# data[].attributes.headline
Additional padlet: Classroom reminders for students

# data[].attributes.subject
Additional padlet: Classroom reminders for students

# data[].attributes.headline
Flexible gallery space to display student work

# data[].attributes.subject
Flexible gallery space to display student work

# data[].attributes.headline
Student makerspace to encourage iteration and experimentation

# data[].attributes.subject
Student makerspace to encourage iteration and experimentation

# data[].attributes.headline
Flexible seating for group work / pod based learning

# data[].attributes.subject
Flexible seating for group work / pod based learning

# data[].attributes.headline
Flexible seating / workspace based classroom

# data[].attributes.subject
Flexible seating / workspace based classroom

# data[].attributes.body
Creating an environment that encourages a discussion both inside and outside of the maker space is extremely important. Students should feel comfortable to share work for both in-class assignments and personal work. Yo Teach is a free discussion forum where students can post questions, photos, and videos. Having this platform can be great to form relationships beyond the classroom, and create a space available 24/7 for students to get feedback on projects immediately (great for holiday breaks, long weekends, or evenings). This can be great for both students and teachers. As the students are interacting with each other, there is less reliance on you (the teacher) to be the sole provider of critique.

# data[].attributes.body
- in a dialogue with our students.
- responsible for creating a healthy learning environment.
- open-minded and willing to learn ourselves.
- supportive of reasonable student endeavors.
- constantly aware that our words and actions hold value.
- only human beings.
- here for each other.
- here for our students.
- aware that we are not dictators of our classrooms.
- never going to let outside stress project onto students.
- encouraging meaningful debates and conversations that do not fall under the category of bullying.

# data[].attributes.headline
During your own lesson, being a bigger distraction than a student who is losing focus is probably not a good idea.

# data[].attributes.subject
During your own lesson, being a bigger distraction than a student who is losing focus is probably not a good idea.

# data[].attributes.body
https://thecornerstoneforteachers.com/truth-for-teachers-podcast/how-to-act-rather-than-react-to-off-task-behavior/

# data[].attributes.headline
Using resources and taking classes on current realities

# data[].attributes.subject
Using resources and taking classes on current realities

# data[].attributes.body
Constantly checking ourselves and each other to address issues of importance.

# data[].attributes.attachment_link.readable_text
Many marginalized students share a similar experience entering a new classroom; they walk in, scan their surroundings, cautiously interact with new people, and assess if you and your room are a safe space. Whether it's from their own personal experiences and/or societal norms, some students feel their identity is not welcome in your art room. As student populations shift in our country at a much more rapid rate than the teaching population, understanding marginalized identities, and implementing teaching strategies to support them in the classroom is critical to being a good teacher.

So, what is a marginalized identity?

The first step to supporting students is understanding your marginalized students. A student's identity is made up of several factors and has many layers. The extent to which a student is impacted by each of their identities also varies based on their lived experience.

According to Charter For Compassion, a marginalized identity is anyone who feels or is, " underserved, disregarded, ostracized, harassed, persecuted, or sidelined in the community." Possible groups include but are not limited to:

immigrants, refugees, and migrants

women and girls

victims of human trafficking

people struggling with mental illness

children and youth

people of differing sexual orientation (LGBT+ community)

people of differing religions

people with developmental delays

those with a physical disability

incarcerated people (and their families)

people released from incarceration

people of low socioeconomic status

unemployed people

people of a particular ethnicity/country of origin

people with a differing political orientation

So what can teachers do?

Being nice isn't enough. Students deserve a teacher who is actively honoring their identity in the classroom. Maslow's Hierarchy of Needs illustrates the importance of students feeling safe, physiologically and physically, before they can learn and reach their potential. What's required for personal safety is dependent on the person. But to get you started, here is a list of common approaches you can immediately implement into your classroom.

Hanging Classroom Visuals

One of the easiest and most technical approaches is to fill your space with imagery and messaging supportive of the identities of your students, particularly your marginalized students. Students develop their first impression as they look around your classroom and wait for you to begin class. Before you even have a chance to speak to the class, students are internalizing the messaging in your room.

