of actions into details on a page. So for example, a piece of text might describe a character putting on a coat, then shoes, then tieing on a hat... one single image would suffice to cover all these actions, but by separating each into a series of vignettes or spots on a page a sense of time and motion can be introduced.

Crescendos and Patterns

Picture books are a little like songs in that there is usually some kind of pattern or structure that the whole book follows, a regular rhythm flowing through, with choruses of loud, dynamic pages at key stages. It's equally true of both text and illustration. An image near the front of a book might be reflected with a similar design later to create a resonance.

Page Turning

A key element of picture books is the need to move the narrative forward - the reader should always be encouraged to turn the page. This can be done by building tension and expectation in the image or text, ensuring plenty of movement from left to right, and drawing the reader's attention to the page corners.

Rules are Made to be Broken!

Well, some of them perhaps. It's not necessary to mix image sizes in a book - regularity works well if the story has a strong rhythm. Full bleed images don't have to be panoramic. Within these basic patterns all kinds of fun can be had by breaking up these types and inventing ways to combine/contrast layouts. In fact this is what makes picture books so interesting. Go wild, be clever, be crazy! But remember, however mad the page layout, the narrative has to move forward, it has to be understandable as a book.

The key thing is to follow instincts suggested by the text, do what the story conjures.

Things to be careful of:
Remember the gutter (the book's hinge)! Avoid putting busy elements in the part of the book closest to the spine, they'll be lost in the final product. Be especially careful not to place key characters in the gutter!

Consider the text - where will it lie? How much space will it require? Will it run over the illustration or be separate on the page? Likewise, leave a good gap between text and the gutter and page trim.

Page design is a big topic with myriad aspects. It's a good idea to peruse a lot of picture books and examine how other artists solve the challenges of page layout. There's also a lot of inspiring stuff on the Web if you dig around - for example Design of the Picture Book is a useful resource.

Some illustrators make very elaborate dummies before submitting to publishers, but editors frequently say that a dummy that is too polished can actually make it difficult to consider the story. It's often recommended that artists sketch out spreads in simple black and white roughs, nothing too complicated, overlay the text, and draw just one or two finished images in colour to give an indication of the final look. Personally I sketch all my dummies in pencil on loose sheets, scan in to
Photoshop, adjust, then lay out using InDesign, adding the text. I might spend a long time tweaking, changing around and so on before I'm happy with the result. Finally I'll save as a lightweight .pdf which I can then either email to my agent/art director or print out, clip into a plastic file and show as a physical dummy.

He's illustrated over 40 books for children, many of them published in Japan where he lived for many years. His next title John Shelley is the Illustration Feature Editor of Words & Pictures and current Central East Network coordinator. The Stone Giant is scheduled for release by Komine Shoten in Tokyo this autumn, and Charlesbridge in the US in Spring 2014. www.jshelley.com

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Picture Book Basics - Sketches and Layout

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In the second part of a series for illustrators starting out in Picture Books , Words & Pictures Illustration Editor John Shelley takes a look at planning images and layout. So you have a story, and maybe some character studies and other sketched drawings.

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IMPROV ENCYCLOPEDIA- Icebreakers, Warm-ups, Games, Exercises and more!

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IMPROV ENCYCLOPEDIA- Icebreakers, Warm-ups, Games, Exercises and more!

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Improv Encyclopedia is the largest online collection or resources for improv- here you will find:

Icebreakers: games or activities that help "break the ice" at events where there are lots of people who don't know each other

Warm-ups: games to get people in a playful mood

games and exercises to promote group Group Trust

exercises and games to encourage Spontaneity

lots of drama and theater Games

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Digital Poetry-Digital Poetry: Georgia Heard's "Straight Line"

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Digital Poetry-Digital Poetry: Georgia Heard's "Straight Line"

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Great article on leadership and Improv! Below is Tina Fey's "Rules of Improv" an excerpt from her novel Bossypants!

https://drive.google.com/file/d/15E6E6UC-oD94aIR1YV0bGxEDDNWiCi7w/view?usp=sharing

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Why Listening to Tina Fey Will Make you a Better Leader - Leaders Club

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The renowned actor and comedian is a devotee of improvisation, which can enhance your leadership abilities if you can develop an improv mindset.

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In this excerpt from his upcoming memoir, Mo' Meta Blues, the Roots drummer and Jimmy Fallon's bandleader shares the albums that defined him, from his years growing up in a musical-and increasingly religious-family, to the day he landed his first record deal.

1973:
Sly and the Family Stone,Fresh
I loved Fresh, but I especially loved side one. I treated it like a full song suite. I never really played side two until I was an adult.

1974:
Bill Withers, +'Justments / Rufus, Rags to Rufus
When my parents were going away on tour, they would wait until Sunday to tell me and my sister. +'Justments was on during one of those Sundays. "Sideways," on Rags to Rufus, is like a jam session. Evidently no one stopped the tape, because you hear Chaka Khan say, "The food is here?"

1975:
Ohio Players, Honey
My parents got me this record for my 5th birthday. Later on, I asked my mother, "Come on! How did you approve of that cover?" She explained that their eyes weren't open to the evils of the world until years later, when Prince came along.

1979:
Stevie Wonder, Journey Through the Secret Life of Plants
Whenever I hear "Seasons," I'm right there all over again, with my sister walking home from Broad Street in Philadelphia. There is snow on the ground, and posters for Steve Martin's The Jerk, which is coming in Christmas.

1980:
Diana Ross, Diana / The Commodores, Heroes
I spent the entire summer of 1980 living in a vacation resort called Frenchman's Reef in the Virgin Islands. The Diana record was the only contemporary record that I heard, because the owner of the nightclub where my parents were playing had it on continuously as filler music between my father's shows. I liked the Commodores record because of the consistency of the logo. I was always liking records for the wrong reasons.

1981:
The Time, The Time / The Jacksons, The Jacksons: Live
There was a kid in sixth grade whose mom allowed him to bring his boom box to the cafeteria. When "After Hi School" came on, I tripped over the cord and knocked his boom box over. "You owe me money," he said. I knew that my dad kept at least $4,000 hidden in the library. I figured I'm just going to take a twenty. I took $25 instead. I had gotten whippings throughout my life, but when he found out I had taken the money, it was that and then some. That set the course for our relationship. If Joe [Jackson] hadn't given his kids all those whippings, then they never would have made the record, and I never would have gotten my whipping.

1985:
Jesse Johnson, Jesse Johnson's Revue
Prince wanted to beat the Beatles at their own game. Around the World in a Day was his bid. I dug it. I loved it. But I also missed the straight, stripped-down Minneapolis funk, and that's why I gravitated toward [Prince's guitarist] Jesse Johnson's first record.

1986:
Janet Jackson, Control
I D.J.-ed for Janet three times, and she just shit when I put on "He Doesn't Know I'm Alive," which is one of the few songs from that record that didn't become a hit. I wanted to show her that she was important to me, that I remember when she sang "The Magic Is Working" on Diff'rent Strokes.

1987:
Prince, Sign 'O' the Times
When I first heard "Housequake," I was at a local laundromat, and when the song came on, with the Camille voice saying, "Shut up already ... damn!," I just freaked out. I ran right home to get my hands on a cassette player so I could tape it. I made it in time for Prince to say, "A groove this funky is on the run."

1993:
A Tribe Called Quest, Midnight Marauders / Wu-Tang Clan, Enter the Wu-Tang (36 Chambers)
There have been plenty of classic records. But these were the end of the innocence, and they came at such a great moment for me. [My bassist] Hub and I were freezing in a van with a gospel group that we didn't particularly like. Our minds were back in Philly and New York, wondering if we were going to sign a record deal or not. When we got word that the record deal was coming through, we just quit. We left them high and dry, no drummer, no bass player. When the band picked me up in the van the next day to drive to New York and sign our contract, they had both cassettes. It was the greatest day ever.