So, help their first impression be a supportive one by hanging posters and graphics that affirm their identify and send the right message. Students can connect with images of artists, subject matter, historical images, or images of support like Hate Has No Home Here g raphics. Scan your room and ask, can each of my students connect personally with something in this room? What messages do the images in my room send and to whom?

Use Supportive Language

Words matter. The words you use and don't use with students play a critical role in supporting their identity. While you might initially think about direct conversations with students, marginalized students can be equally impacted when they overhear a teacher's comment to another student. Or, if they observe no action by the teacher for student comments. Help students by being aware and informed of the various sub-groups students can represent. Be able to identify stereotypical or biased imagery in student work or reference materials and address them accordingly. Have an understanding of their culture, so you use appropriate language and terminology.

Providing a Culturally Relevant Curriculum

Honoring and acknowledging the identities of your students is a year-long responsibility and not only reserved for identified months like Black History or Pride month. Use your curriculum to help all students see themselves in art by introducing them to a diverse group of artists and artwork. Provide choice and options for prompts with all of your projects to increase engagement and help all students connect with their art. When you limit students to one prompt, you're assuming every student has a positive connection, and you might be unaware of potential triggers. For example, the concept of memories can sound positive, but not for students with trauma.

To give you a head start, check out these articles for a list of Black Female Artists and LGBTQ+ Artists you should know.

Removing Existing Barriers

Rather than focusing on the students in your room, consider who is missing and try to identify potential barriers blocking their access. One approach is to compare how your art student population aligns with the rest of the building and identify any gaps. You could also review any policies or practices to see how those could be unintentionally blocking access for students. For example, lab or material fees could be impacting your students with financial struggles. Or if art is scheduled at the same time as reading or a support class, those students are now prevented access. Once you have recognized a potential barrier, strategize the best approach for change, including supporting data and support from your administration.

Make the Art Room Fully Accessible

Proactively making your classroom accessible and inclusive for students with special needs can send a more welcoming message to a whole population of students. Start by making sure your physical space is open and free of clutter to help students with physical challenges better navigate your room. Then, review your curriculum and develop new projects through a lens of universal design, which includes common accommodations in the lesson construction. Once you're prepped and ready, meet with your administrator and a special education representative to share your enthusiasm and preparations for teaching all students.

The art room should be a safe and inclusive space for all students. Unfortunately, this is not the case for many students as they enter your room with a lifetime of messaging and experiences that say their identity is not welcome. However, intentionally supporting your students by honoring who they are can help your art room become a safe space. As you implement these new ideas, continue to seek out additional resources and opportunities to learn about the cultures of the various sub-groups represented in your room to help you be a better teacher for your students.
How can schools help teachers better understand the identities of their students? What resources exist to help teachers learn about new artists from other cultures?

# data[].attributes.attachment_link.title
How to Better Support Your Marginalized Students - The Art of Education University

# data[].attributes.attachment_link.description
Many marginalized students share a similar experience entering a new classroom; they walk in, scan their surroundings, cautiously interact with new people, and assess if you and your room are a safe space. Whether it's from their own personal experiences and/or societal norms, some students feel their identity is not welcome in your art room.

# data[].attributes.headline
Integrating Technology into Everyday Tasks

# data[].attributes.subject
Integrating Technology into Everyday Tasks

# data[].attributes.body
Students will have access to materials such as iPads and Computers with Internet access and creative cloud software, to use these tools to help them brainstorm, design, and create original work.

# data[].attributes.attachment_link.readable_text
About / Help

This idea generator is a funky little doodad that will train your brain to be more creative through the use of random words.

Generate random words and images then use them in a variety of activities to help your creativity flow. Move the items around, resize them, refresh them and let it guide your mind as it wonders.

Double Click on a random word or image to change it.

Scroll on a random word or image to resize it.

Right click on a random word or image to rotate it.

Try pressing F11 to go into Kiosk mode.(F11 again to get out)

You can find a whole heap of ideas for using this random word generator at our main site Creativity Games but here are a few ideas to get you started:

Feel free to use this the Idea Generator however you like, there are no rules.

If you find this useful, remember to share it round so others can benefit too.

Images used in this idea generator are taken from the Noun Project.

# data[].attributes.attachment_link.description
This idea generator is a funky little doodad that will train your brain to be more creative through the use of random words. Generate random words and images then use them in a variety of activities to help your creativity flow. Move the items around, resize them, refresh them and let it guide your mind as it wonders.

# data[].attributes.body
A series of interactive sculptures, physical challenges and invitations, embedded with science and cultural information.

# data[].attributes.attachment_link.readable_text
Save the Date: 02.10. - 04.10.2020 Konferenz in Wiesbaden

Zwei Bäume: KuKuk und Schloß Freudenberg mit gemeinsamen Wurzeln: Die Sinnhaftigkeit und Sinnstiftung unserer Unternehmungen. Hier die Gestaltung von Naturerlebnissen der besonderen Art, von Entwicklungsräumen für Kinder wie Spielplätze und Schulhöfe, geschaffen aus Holz, das uns die Möglichkeiten bietet, dort das Erfahrungsfeld zur Entfaltung der Sinne und des Denkens zur Sinnespflege und Sinnesforschung. Die Schatten unserer Kronen schützen vor Normalität, Konvention und Gewohnheit.

Und nun ernten wir gemeinsam unsere Früchte - von den Bäumen der Erkenntnis - und ermöglichen zusammen einen Dialog mit Bäumen. An 3 Tagen eröffnen wir die unterschiedlichsten Sichtweisen auf das Wesen Baum. Referent*innen stellen ihre Arbeitsergebnisse und Forschungsfragen zur Verfügung. Wir üben mit Bäumen und suchen nach einer gemeinsamen Sprache.

Veranstaltungsort: Schloß Freudenberg, 65201 Wiesbaden
Moderation: Beatrice Dastis Schenk (Schloß Freudenberg) und Robin Wagner (KuKuk)

Weitere Informationen hier.

# data[].attributes.attachment_link.title
KuKuk GmbH Stuttgart - Spielraum - Bewegungsraum - Erfahrungsraum - Kunstraum - Naturraum << ::

# data[].attributes.attachment_link.description
Save the Date: 02.10. - 04.10.2020 Konferenz in Wiesbaden Zwei Bäume: KuKuk und Schloß Freudenberg mit gemeinsamen Wurzeln: Die Sinnhaftigkeit und Sinnstiftung unserer Unternehmungen. Hier die Gestaltung von Naturerlebnissen der besonderen Art, von Entwicklungsräumen für Kinder wie Spielplätze und Schulhöfe, geschaffen aus Holz, das uns die Möglichkeiten bietet, dort das Erfahrungsfeld zur Entfaltung der Sinne und des Denkens zur Sinnespflege und Sinnesforschung.

# data[].attributes.body
Ideally Bilingual, but also creating space through written word, digital messaging, performance, to hear from all voices.

# data[].attributes.headline
Walls as Texts, Murals of dynamic content. 

# data[].attributes.subject
Walls as Texts, Murals of dynamic content. 

# data[].attributes.body
The classroom will be layering media onto the walls as a way to reflect process and create cross pollination of ideas, inspiration. Integrating digital mirrioring surfaces as well as traditional cut & paste brown paper.

Visible Thinking Project

# data[].attributes.attachment_link.readable_text
Visible Thinking is a flexible and systematic research-based conceptual framework, which aims to integrate the development of students' thinking with content learning across subject matters.

Visible Thinking began as an initiative to develop a research-based approach to teaching thinking dispositions. The approach emphasized three core practices: thinking routines, the documentation of student thinking, and reflective professional practice. It was originally developed at Lemshaga Akademi in Sweden as part of the Innovating with Intelligence project, and focused on developing students' thinking dispositions in such areas as truth-seeking, understanding, fairness, and imagination. It has since expanded its focus to include an emphasis on thinking through art and the role of cultural forces and has informed the development of other Project Zero Visible Thinking initiatives, including Artful Thinking, and Cultures of Thinking.