From the book Mo' Meta Blues, by Ahmir "Questlove" Thompson and Ben Greenman. © 2013 by Ahmir Thompson. Reprinted by permission of Grand Central Publishing. All rights reserved.

*This article originally appeared in the June 17, 2013 issue of New York Magazine.

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In this excerpt from his upcoming memoir, Mo' Meta Blues, the Roots drummer and Jimmy Fallon's bandleader shares the albums that defined him, from his years growing up in a musical-and increasingly religious-family, to the day he landed his first record deal. 1973: Sly and the Family Stone,Fresh I loved Fresh, but I especially loved side one.

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A collection of our popular articles and videos about how theater games and improvisation can spark creativity, build relationships, and boost academics and executive function skills alike.

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Improv- Pedagogical Moves

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Faculty Focus | Higher Ed Teaching & Learning

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We can give students and ourselves the chance for meaningful discussions, ones where we learn from one another and end up with different but interesting ideas.

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6 Rules of Improv for Writers: How to “Yes, And” Your Way to Better Scenes

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How do you write a scene that’s interesting, exciting, useful to your plot, and fun? Use the six rules of improv to work story magic.

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Psychology Today: How Improv Can Create teachable Moments

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Psychology Today: How Improv Can Create teachable Moments

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You don’t have permission to access this resource.

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Teen Vogue: Hayley Kiyoko Creates The Playlist of Her Life (Spotify)

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Teen Vogue: Hayley Kiyoko Creates The Playlist of Her Life (Spotify)

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Hayley Kiyoko creates the ultimate soundtrack to her life. From the angsty pop rock tunes of Avril Lavigne and The All-American Rejects to the soothing melodies of Michelle Branch and vulnerable lyrics of P!nk, Hayley Kiyoko shares the songs that inspire her.

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Hayley Kiyoko Creates The Playlist of Her Life

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Hayley Kiyoko creates the ultimate soundtrack to her life. From the angsty pop rock tunes of Avril Lavigne and The All-American Rejects to the soothing melodies of Michelle Branch and vulnerable lyrics of P!nk, Hayley Kiyoko shares the songs that inspire her.

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Improv Techniques in the Science Classroom 

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Improv Techniques in the Science Classroom 

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Credit: CC0 Public Domain

A researcher at the University of Maryland, Baltimore County (UMBC) has developed a unique method to improve class participation in a graduate-level thermodynamics course by incorporating theater improvisation activities in the classroom. Erin Lavik, associate dean for research and faculty development and professor of chemical, biochemical, and environmental engineering at UMBC, wanted to find a way to encourage better participation in a thermodynamics seminar, and thought that allowing students to warm up to each other through theater exercises might improve their confidence when discussing complex topics. Based on her case studies of class participation on days when improv activities were conducted and also on anonymous survey feedback from students, Lavik confirmed that the improv activities led to a higher rate of engagement and participation. The findings are published in Biomedical Engineering Education.

The research was conducted over the course of the Fall 2019, Spring and Summer 2020 terms, and the improvisation techniques were used both in person and digitally, after remote learning became the new normal. Lavik used a variety of improv games at the beginning of class periods. One example is "Yes, and," which encourages students to listen to each other and build upon what the previous person said in order to create a nonsensical story.

The importance of listening in this game fosters an attentive classroom. Everyone is expected to participate at least once in the story, which creates a community of students that are primed to pay attention and respond to one another easily. In the survey data that Lavik collected, students said that when the improv games took place, they felt more alert, engaged, and ready to participate.

These findings are situated in a larger body of evidence indicating that doing improvisation exercises can support alertness. Students who believe that they are able to improvise and think on their feet use that knowledge to reduce their anxiety both in their studies and in general. The positive reinforcement associated with the activities after their completion was intended to leave students feeling more comfortable talking and making mistakes in the course.

Now that most university instruction is taking place online, participation in seminars and discussions is more important than ever, but these platforms make it even less likely that students will participate actively. However, given that the improvisation activities can be done completely online and show promising initial results, Lavik believes that the technique might help to engage everyone more effectively.

"The improv exercises often led to laughter, especially the exercises that were inspired by thermodynamics," says Lavik. "It helps create an environment where it is ok to try out new ideas and experiment. It is easier to ask questions when people feel like they are part of a group."

The use of this interdisciplinary method has proven to be highly effective at engaging students and creating a classroom community, especially important given the common limitations of online learning. Providing a final note on the benefits of this project, Lavik says, "We can do a lot to augment learning by being creative across disciplines. This is just one example of why it is so important to talk across our expertise, sharing ideas and techniques across different fields."

More information: Erin Lavik, Thermo in the Time of COVID-19: Using Improvisation to Foster Discussion and Translating the Experience to Online Learning, Biomedical Engineering Education (2020). DOI: 10.1007/s43683-020-00022-z

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Theater improvisation techniques show promising results for science classroom engagement

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A researcher at the University of Maryland, Baltimore County (UMBC) has developed a unique method to improve class participation in a graduate-level thermodynamics course by incorporating theater improvisation activities in the classroom.

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Second City- 10 Reasons to Use Improv in the Classroom

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Second City- 10 Reasons to Use Improv in the Classroom

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10 Reasons For Teachers To Use Improv In The Classroom

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Currently playing live comedy shows at The Second City in Chicago, Toronto & New York City, 7 nights a week

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Effects of Improvisation Training on Student Teachers

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Effects of Improvisation Training on Student Teachers

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Effects of Improvisation Training on Student Teachers’ Behavioral, Neuroendocrine, and Psychophysiological Responses during the Trier Social Stress Test - Adaptive Human Behavior and Physiology

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Objectives Teaching involves multiple performance situations, potentially causing psychosocial stress. Since the theater-based improvisation method is associated with diminished social stress, we investigated whether improvisation lessened student teachers’ stress responses using the Trier Social Stress Test (TSST; preparatory phase, public speech, and math task). Moreover, we studied the influence of interpersonal confidence (IC) – the belief regarding one’s capability related to effective social interactions – on stress responses. Methods The intervention group (n = 19) received a 7-week (17.5 h) improvisation training, preceded and followed by the TSST. We evaluated experienced stress using a self-report scale, while physiological stress was assessed before (silent 30-s waiting period) and during the TSST tasks using cardiovascular measures (heart rate, heart rate variability [HRV]), electrodermal activation, facial electromyography (f-EMG), and EEG asymmetry. Hypothalamus-pituitary-adrenal (HPA-axis) reactivity was assessed through repeated salivary cortisol sampling. Results Compared to the control group (n = 16), the intervention group exhibited less f-EMG activity before a public speech and higher HRV before the math task. The low IC intervention subgroup reported significantly less stress during the math task. The controls showed a decreased heart rate before the math task, and controls with a low IC exhibited higher HRV during the speech. Self-reported stress and cortisol levels were positively correlated during the post-TSST preparatory phase. Conclusions These findings suggest that improvisation training might diminish stress levels, specifically before a performance. In addition, interpersonal confidence appears to reduce stress responses. The decreased stress responses in the control group suggest adaptation through repetition.

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When you think of improv, you probably imagine comedy queens Tina Fey and Amy Poehler killing the laughs without a script. That can make the idea of using improv in the classroom pretty intimidating. But while improv is about thinking fast-there's so much more depth to it than comedy. And that depth makes improv a perfect learning tool for both students and teachers.

"Improv is about being creative with our thinking," explains Jessica Rogers, a veteran eighth grade language arts teacher in Chicago Public Schools, "It's another way to develop academics and teach social-emotional learning. It supports empathy and different learning styles."