# data[].attributes.attachment_link.description
Visible Thinking is a flexible and systematic research-based conceptual framework, which aims to integrate the development of students' thinking with content learning across subject matters. Visible Thinking began as an initiative to develop a research-based approach to teaching thinking dispositions. The approach emphasized three core practices: thinking routines, the documentation of student thinking, and reflective professional practice.

# data[].attributes.headline
Alternative Forms of Gathering: Circles, Pods, movement & interaction games, dyads for conversation and sharing/reflection

# data[].attributes.subject
Alternative Forms of Gathering: Circles, Pods, movement & interaction games, dyads for conversation and sharing/reflection

# data[].attributes.attachment_link.readable_text
FROM THE VIEW OF SCHOOL ADMINISTRATORS Liana Thompson, M.Ed. Lynn Abbey, M.Ed. For the past 9 years, my training partner Lynn and I have been sharing Tribes in our school district in southern Ontario, Canada. Over these years we've trained hundreds of staff members in the Tribes process, with ... [Read More...]

# data[].attributes.attachment_link.title
Tribes Learning Community - A New Way of Learning and Being Together

# data[].attributes.attachment_link.description
FROM THE VIEW OF SCHOOL ADMINISTRATORS Liana Thompson, M.Ed. Lynn Abbey, M.Ed. For the past 9 years, my training partner Lynn and I have been sharing Tribes in our school district in southern Ontario, Canada. Over these years we've trained hundreds of staff members in the Tribes process, with ...

# data[].attributes.headline
Use technology as a tool, not a distraction.

# data[].attributes.subject
Use technology as a tool, not a distraction.

# data[].attributes.attachment_link.readable_text
Contributing Editor's Note: This is the first of a series of columns about specific teaching experiences and strategies. The contributing editor welcomes submissions of your strategies in your fields.
I teach my American history survey course backwards. I don't mean, of course, that I stand for the entire semester facing the blackboard (as my fifth grade math teacher did), but that I start in the present and work my way backwards-at least part of the time. I organize my survey into three parts, one definitely out of order: Part I: 1960-present; Part II: 1850-1900; Part III: 1900-1960.

Most students in this class will never take another history class so this is it, this is my last chance to persuade them that history is worth their taking seriously. I know that I won't persuade them (nor educate them, really) if facing them in their valedictory experience I simply try to jam into them everything they should know. Instead, I try to demonstrate that knowing history helps us understand ourselves first, then to understand our parents (and the generation relationship), then other ancestors, perhaps our own, but more often our collective ancestors. The point isn't to convince the students that they stand at the bottom of a funnel, the inevitable result of all that has gone before, but the reverse. We are who we are for complex historical reasons. We make decisions in the present in particular ways and for particular reasons. Both are true of people in the past, too. Knowing ourselves helps us understand them and knowing them helps us understand ourselves-one way or another.

My Method

Day 1: First thing, I ask the students to list 10 issues that most concern them. They come up with lots of different things: world peace, pollution, AIDS, racism, paying for college, gaining weight, trying out for the golf team, relationship troubles, getting good grades, homesickness, a job, drugs, alcohol. Any issue is eligible because my goal on this day is primarily to get their attention, to announce that we're doing something different here, to get each person to say one thing out loud, to put a premium on what they bring to the class. Their assignment for the next class: 1) find out from five friends their ten issues; 2) read the last chapter in the textbook (I am currently using Brinkley, The Unfinished Nation, Concise edition).

Day 2: From the interviews we come up with a collective list of "our" issues. I make sure that we have a mix of what they would expect to see on such a list (wars, peace, AIDS). I also make sure to keep a couple of what seem like more personal and particular issues (getting good grades, dieting). My premise-and my belief-is that if studying history is worthwhile, it has to say something about both.

Then, turning to the textbook, we start the process of identifying the most important people, events, ideas, and trends in the last 20 years. We spend nearly three days getting clear about the difference between Iran and Iraq; what exactly is impeachment? What did Ronald Reagan stand for? Who is Bill Gates and how big is the Internet superhighway? When has the economy been up and when down and why? What's happening to levels of poverty, to American involvement in the world, and to race relations?

By the end of Day 4 I want to have on the blackboard a list of their personal issues and a list of recent historical events. Then we set about the task of relating one list to the other. What on the historical events list helps us understand why so many students worry about their weight or have anorexia/bulimia? What on this historical list helps us understand why students care so much about grades? What on the list helps us understand why students don't take much interest in contemporary politics? We feel our personal issues so personally, but often, I'm arguing, they grow pretty understandably from the times in which we live. We stand in a particular historical time and, as such, we are also "historical."

To emphasize another of my concerns, we then shift emphasis. OK, how would your lists-either personal or historical-change if you changed something about yourself? If you were born in a different part of the United States, of a different ethnicity or religion or race or class, etc.? We're shaped by our times, but not all people are shaped in the same ways.

On Day 6, we shift to their parents' generation. Most of my students are of "traditional" college age, so I can use this convention of them/their parents as a shorthand language for comparing the 1960s and the 1990s. They've been reading Philip Caputo's A Rumor of War (the single most successful book I've ever used in the survey) and textbook chapters about the 1950s and 1960s. They've also been assigned to interview their parents (or another person who came of age then) to find out what their list of issues would have been in 1968.

We repeat what we did. We make a list of their parents' issues. Then we work our way through the issues factually (Vietnam War, the difference between the Black and the Gray Panthers, Richard Nixon, John Kennedy, Gloria Steinem, etc.). We then try to understand two things: their parents' issues in relation to their historical context and then to understand generation differences.

We make a list of Caputo's issues. I bring in people like Ann Moody (Growing Up in Mississippi) and Russell Means of the American Indian Movement. I talk about some of my own issues when I started college in 1968. Then we look at the different "lessons" that we might well learn from our historical contexts. I learned from Kennedy, Johnson, King, and Pope John XXIII that individuals could make a difference. I learned from the civil rights movement to question convention; I learned from the women's rights movement that change could happen. I learned that politics were really important. What lessons have they learned from their context? Who are the individuals who matter (Bill Gates?)? What did they learn from the Gulf War or American foreign position generally? From Bill Clinton and George Bush? What are the lessons of the civil rights movement now? Of course I vote; of course I read the newspaper-given the lessons of my generation. Of course few of them bother to listen to the news on television (does't everyone lie anyway?).

On Day 12 my students hand in their first take-home exam. It comes in three parts-something like this:

1. Pick one of the recent historical events and explain it. Then explain one of your issues in light of that event.

2. Pick one event of your parents' generation and explain it and then explain how it shaped their lives.

3. Write a letter to the New York Times in 1968 from Philip Caputo explaining his position on the Vietnam War; write a second letter from a person who disagrees with Caputo, making sure to explain the nature of their disagreement.

Day 13. Finally, 1860. Different date, same sequence. It's now more complicated because the students can't draw on their personal experience. Drawing on the textbook assignment, we make one list of the important historical events. Then, I want them to use their imaginations to come up with a list of the issues that would have concerned them then. I also want them to stay grounded so I ask them only to change time periods but to keep their same age, gender, ethnicity, same religion, class, location, etc.

Together we figure out, for example, a list of the issues that would concern an 18-year-old white woman in Minnesota in 1860 and an 18-year-old white man in Chicago in 1860. It is always a stretch and some students don't "fit"-my Hmong student, for example, would have had no Hmong equivalent, of course, so we generalize out to "immigrant" which gives an opportunity, too, to talk about different immigrants at different times.

To make my other point about differences within a generation the students also read Frederick Douglass's Up From Slavery or Harriet Jacobs's Incidents in the Life of a Slave Girl, or Gary Anderson's Little Crow. What issues concerned them?

We compare them with each other, with the Minnesota white woman, and the Chicago white man; with the students' parents; with the students themselves. How and why are we different? How and why are we the same? Which comparisons are helpful, which distorting?

The exam, again, asks them to explain some historical event or another and to see how it shaped the experiences, opportunities, ideas, and lives of some person in 1868.

In Part 3 of the course, we turn to 1929 or 1936 or 1948-another date, another set of two lists, another exam about the relationship between people and their historical contexts. In each case we try to balance and to relate the particular and the general, the personal and the historical, the generation and the differences within the generation. You get the gist, no need for more details.