As a performer and improv instructor with The Second City's Training Center, Improv for Creative Pedagogy, and The iO's Training Center, Jessica teaches other educators how to use improv in the classroom. "Improv encourages listening, team building, and brainstorming," says Jessica. Those central tenets, along with cooperative learning, make improv a fun and impactful addition to a learning environment.

So you're not an SNL comedian, and you don't have to be. Check out these easy ways to start using improv in the classroom.

1. Break the ice

When introducing improv in the classroom, have everyone in your group form a circle. "Now everybody can see each other. I always make it clear that 'You're part of this whole. And we cannot function without everybody's complete participation and attention,'" explains Jessica.

Then play a basic name game. Go around the circle. At each person's turn, they say their name with a physical gesture. Everybody in the group then mirrors it.

"Once everyone's had a turn, applaud them for successfully completing their first improvised piece," says Jessica. "Nobody came into the circle knowing the motion that they were going to do. Everybody had an opportunity to take the focus and everybody had an opportunity to give their focus." And by mimicking gestures, everyone experiences the group listening to and agreeing with their contribution.

The takeaway is you can't mirror those in the circle if you're not paying attention and staying in the moment. "This basic game hits on eye contact, acceptance, listening, and it reminds us that we don't have to be funny for everybody to come along," says Jessica. "We just need to support and trust-not only our partners but ourselves."

2. Improve communication

Improv in the classroom builds non-verbal communication skills. It helps you read others and recognize what they're saying via their gestures and facial expressions. It helps you understands your own body language so you know if your words match your movements. Are you giving appropriate eye contact? Are you truly listening?

Jessica suggests a basic communication exercise where everybody sits in a circle to tell a story-but each person only contributes one word. "To make this a successful story, everyone must resist the temptation to be funny," she says. Everyone has to fill a role, even if it's just contributing a "boring" conjunction or article. "You might not be able to give that exciting SAT word," Jessica says, "You must listen to connect the ideas, help the story make sense, and set everybody up for success."

You can even connect this activity to a literacy lesson by writing the story out on the board without punctuation or correct grammar. "Then everyone must write it out properly and make all the corrections," suggests Jessica. The group activity can produce the beginning of the story, then the students can get into groups to write the middle and end. "What you'll see is how every group started at the same place, and how differently each journey ended."

Another game that teaches good communication is "Yes, and ... ." You start with one sentence. Jessica suggests, "We're planning a party." Then two students take turns contributing to the story, beginning each turn with "Yes, and ... ." The listener can't plan ahead, they have to wait to hear what their partner says. And the speaker has to provide enough information because no questions can be asked.

Here's an example of how a "Yes, and ..." exchange might go:

"We're throwing Sally a party."

"Yes, and it's going to be a baby shower."

"Yes, and Sally is having a girl."

"Yes, and since she has two boys, this is very exciting."

"Yes, and we can buy her pink dresses."

The listening, sharing, and non-verbal reading skills these improv games teach are crucial to great communication.

3. Revamp reviews

Improv forces you out of your comfort zone and makes everyone a critical part of the group, even if they wouldn't otherwise work together. To be successful, you have to learn how to find your voice and feel confident exercising it. It teaches you how to support others and how to know when to ask for help. Jessica suggests that a good game for building these skills is "Pass the Snap." One person snaps their fingers and whoever they make eye contact with "catches" the snap and passes it along.

You can modify this game and use it to review for tests and other memory based lessons. Jessica uses a geography lesson as an example, "Pass the State Capitols." "The first person in the group says 'Florida' and then makes eye contact with the person they want to answer with 'Tallahassee.' That person will send, say, Illinois, to someone else and the pattern is developed from there," she says.

The game not only reviews subject material, but as Jessica points out, teaches eye contact, non-verbal communication, and inclusion. "Everyone is working together and helping each other learn."

4. Dig deeper into learning

Breaking your class into groups for improv is a great way to mix up your routine and give your students a brain break. One of Jessica's favorites is an exercise called "Panel of Experts." On the stage, Jessica and her improv team call for a random topic from the audience. Then they become experts in something like hamster farming.

"It's an opportunity for improvisers to assert their brilliance and recognize that there are no mistakes in improvisation. You are the expert in this world you are creating. If hamster farming is a lucrative business where one must adopt hamsters-it is what it is. That's the fact."

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So, how do you bring that into the classroom? Jessica uses it when her class reads To Kill a Mockingbird each year. She breaks her students into groups and assigns each a character. Cooperatively, the students need to dig deep into the character's personality, physical traits, and story. The goal is to understand the character so you'd know how they'd react to certain situations.

"Then, I ask for a panel of six experts-I bring up one Scout, one Jem, one Miss Maudie, and so on. The rest of the class then asks the 'characters' questions and the students answer in character because they're the 'expert.'"

This game helps students empathize with the characters on a deeper level or like Atticus says, "Step into their skin." It's also an assessment tool to gauge how well students know the characters, how closely they've read the novel, and what they're taking away.

"It's great fun, but it is improvised. You can try to be as prepared as you want, but you don't know what questions are going to come from the other groups," explains Jessica.

5. Build a lifelong skill

If there's one main takeaway from improv in the classroom, Jessica says it's learning to be present. When teachers are present, they're able to stay flexible and spontaneous in the classroom and with their colleagues.

"Our job as teachers is to set others up for success. And what I teach to other teachers, administrators, and students about improv all comes down to good life skills," explains Jessica. "Improv teaches how to take in information and participate in a conversation. That spills over into college admission preparations, entering the job force, or giving public speaking presentations. In a world filled with smartphones and extended screen time, listening is not a strong suit anymore. With improv, you have to listen in order to be successful."
If you would like to talk more with Jessica about using improv in the classroom, you can reach her at jess.k.rogers@gmail.com.

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All posts by Lauren Brown West-Rosenthal

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5 Brilliant Ways Anyone Can Use Improv in the Classroom - We Are Teachers

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Improv in the classroom is more than just fun - it's a great way to review material, build communication strengths, and create lifelong skills.

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Theatre Games to Unlock Your Team's Creativity

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Theatre Games to Unlock Your Team's Creativity

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When you hear the term "theater games", you might think they are all fun and goofing around. Or, you might be thinking "what is a theater game?" The truth is theater (or drama) games are a fun and interactive way for adults to explore their creativity, build confidence, and improve overall communication and teamwork.

The skills that one needs to be successful in many job environments can be honed through theater games that are actually really fun. These games are often used as a team-building exercise in corporate settings, schools, and other organizations. Include some theater games in your next company retreat to see a whole new side of your team!

Without further ado, let's dive into 26 of the most popular theater games.

Best theater and drama games for groups

1. Yes, and

This game is all about collaboration and building on each other's ideas. One person starts with a statement, and the other person must say "yes, and" then add to it. You can begin with a fun statement or something related to your work or team. Many people use this form of game for improv exercises where the comments pertain to made-up events.
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2. "Pass the energy" circle

People love this one because it's high-energy and good for engaging groups. Here are the steps: begin with everyone in a circle. Have a "caller" who will kick off the game by choosing a noise to make (such as "ahh" or "boom"). The person next to them must replicate the noise and it goes around the circle until it gets to the last person, who makes a new noise. Everyone should try to make the noise as fast as possible around the group. If you want to add some extra fun, try timing the exercise for each sound and seeing how fast the group can run through a single noise.
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3. Sound and movement

Have everyone stand in a circle. One volunteer should go into the middle of the circle and make a sound and a motion. For example, they might stop their feet and say "clomp, clomp". That particular sound and movement should be repeated by everyone in the circle. Then a new person should enter the circle and do the same thing, until everyone has had a chance to come up with their own sound and motion for people to repeat. It's usually easiest to go in a clockwise order, but you can also have people volunteer for a turn at random.
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4. Alphabet game

This game involves going through the alphabet and finding words that fit a specific category. For example, you could choose animals as a category. You would start with the letter "A" and the circle would be responsible for coming up with different animals that begin with A, then B, and so on (so relevant answers could be ant, beaver, etc).
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5. Try not to laugh

This is another one that's great for groups. Choose one person to be "invisible". Everyone should also pretend that the player can't be seen. They can do anything except interact directly with the invisible player. The entire time, the invisible player should be trying to make them laugh. Any player that does end up laughing must leave the game. Ideally this game goes on until there's only one player left (the winner).
‍

6. Pass the clap

Pass applause around the circle! To play, participants should gather in a circle and the leader will start the clap. Other players take turns clapping in a clockwise direction until the leader makes the final clap. There are some other variations, too. For example, the participants can start the clap slowly and then gradually increase the tempo over rounds.
‍

7. One-word story

Storytelling exercises help people to overcome shyness and work on their articulation skills. In this game, a group of people takes turns saying one word to create a story. Start in a circle and move clockwise or counter-clockwise. Many times this exercise starts with "Once upon a time" and goes from there. The final players should say "the end".
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8. Drama-freeze

Best for small groups, this option can be really interesting. You start with pairs of two and a supervisor. The first team will act out a spontaneous scene without discussing it beforehand. While they do so, the supervisor of the game calls out "freeze" (any time they want). At that time the acting team must remain still. Then the next team of two begins and will start upon the supervisor saying "action". They need to come up with a scene entirely different from the one from the pair before them. This will go on until each team gets a turn to act and freeze.
‍

9. Gibberish conversation

Two people have a conversation in "gibberish" (essentially made-up, nonsense language), and each person must try to understand what the other is saying.
‍

10. Jump over the imaginary ball

This is a warm-up game for many theater groups. It involves leaping over an imaginary ball. Everyone should stand in a circle and the leader will throw "the ball" to a participant. They jump over it and pretend that it rolls to another person for them to jump over. The game goes until everyone has had a chance to jump.
‍

11. Mirror game

Two people stand across from each other and mirror each other's movements, trying to stay in sync.
‍

12. Family portraits

A group of people creates a tableau of a specific group member. Everyone must work together to put together an image that closely resembles the subject.
‍

13. Emotional status

One person assigns an emotion to another person, and they must act out that emotion. You can choose the emotions off the cuff or write down several and tear them into little slips that you draw from. It's extra fun if you choose more obscure emotions aside from the usual "anger", "happy" - try "envious" or "in love".
‍

14. Freeze

Slightly different from the drama-freeze game above, this exercise encourages more individual participation. Two people act out a scene, and then someone yells "freeze," and another person comes in and takes over the scene. It's best to do this in an orderly fashion where the next participants are in a circle that you move around (or a line that you run down).
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15. Communication chain

This is a great game for a team and involves participants expressing activities through gestures. Have everyone stand in a line facing the same direction. The last person on this line is the lead. They should write down an action (such as "I was walking my dog and tripped and fell"). The person next to them in line acts out the particular action without any verbal cues, and then the next person in line does the same, and so on. The first person at the beginning of the line will have to guess what the action was.
‍

16. Who am I?

One person writes a name on a piece of paper and sticks it on another person's forehead. They must ask yes or no questions to figure out who they are. If you have ever played the game 20 questions (or the fun iPhone game of Heads Up) then you're familiar with the premise.
‍

17. Red ball

A group of people pass around an imaginary red ball and must come up with a story about where it has been. You can change the color of the ball or even the imaginary object, the point is to mix up the start and stop of the story and get creative.
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18. Zip, Zap, Zop

This game is sort of like hot potato without a ball. Start with everyone in a circle. The first player should clap their hands, point to another player in the circle, and say "zip". The pointed-to player must immediately clap, point to another person, and say "zap". The third player says "zop" and continues the pattern. The process should repeat with everyone saying "zip, zap, zop" until each person has had a turn. For a little extra challenge, try to increase your speed as you go through second or third rounds of the game.
‍

19. Blind drawing

Similar to a live-action game of Pictionary! In pairs, one person describes an object, and the other person must draw it without seeing it.
‍

20. Storytelling circle

A group of people takes turns telling a story, with each person adding a sentence. You can choose a theme ahead of time or try an improv prompt (more on that below), or just ask the first person to wing it and go from there!
‍

21. Word at a time

A group of people takes turns saying one word to create a sentence.
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22. Heads up, heads down

This one is ideal for small or medium size groups. The goal of the game is to eliminate players who make eye contact. First, choose a person who will shout out the directions. Then players should gather in a large circle with their heads down. When the leader calls "up", the players must raise their heads simultaneously, look towards another player, and pause. Then the supervisor will say "down" and players put their heads down. These actions go back and forth and if two players happen to look at each other directly, they are out of the game. This continues until there is a winner.
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23. Dance-freeze

A very popular high-energy game, this one is great for students and teams. You'll need music that you can dance to and participants that aren't too shy about dancing. The concept is simple: everyone must dance when music is playing. When the music stops, everyone must freeze just as they were when they were in motion. Anyone who keeps dancing is out of the game and it continues until there is a single winner.
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24. Call a number

This circle game is ideal for warming up and gaining energy. Follow these steps: First, give all of the players ordered numbers (so if there are 15 players there would be numbers 1-15). Players should gather in a circle and then choose someone to go first. The player will mention a random number within the range of numbers you are playing with. The player with the number mentioned must respond by mentioning the number of another player. The game continues with players responding when another player calls their number. If a player doesn't respond right away when their number is called, they are out.
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25. Stop and walk

This is a high-energy game that's great for groups. Use it to warm up large groups in a fun way or break up long periods of sitting such as during training. All the participants should "walk" and "stop" on the commands of a leader. The leader should repeat the two commands several times so everyone gets used to it - and then switch commands to "trick" people. For example, saying "stop" two times in a row. You can also add in other commands like "jump" or "turn around". There's no real winner, it's just about everyone being silly and moving their bodies.
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26. Night watchman

Both small groups and big groups can benefit from this exercise. The game involves players imitating a statue under the watch of a "night watchman". They should try to move without getting caught. You'll have to choose a night watchman at the beginning of the game; this person can move about freely while everyone else should behave like a statue. Players can try to take steps, but the night watchman must not see them move. If they see someone move, that person is out of the game. In some variations, the night watchman can do things to make the players move, but they shouldn't touch them directly. You can also make this a no-winner game where the last person caught moving becomes the new night watchman.
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How do you play theater games? Some best practices

Theater games were normally used in dramatic groups for warming up, improving physicality, and relating to each other. However, many groups have realized that there is plenty we can all learn from adding some drama games to our team activities. That being said, it makes sense to do some planning ahead of time and follow some best practices.

Here are some tips to follow to ensure your theater games are fun, successful, and engaging.

Be organized. What supplies will you need to play your chosen theater games? The items you might need range from paper and pen to accessories, balls, and more. Plan ahead and make sure that you are prepared for all the games you want to play. Do you have enough? For example, if you want to play a game where each person writes something, that will take a while if 20 people have to share the same pen. Space is the other big consideration. Games like dance-freeze require more space. If you're in a small conference room, choose drama games accordingly.

Set clear expectations. Make sure the rules are properly explained to everyone and that all participants understand the goals of the game. The group should be clear on what you want to happen before you begin the theater group session.

Try an improv prompt generator using AI tools. If you don't want to use tools then plan ahead and keep a list of options handy. This will make it easier to come up with options to get everyone's creative juices flowing without getting stumped. For example, you might come up with prompts like "Your team is having a meeting to come up with new fortune cookie ideas" or "The worst grand opening of a restaurant ever".