Why I Do It This Way

1. Most of us are naturally interested in what's related to ourselves, I think. Of course, I'd love for students to be interested in American history for the simple pleasure of the pursuit, but I'll. take interest wherever I find it (or can generate it). If students are interested in themselves, I'll. start there.

2. Students often complain that courses that purport to end in the present-1865 to the present-rarely do. Such courses are something like picking up a mammoth biography that walks us day by day through a person's childhood, adolescence, early adulthood, but trails off (or wears us out) before getting to the adulthood that had drawn us to the book in the first place.

3. Even if we talk at 747 speed, we can't cover all the "content" that our students need. If we try to deliver that much stuff our students will drop it when they walk out the door anyway.

4. What we most need to impart to our students is the sense that history matters and some idea of how it matters, what it attempts, and what it explains.

5. If we conduct this last class in the way that our students are used to a history class being conducted (and that Hasn't converted them into historians in the past), we've lost our last chance to "save" them.

6. It works. Students learn surprisingly more than I would have expected, because they've taken it in. They've stood in another time and tried to look out at it from the eyes of another person. It also works in that students get engaged and stay engaged-not every one and not every day, but enough to persuade me to keep trying this method for the time being.

# data[].attributes.attachment_link.title
A Teaching Strategy: Teaching U.S. History Backwards

# data[].attributes.attachment_link.description
Contributing Editor's Note: This is the first of a series of columns about specific teaching experiences and strategies. The contributing editor welcomes submissions of your strategies in your fields. I teach my American history survey course backwards.

# data[].attributes.body
designEARTH, to go outside and engage with the actual community, ecology, and society. Return to classroom for reflection, synthesis, and studio learning.

http://www.designearth.in/community-education

# data[].attributes.body
The Adobe creative cloud offers an extensive variety of programs, including:
-Photoshop/ /Photoshop Express
Edit, composite, and create    beautiful images, graphics, and art on desktop and iPad.
-Lightroom
Powerful photo editing, anywhere you are.
-Illustrator/ /Fresco
Create beautiful vector art and illustrations.
-Premiere Pro// Premiere Rush
Work with the industry standard in pro video and film editing
-After Effects
Cinematic visual effects and motion graphics.
-Audition
Bring stories to life with audio.
-Fuse/ /Character Animator
Create and animate your 2D characters in real time.

# data[].attributes.headline
Use Classroom as space to directly engage with social elephants, deal with the elephants in the room.

# data[].attributes.subject
Use Classroom as space to directly engage with social elephants, deal with the elephants in the room.

# data[].attributes.attachment_link.readable_text
When SNCC began its with relationship Myles Horton in 1961, they drew on someone with decades of experience in training activists. As founder and director of the Highlander Folk School (today known as the Highlander Center for Research and Education), Horton trained activists of both the Labor Movement and the Civil Rights Movement. SNCC had its earliest voter registration training sessions at Highlander.

Born in 1905 in the Appalachian community of Savannah, Tennessee, Horton's family was poor but socially active. The family, and through them Myles Horton, shared a deep antipathy toward exploitation with many people in Applachia: "My first feeling about the wage system was that it was very unjust for somebody to have to work so hard and get so little, and for somebody else to have so much."

Horton left home at 15 to get a high school education while also working as a laborer. After high school, he completed undergraduate studies at Cumberland University. He also taught as a Vacation Bible School teacher with the Presbyterian Church. At one point in class, he asked the participating rural workers what their lives were like, and he listened to them intently. This reflected an approach to education that was a guiding principle throughout his life: education wasn't exclusively about giving information to people but also about discovering a perspective with them. This would greatly influence SNCC's approach to organizing.

That kind of principle had inspired Horton to establish the Highlander Folk School in the fall of 1932. Having investigated the folk high schools for rural workers while in Denmark in 1920, Horton sought help among his network of mentors in the United States to start a similar program in the foothills of Tennessee. It was not welcomed by the state. After decades of hostility including intense red-baiting, the state of Tennessee finally revoked Highlander's license in 1961 and seized its property in Monteagle.