Self-confidence - Taking risks and speaking in front of an audience is intimidating for most people. Theater games are a way to put yourself out there in a low-risk environment.

Increased creativity - Having the opportunity to come up with new ideas and flex your imagination can really ramp up your creative side. If you are in a corporate environment theater games can be a great way to add to brainstorming or other creative endeavors.

More collaboration - No matter what industry you're in, cooperation is a good skill to hone and will help with most professions. These games incorporate the skills and input of everyone, allowing people to get to know each other better.

Better communication skills - Drama supports verbal and non-verbal expression of ideas. Use these games as opportunities to improve articulation, voice projection, fluency of language, and persuasive speech.

Physicality - Ever sat in an hours-long work session and started to nod off? It can be difficult for people to be at their best if they are stuck in the same seat for extended periods of time. Mix things up and allow people to stretch their muscles by playing a few games.

Building trust - Most people feel some degree of vulnerability when doing anything in front of a group. Making team-building more fun by incorporating games where everyone is in the same boat, allowing people to feel more secure and get to know their teammates.

Fun! - One of the best aspects of theater games is that they are entertaining. No matter who your participants are, they'll appreciate you taking the time to plan some out-of-the-box activities. If you are working on a retreat or company offsite, make sure to incorporate some drama games to mix things up.

Choose a coordinator who will manage the other participants. You'll notice that most of the games above mention having a "leader" who kicks things off or passes things to other participants. You might choose to change this up for each game, but it can often be easier to have that person chosen ahead of time. Then you don't waste valuable minutes at the beginning of each exercise waiting for a leader to volunteer.

Be inclusive. Keep everyone's skills and limitations in mind. You might be surprised how often this aspect gets overlooked, but the truth is that everyone has different capabilities. You might have people with physical disabilities or crippling fear of public speaking on your team. You wouldn't want to play dance-freeze with a group of very elderly people, for example. Make sure you've taken the time to understand the physical capabilities and concerns of people on your team and choose activities that accommodate them.

End on a positive note. Remember, the games are supposed to be fun. No matter what your larger goals are - such as breaking the ice in a company event or getting creative juices flowing - you should feel that the activities you plan help with efforts. Make sure to close the session on an optimistic and upbeat note. You want everyone to feel engaged and energized moving into your next activity.
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The benefits of theater games for groups

Dramatic exercises are not just for theater kids. Schools, businesses, and groups of all shapes and sizes have figured out that theater games can increase collaboration, productivity, and engagement. Give them a try and you might experience:

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In conclusion, theater games are an excellent way for adults to improve their communication, collaboration, and teamwork skills. These games are fun, interactive, and can be tailored to fit any group size or setting. Whether you are in a corporate or educational setting, participating in theater games can help you break out of your shell and improve your personal and professional development.

If you are looking for other ways to improve your company team-building, consider planning a retreat with Surf Office. We bring a decade of experience and over 100 retreat locations to the planning process, creating fun and productive events seamlessly. Our job is to make your job easier! Get a quote for your next team-building retreat today.

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26 Theater games & drama exercises to unlock your team's creativity | Surf Office

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Theater (or drama) games are a fun and interactive way for adults to explore their creativity, build confidence, and improve overall communication and teamwork.

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Welcome to the latest incarnation of the oldest repository of improvisational comedy structures on the internet. One cannot learn improv comedy from a web page, however, the list of improv structures included here will definitely help.

Financial help appreciated. For the first time since 1994 Learn Improv dot Com is looking for some financial support. A purely optional contribution system has been added to the page. One time donations are now being accepted. You can help out for as little as 2 Canadian dollar. Thanks.

-hmm

Learn Improv works with GOALS not rules.

Learn Improv believes in a safe and supportive environment.

Learn Improv teaches that every offer needs LACE

Learn Improv uses the narrative framework of STEPS

Have fun.

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Welcome to the latest incarnation of the oldest repository of improvisational comedy structures on the internet. One cannot learn improv comedy from a web page, however, the list of improv structures included here will definitely help. Financial help appreciated. For the first time since 1994 Learn Improv dot Com is looking for some financial support.

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Dr. Pérsida Himmele has asked me (Bill) to write her "About the Author" section. I've got lots to say. Sure, she has a PhD in intercultural education from Biola University, and an EdM in elementary and bilingual education from SUNY Buffalo. And sure, she's an associate professor of language and literacy at Millersville University, where she shares her passion for growing academic language, literacy, and helping English language learners develop academic language in the classroom. But did you know she is also quite an adventurer? Her greatest adventure was reluctantly agreeing to go on a three-day family camping trip. According to her, "In my old neighborhoods, people slept outside. When people slept outside, it was not a good thing." In addition to new adventures, Pérsida loves working with teachers and children in real classrooms. She has been an elementary and middle school bilingual and multilingual classroom teacher in New York and California, and a district administrator in Pennsylvania. She has been a consultant to various school districts, the Pennsylvania Department of Education, and educational entities in the United States, China, Nepal, Argentina, Venezuela, and Tonga. She loves gospel music and is a gifted singer, an active advocate for educational equity, and an amazing mother, wife, and friend.

Dr. William Himmele has agreed to let me (Pérsida) write his "About the Author" section, which serves as evidence of his very trusting, though somewhat forgetful, nature. Bill has his PhD in intercultural education and an MA in TESOL (Teaching English to Speakers of Other Languages) from Biola University. He is an associate professor at Millersville University in southeastern Pennsylvania, where the students find him engaging and insightful and never, ever let their minds wander in his classes (he carries a megaphone, just in case). He is a die-hard Buffalo Bills and Buffalo Sabres fan, which means he's often suffering from acute bouts of weight gain and depression, for which he is highly medicated during the months of February (the Super Bowl) and June (the Stanley Cup). He is a former ESL teacher and speech pathologist in New York and California.

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Here are 51 easy-to-use, classroom-tested alternatives to the "stand and deliver" teaching techniques that cause so many students to tune out or drop out. Teachers report that these techniques motivate students to participate in learning, as they build confidence and are supported by compelling and safe ways to demonstrate their knowledge and understanding of lessons.

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Each week we send out a journaling prompt from some of the world's most renowned writers, celebrated artists, inspiring community leaders and unsung heroes. The Isolation Journals began during the coronavirus pandemic, and from our community of 100,000 participants, we have built a living archive of human creativity to document an unforgettable era. We believe in the power of creative expression to edify, heal, and unite.

It's free and all are welcome.

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Artistic Growth | Creativity During COVID | Reflecting on the Pandemic | Creative Meditation | The Isolation Journals

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Each week we send out a journaling prompt from some of the world's most renowned writers, celebrated artists, inspiring community leaders and unsung heroes. The Isolation Journals began during the coronavirus pandemic, and from our community of 100,000 participants, we have built a living archive of human creativity to document an unforgettable era.

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Integrations & Partnerships | Pear Deck Learning

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Elevate education with Pear Deck Learning’s multitude of top-notch integrations and partnerships with industry all-stars like Google Classroom, Microsoft Teams, and many more.

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Presentations and videos with engaging visuals for hybrid teams | Prezi Present

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Welcome to Prezi, the presentation software that uses motion, zoom, and spatial relationships to bring your ideas to life and make you a great presenter.

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What toothbrushes tell us about inequality

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What toothbrushes tell us about inequality

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Anna Rosling-Rönnlund collects photographs of everyday objects from the richest to the poorest households. Even a toothbrush, she says, can reveal a world of inequalities.

Imagine if the world lived along a single street, with the richest households on one end, the poorest on the other - and every door flung open to the public. That's the vision behind Dollar Street, an online photo gallery of everyday objects from more than 200 households, representing every rung of the income ladder. The Dollar Street website will launch in January 2016, according to its project manager Anna Rosling-Rönnlund (TEDxStockholm Talk: Using photos as data to understand how people live). She hopes that visitors will browse through galleries of toothbrushes, tables, shoes and toys and see how each object is transformed by the pressures of poverty. "If we're of a certain material living standard," she says, "it's very hard for us to understand their sheer variety." Here, she shares the astounding variety of "toothbrush" photographs, which she hopes will upend our very notion of luxury.

No plastic, no bristles

A woman in Malawi answers the question, "what do you use to brush your teeth," by extending her index finger toward the camera. It's a common response among the 1.2 billion people who live on less than a $1 a day. For toothpaste, she points to the mud walls of her hut. The mud contains abrasive sediments, which she also uses to scrub dishes and clothing as well. "She scrapes some mud off the building, she mixes it with water in her hand, and then she brushes using grains of sand," Rosling-Rönnlund says.

A makeshift toothpick

A family in the west African nation of Burkina Faso puts a discarded toothbrush on display. It may appear at first glance to be an ordinary twig. Look closer, Rosling-Rönnlund says. "You can see where the branch is cut off, it's lighter and it's cut off in a way that it looks more like a toothpick." For a family that cannot afford a plastic toothbrush, a sharpened stick can serve as a handy alternative. "They are picking in between the teeth and they are also scraping on top of their teeth."

The family toothbrush

Here, a Liberian family points to a single, shared toothbrush for the household. "I was surprised that you could see the same exact plastic toothbrush going quite far down into really poor homes," says Rosling-Rönnlund. The key difference was how many toothbrushes a family could afford. "The trend among groups of homes goes from having no plastic toothbrush, to having one plastic toothbrush, to having many plastic toothbrushes, and it's quite a good way of seeing the difference in how much money you can spend."

A clever shelving system

A family in Nepal slots toothbrushes handle-first into the wall, so that the bristles dry in the air. It's a common storage system among sparsely furnished households, Rosling-Rönnlund says. "Even though the wall is not perfect, you figure out smart ways of using it to keep the toothbrushes clean. I think it's a quite clever shelf system, and we see it in all different regions except Europe actually."

A tidy stack

A family in the Philippines keeps toothbrushes strategically stacked on top of a plastic chair. The fact that they have a spare chair for storage is itself a revealing sign of prosperity, as is the cleanliness of the plastic surface. "Probably they don't have a mud floor or mud walls, because otherwise they wouldn't be able to keep their chair this clean," Rosling-Rönnlund says.

A tailor-made toothbrush

"I love it," Rosling-Rönnlund says of this toothbrush holder in a Vietnamese home. "I think that is fascinating, coming up to this top income segment, we have all these varieties of toothbrushes." One sure sign of the family's purchasing power: flashy toothbrushes, like the bright pink one above, which reveal that the family can afford a variety of designs tailored to adults, children or personal taste.

The pinnacle of privacy

"This is like the top notch for tooth-brushing," Rosling-Rönnlund says of this French household's electric toothbrushes. "Even though you can actually change the top part, the toothbrush part, and use the same handle, they have had money to buy one each, so they don't have to go through that hassle." Even more revealing is the absence of children's toothbrushes from the bathroom. "The parents are no longer brushing their teeth in the same room as the children, so they can separate and have a more elegant setting for the adults." The perfume bottle, for instance, doesn't have to be placed out of the children's reach. It's an unimaginable design decision for the 1.2 billion people who still view a single, plastic toothbrush as an unaffordable luxury.

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What toothbrushes tell us about inequality

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Imagine if the world lived along a single street, with the richest households on one end, the poorest on the other - and every door flung open to the public. That's the vision behind Dollar Street, an online photo gallery of everyday objects from more than 200 households, representing every rung of the income ladder.

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Project Audio: Teaching Students How to Produce Their Own Podcasts

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Project Audio: Teaching Students How to Produce Their Own Podcasts

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Visual Resource- American photographer Peter Menzel and writer Faith D’Aluisio have traveled the world documenting that most basic of human behaviors—what we eat. 

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Visual Resource- American photographer Peter Menzel and writer Faith D’Aluisio have traveled the world documenting that most basic of human behaviors—what we eat. 

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Peter Menzel and Faith D'Aluisio traveled the world documenting that most basic of human behaviors -- what we eat.

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It's always a surprise to see whom the MacArthur Foundation selects to receive its annual fellowships - the six-figure awards known as Genius Grants - but one of this year's picks was particularly exhilarating: comic artist Lynda Barry. For anyone who read alternative weeklies from the '80s through the '00s, she was the eternally wise and strange mind behind Ernie Pook's Comeek. She has also penned several graphic novels and three books about the creative process, adapted an award-winning off-Broadway play, and taught art, most recently at the University of Wisconsin, Madison. Her most recent book is Making Comics, out this month. I spoke to her about the drawing process and how we learn - and unlearn - it.
Congratulations, first of all, on winning a MacArthur Fellowship! What did you do when you found out?
After we hung up?
So that's how they tell you - they call?
But in my case, I hardly ever use the phone. So I kept getting these calls. I think I hung up on them around seven times because I thought it was a robocall. And then I just turned off my phone because I was really irritated - "Who keeps trying to call me?" ... I found out a while later, from somebody who I know very well, that somebody really needed me to call them.
It's kind of funny that the award is known as the Genius Grant, considering that in your new book, you tell people they don't need to be artistic geniuses to create great comics.
That's true.
What do you think about the idea of genius?
I don't know. You know, it's like the term "fresh bread," right? It could mean anything. ... I guess what I mean by that would be that they're able to do stuff in a way that I can't track back to how they were able to do that thing. Sometimes that even applies to 4-year-olds that I work with.
The specialness of really young kids' drawing is something you circle back to several times in your new book, Making Comics. You suggest that something happens around age 4 or 5 that shuts down that magical way of seeing. How would you characterize the impressive 4-year-old artists you've seen? What assumptions are those?
Via language, the only thing 4-year-olds can't do is write rapidly. They can do everything else. And so, what happens at about the age of 5, when people enter the school system, is that drawing and writing become split. That's when there's some idea that those two things need to be moved away from each other. Even to the point, you know, where we start looking at books that have more words than pictures.

Their drawings seem to come from the movement of their hands, rather than an intention. ... That's why I think that when kids [are] tested - to see if they're smart enough to go to some cool kindergarten or whatever - and they'll tell kids to do things like draw a circle, draw a triangle ... those ways of testing kids' aptitude are sort of false. And again, based on assumptions that people who quit drawing a long time ago make up about drawing.

That you know what you're going to draw before you draw. That's one of the things I've seen when people instruct kids to draw. ... They start by telling them how important the paper is. You don't want to waste paper. So, you want to sit and think carefully about what it is you're going to draw before you draw it. ... That's not how drawing works at all. I'm sure there is some kind of drawing that works that way, but mostly it doesn't. ...
That makes me think about what you said in the book about how drawing taps into stuff that maybe we didn't imagine we were going to tap into when we started. And how some people have an urge to cover up their drawings or destroy them completely.
When I'm making a comic, the drawing itself has a huge part in what happens with the [story]. Say I'm drawing a character, and I think maybe they're surprised. And when I go to draw their eyebrow, maybe my pen slips a little and it points down instead of up. So now the character looks angry. But [with] that expression of anger on their face, the story takes a different tack that I didn't expect. I've really learned to follow that - to follow what my hand is doing.
There are different goals.
One of the things you'll hear people say, when they tell me they wish they could draw, is, "I see it in my head, but I can't get it onto the page." And then I have to remind them that what they're seeing in their head is not a drawing. Drawing is something that has to come out of your body. And that horror they have is the same horror they might have if a bodily fluid was suddenly released, like suddenly they got a bloody nose or started drooling. It's that same shame about this thing that's out of their control that seems to be coming from them.