Nonetheless, reopening Highlander in Knoxville as a research and educational center, Horton continued his efforts at providing a critical training base for activists. He sought out activists already agitating for desegregation and other civil rights. For SNCC's Bob Moses, Curtis Hayes, Sam Block, and Hollis Watkins, who arrived for training in 1962, Highlander was a critical beginning in registering Mississippi's voters. Horton also helped COFO organize Freedom Schools in Mississippi.

Horton was radical in his concern for the poor and that concern led him directly into involvement with the Civil Rights Movement. Even before SNCC activists began their relationship, Martin Luther King, Septima Clark and Rosa Parks had established relationships and involvement with Horton and Highlander.

At the end of one training workshop session, Horton reminded the SNCC activists to find the balance between challenge and respect. A Delta farmer had concrete fears behind his reluctance to vote, but Horton encouraged SNCC field secretaries to respect that fear and then challenge him. Another workshop attendee counseled them to "go to their homes, eat with them, talk the language they talk...then go into your talk about the vote."

The thing about Highlander was that the real answers never came from Highlander but from the activists themselves who went there. At the end of their training session under Horton, the SNCC activists devised their own plans for entering into and mobilizing communities in the Magnolia State. The style and success of the organizing was their own, but it didn't come from out of nowhere. It was informed by their encounter with organizing methods like Horton's. Without such methods, communities would have been led by SNCC, instead of leading the way themselves.

Sources

Myles Horton with Judith Kohl and Herbert Kohl, The Long Haul: An Autobiography (New York: Teachers College Press, 1998).

Myles Horton, The Myles Horton Reader: Education for Social Change, edited by Dale Jacobs (Knoxville: The University of Tennessee Press, 2003).

Aimee Isgrig Horton, The Highlander Folk School: A History of its Major Programs, 1932-1961 (New York: Carlson Publishing Inc., 1971).

Aldon Morris, The Origins of the Civil Rights Movement: Black Communities Organizing for Social Change (New York: The Free Press, 1984).

# data[].attributes.attachment_link.description
When SNCC began its with relationship Myles Horton in 1961, they drew on someone with decades of experience in training activists. As founder and director of the Highlander Folk School (today known as the Highlander Center for Research and Education), Horton trained activists of both the Labor Movement and the Civil Rights Movement.

# data[].attributes.headline
Use Social Context as starting point for Curriculum: Why are you and your community where they are? Where are you geographically & historically? 

# data[].attributes.subject
Use Social Context as starting point for Curriculum: Why are you and your community where they are? Where are you geographically & historically? 

# data[].attributes.attachment_link.readable_text
Transformational educator, pedagogical thinker and radical practitioner

Who was Paulo Freire?

Paulo Freire's work has influenced people working in education, community development, community health and many other fields. Freire developed an approach to education that links the identification of issues to positive action for change and development. While Freire's original work was in adult literacy, his approach leads us to think about how we can 'read' the society around us.

For Freire, the educational process is never neutral. People can be passive recipients of knowledge - whatever the content - or they can engage in a 'problem-posing' approach in which they become active participants. As part of this approach, it is essential that people link knowledge to action so that they actively work to change their societies at a local level and beyond.

In the video above, Freire talks about the importance of curiosity, of critical thinking and ultimately of hope. It is a profound reflection on learning.

Many of Freire's writings are available in English. The most well known of these, Pedagogy of the Oppressed (1972) has been very influential but new readers of Freire may find The Politics of Education (1985) a more accessible text. Key concepts associated with Freire include the contrast between "banking" education (in which facts are deposited into the minds of passive students) and problem-posing education; the notion of conscientization (which is much more than simply awareness-raising); and the idea of the "culture of silence", in which people are unable to reflect critically upon their world - they become fatalistic and dominated.

A typical feature of Freire-type education is that people bring their own knowledge and experience into the process. Training is typically undertaken in small groups with lively interaction and can embrace not only the written word but art, music and other forms of expression.

# data[].attributes.attachment_link.description
Transformational educator, pedagogical thinker and radical practitioner Paulo Freire's work has influenced people working in education, community development, community health and many other fields. Freire developed an approach to education that links the identification of issues to positive action for change and development.