My task - and it can be done within 30 minutes - is to get them past that. ... The easiest way to do that is to have them close their eyes and draw. ... The trick is to show them that there's another kind of drawing that is very different than representational drawing.

Sometimes the drawing that's left over is not as important as the fact that it can transform your mood. You can transform the way that you feel about something. You can crack you up. I mean, you can crack yourself up with an index card and a letter pen. I think it's pretty interesting.

Etelka Lehoczky has written about books for The Atlantic, The Los Angeles Review of Books and The New York Times. She tweets: @EtelkaL.

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Cartoonist Lynda Barry: Drawing 'Has To Come Out Of Your Body'

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It's always a surprise to see whom the MacArthur Foundation selects to receive its annual fellowships - the six-figure awards known as Genius Grants - but one of this year's picks was particularly exhilarating: comic artist Lynda Barry. For anyone who read alternative weeklies from the '80s through the '00s, she was the eternally wise and strange mind behind Ernie Pook's Comeek.

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How to Use Infographics in the Classroom (Plus Templates)

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Keep reading to learn 10 different ways to use infographics in the classroom. You’ll also find infographic templates and video tutorials that you can use.

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We asked 18 families to show us what they have for dinner on a typical weeknight.

Credit... Lauren DeCicca for The New York Times

Wasa Khuhaprema, center, prepares dinner for her family, including her parents, with help from her two young sons; the boys cook at least one night a week. This night, they ate an omelet with carrots, stir-fried minced pork and eggplant, and southern Thai sour curry with cauliflower. Family members are expected to clean up after themselves.

Image

Credit... Saumya Khandelwal for The New York Times

The Osans - from left, Radha, Tara, Gurinder and Shikha - get dinner on the table at their home in Gurgaon, southwest of New Delhi, with help from a cook. The family eats around 9 p.m., and on this night, the meal consisted of palak paneer (spinach with cheese), raita, kadai aloo (potatoes with onions and spices), cucumber salad and roasted chapatis.

Claudia Bellucci, left, with her daughter, Fiamma, does most of the cooking for her family in Rome. For this meal, she picked herbs from her terrace for saltimbocca alla Romana (veal rolled with ham and sage). She also served homemade pesto with trofie pasta, a salad and baked tomatoes au gratin.

From left, Basmah, Mazin, Abdulmalik and Abdulrahman Khojandi eat their meals - a mix of prepared and homemade foods - at home most nights during the week. Dinner on this evening was smashed beans, shakshuka and masoob, a mixture of banana, bread, dates, cream and honey.

While many Haitian families eat their main meal at midday, the Charles family takes theirs in the evening, usually around 7 p.m. Youvelyne Rosier Charles, top left, prepares the meal: On this night, she made lalo with sos pwa nwa, a black bean sauce served with rice. Oranges and limes from the yard were used to marinate the meat and crab for the lalo. Ms. Charles' 4-year-old daughter, Meghan, wearing barrettes, led the family in a short prayer.

Marina Pajovic Devouge prepares an early meal for her two children, Klara and Maxime, in the family's apartment in Paris before her husband gets home. That night, the children ate some leftover roasted chicken from the butcher around the corner, paired with couscous from Picard Surgelés, a frozen-food store popular in France. They finished their meals with a Petit Suisse cheese and two slices of Comté for Maxime, and a slice each of Comté and Emmental for Klara.

Jarrod and Susie Opie and their three children live in Yallingup, on the Indian Ocean. On weeknights like this one, she cleans and he cooks: pan-fried nannygai, a local red snapper, with broccolini and sweet potato fries. The kids got extra fruits and vegetables.

Fleure Henket, left, cooks for her family four nights a week, limiting meat consumption to two nights a week. This evening, she served salmon with basmati rice and broccoli; dessert was a homemade custard with fresh raspberries and berry jam.

The Garzas get weeknight dinner on their table in Laredo with help from an Instant Pot. On this evening, they ate spaghetti with meat sauce, along with a green salad and garlic bread. They eat at home six nights a week; they'll sometimes order takeout if they have prayer group or baseball practice for Grayson, 4, in foreground.

Wednesday nights are for wraps at the Sokoh home in Lagos. Ozoz Sokoh, right, a food writer, with her daughter Riobo, flipped freshly made plantain flatbreads, which were served with chicken suya, lime-pickled onions and a tomato and eggplant salsa thawed from the freezer. Dinner included condiments galore, including peanut butter sauce, papaya chutney, hibiscus green chile sauce, mint and spring onion oil, tamarind ginger sauce, and beet and carrot sauerkraut.

Yasuko Iguchi picked okra from her garden to cook for her son, Masahiro Iguchi, a divorced father of three who comes with his children to eat dinner a few nights a week. On this evening they ate mebaru, a rockfish, with rice, miso soup and fresh fruit for dessert.

Carmem Massad Curi, bottom right, made picadinho, a traditional Brazilian stew made with beef, carrots and potatoes, which they ate with rice and a salad as they watched TV. Her husband, Luis Felippe, sets the table, and her children, Lucas and Giovanna, clear the plates.

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We asked 18 families to show us what they have for dinner on a typical weeknight. Credit... Lauren DeCicca for The New York Times Wasa Khuhaprema, center, prepares dinner for her family, including her parents, with help from her two young sons; the boys cook at least one night a week.

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Lipman, P. (2004). High stakes education: Inequality, globalization, and urban school reform. New York, NY: Routledge.

National Council of Teachers of English. (2009). Literacy learning in the 21st century. Retrieved from http://www.ncte.org/library/NCTEFiles/Resources/Magazine/CC0183_Brief_Literacy.pdf.

Palincsar, A.S., Cutter, J., & Magnusson, S. (2004). A community of practice: Implications for learning disabilities. In B. Wong (Ed.), Learning about learning disabilities (3rd ed., pp. 485-510). San Diego, CA: Elsevier Academic Press.

Wells, G. (2000). Dialogic inquiry in education: Building on the legacy of Vygotsky. In C.D. Lee & P. Smagorinsky (Eds.), Vygotskian perspectives on literacy research: Conducting meaning through collaborative inquiry (pp. 51- 85). New York, NY: Cambridge University Press.

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Exploring Digital Literacy Practices in an Inclusive Classroom

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Get insight into how a 21st century literacies perspective can support inclusive literacy practices that create a community of learners, use digital tools to make the curriculum accessible, and link academic goals with real‐world platforms.

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Aural Mento Text Video- "For Everyone" by Jason Reynolds

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Aural Mento Text Video- "For Everyone" by Jason Reynolds

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How To Create Animated Videos With PowerPoint | Beginners Guide

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This page provides information and resources for teaching multimodality in the composition classroom. While the focus of this page is on fresh ideas for new digital tools and revamped multimodal projects, you can also navigate to the Traditional Multimodal Projects section for information on infographics and research posters.

Table of Contents:
Digital Tools
Implementing Digital Tools with Multimodal Projects
Traditional Multimodal Projects
Digital Tools

Litmaps

Litmaps is a research visualization tool with an array of uses:

It can help students find new sources via its database of articles

It allows for source annotation, meaning that students could potentially create an interactive annotated bibliography in this program and share the link to their project with the instructor for review/grading.

It can make connections between sources using the "seed map" function, which autogenerates a map of all texts that cite and are cited by a single article.

The visual mapping feature literalizes the phrase "mapping the conversation." For visual learners, Litmaps could help students understand the web of conversation at play surrounding any given topic.

Litmaps requires that users sign up with an email address and password, but it does have a robust free version, so students do not have to pay.

The program was created with the sciences in mind, but its database retrieves a wide selection of articles from all disciplines. Though the program is generally used by grad students and researchers, it could be a fresh addition to an ICaP classroom to show students different types of information sharing and digital composition.

You can use this tool to have students create a visual, interactive annotated bibliography. See the Multimodal Assignments Using Digital Tools section below for more information on how to apply this tool.

Try out Litmaps here.

Scroll down or click here for assignment ideas using this tool.

Google Sites

Google Sites is a simple website building tool that integrates with Google Drive, Docs, Slides, Forms, etc. That means that students can easily embed a pdf or Word doc directly into their website with no coding or image hosting hassles. Students can directly type or copy-and-paste text or an image into the WYSIWYG editing interface.

This program allows students to practice visual design and digital composition practices through choosing the layout, color schemes, and content of their site.

A note on privacy: if students are concerned about the privacy of their work, they can choose not to publish their site. Instead, they can share the link to their unpublished site with you for review and grading. Students who do publish their site can choose an option that bars their site from showing up in search engines, which means that only those who have the link to the site will be able to view it.

You can use this tool to have students create a digital research portfolio or their end-of-semester final ICaP portfolio. See the Multimodal Assignments Using Digital Tools section below for more information on how to apply this tool.

Try out Google Sites here.

Scroll down or click here for assignment ideas using this tool.

Storyboardthat

Storyboardthat is an online storyboarding program that allows users to create comicstrip-style images.

Free Version Access:

Students can create up to two storyboards per week

Two free sizes available: 3 or 6 slides

Accessible, easy-to-navigate menu system

Features:

A variety of scenes and character models - accommodates diverse remediation topics

Some topics, such as "Science," are separated out for easy access

Search functionality and filters

Speech bubbles and text entry

Shapes and infographic-style design elements

You can use this tool for remediation assignments. See the Multimodal Assignments Using Digital Tools section below for more information on how to apply this tool.

Try Storyboardthat here.

Scroll down or click here for assignment ideas using this tool.

QR Codes

Students can create QR codes that direct viewers from a print component to a digital component of their work using a QR code.

Two ways to generate a QR code for free:

1. Generate a QR code with the QR Code Generator.

2. Using the Google Chrome browser on a laptop or desktop computer, right click anywhere on the page for which you'd like to generate a code. In the dropdown menu, select "Create QR Code for this page." Click "Download" when QR Code image is displayed.

Once the code has been generated and saved as an image, insert the image into any document, like presentation slides, a research poster, or a flyer. Viewers will be able to scan the code with the camera app on their phone and be directed to the linked webpage.

Scroll down or click here for assignment ideas using this tool.

Omeka

Omeka is an open source, accessible platform for sharing digital collections. It allows multiple users to collaborate on a gallery project or create their own gallery individually. This tool has a bit of a learning curve and a lot of functions, so using this tool for an assignment will require some in-class lessons on how to use Omeka.

Features:

website creation - the final product of using Omeka is a multimedia website

galleries - users can compile and display galleries of images, text, and documents

drawing connections - users make connections between gallery items (people, places, and things) by linking them to one another

mapping - the geolocation feature is used for mapping and commenting on specific locations; map entries can be tied to gallery items

How to Use Omeka:

Take a tour of Omeka here and watch the tutorial video for an introduction to using the platform.

Scroll down or click here for assignment ideas using this tool.

Multimodal Assignments Using Digital Tools

Interactive Annotated Bibliography (Litmaps)

During the research unit, assign an interactive annotated bibliography in place of a standard annotated bibliography:

1. Ask students to use Litmaps to create a blank map and individually add each of their sources to the map. They may even use Litmaps to find sources by looking at the recommended, connected articles. In fact, it is recommended to encourage students to find some of their sources using the recommended connections, because this will show students how sources are actually "in conversation" with one another.

2. Students can add notes to each source on their map. Ask them to write an annotation as a "note" for each source.

3. Using this tool, students may want to include more than the minimum required number of sources on their map (because this tool makes it easy to find related sources). Consider allowing them to include as many sources as they'd like, but only requiring them to write annotations for 7-10 sources.

4. Students can submit a Litmap by sending the instructor a link to their map. Students must make their map shareable and enable their notes (annotations) to be viewed by anyone with the link. The link can be copy-and-pasted into the textbox in your Brightspace assignment submission portal.
Alternatively, you may ask students to submit by embedding their Litmap into their work-in-progress Google Site research portfolio and sharing the link to their Google Site with you. (See below for more on research portfolio websites.)

Research Portfolio Website (Google Sites)

You can use Google Sites to create a research portfolio in a number of ways. This is an example of one way to integrate multimodality and digital tools throughout the entire semester, culminating in a digital research portfolio:

Unit 1 - learn how to use Litmaps when finding article for Scholarly Article Analysis
Deliverable : "seed map" created in Litmaps (to complement analysis essay)

Unit 2 - Use Litmaps in research process to find, document, and annotate sources
Deliverable : interactive visual annotated bibliography

Unit 3 - Use Google Sites to compile documentation of research process and results
Deliverable : research portfolio website

Elements for Students to Include in the Research Portfolio Site:

Research question

Litmaps image + link to interactive annotated Litmap

Research paper

Gallery of images

About the author (professional bio)

Research narrative (reflective)

Click here for a Sample Research Portfolio created with Google Sites.

Remediation Project (Storyboardthat)

Students can use Storyboardthat to remediate one of their projects to be centered around visual storytelling:

Greater emphasis on creative elements

Can be a hybrid between a more traditional infographic/research poster

Works especially well with the Rhetorics of Narrative theme

A few assignment ideas:

Narrative storyboard - narrativize one or two elements of their argument

"Dynamic" infographic - combine the genre of a storyboard with an infographic

Script with visuals - add a more formal writing component to the storyboard

ELI5 ("Explain it Like I'm 5") - inform a younger audience on a complex topic

On-Campus Research Sharing (QR Codes)

Give students the opportunity to showcase their multimedia project to a live Purdue audience. This project may work best for courses with a local Purdue or advocacy theme. Students can post a print flyer (with a QR code linking to a digital component with more information) in a location that they have rhetorically reflected upon.

Archive/Gallery (Omeka)

Students can create a digital archive with galleries, maps, images, text, and audio with this free software, making it the ultimate multimodal project tool. Explore the Omeka program yourself before deciding how to create an assignment using this software. You may assign group projects or even a shared project that the entire class contributes to.

Examples of Omeka projects:

Omeka has a wide range of users, from students to museum curators and academic DH project teams. Here are a few example sites created using Omeka--though keep in mind that individual student projects will not be nearly as robust.

Traditional Multimodal Projects

Traditional multimodal projects include the infographic, research poster, podcast, and TEDTalk, each of which has a standard ICaP assignment template you can modify and use in your course. Find the assignment templates here.

Infographics

Programs for Creating Infographics:

Piktochart

Canva
a free online program for designing visual media including infographics. Canva'sDesign Schoolincludes tutorials and video courses on various elements of design and how to use the site's tools.This pagegives an overview of how to use Canva to create an infographic.

Resources for Learning about Data Visualization:

SHARC - a free online tool teaching the SHARC approach (Scale, Hierarchy, Access, Readabliity, Color) to data visualization. This site focuses on creating charts students might use within their infographic. Students may explore this site on their own, or instructors may utilitize content for lesson plans.
Research Poster Templates:
Research Poster

Resources:

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Multimodal Projects - College of Liberal Arts - Purdue University

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This page provides information and resources for teaching multimodality in the composition classroom. While the focus of this page is on fresh ideas for new digital tools and revamped multimodal projects, you can also navigate to the Traditional Multimodal Projects section for information on infographics and research posters.