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Content Folder with Various Resources from a Collaborative Group on Twitter.

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Content Folder with Various Resources from a Collaborative Group on Twitter.

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Social Studies Collaborative Drive - Google Drive

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You can use this rubric to assess your own projects

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Project Based Teaching Rubric

This rubric describes beginning, developing, and Gold Standard levels for Project Based Teaching Practices for K-12 teachers and features detailed, concrete indicators that illustrate what it means to teach in a PBL environment.
Teachers and school leaders can use this rubric to reflect on their practice and plan for professional growth.

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Project Based Teaching Rubric This rubric describes beginning, developing, and Gold Standard levels for Project Based Teaching Practices for K-12 teachers and features detailed, concrete indicators that illustrate what it means to teach in a PBL environment. Teachers and school leaders can use this rubric to reflect on their practice and plan for professional growth.

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September 11, 2012
A Math Teacher's Journey to PBL

Over two years ago, Jennifer Rust, a math teacher at John Dubiski Career High School in Dallas, Texas, attended the first day of a three-day Buck Institute for Education "PBL 101" workshop. She came with an open mind, but had her fair share of reservations about PBL's applicability to her teaching practice.

During the first few hours, the facilitating BIE National Faculty member asked the workshop participants to share their vision for the "ideal graduate" by generating a list of characteristics the "ideal grad" should possess. Jennifer and her colleagues brainstormed a lengthy list. The descriptors included: "innovative, collaborative, oral communicators, interpersonal communicators, creative, inquisitive, problem-solvers, critical thinkers, ethical, and entrepreneurial." The group discussed the fact that their list was largely composed of "soft skills" or 21st Century Skills, not academic knowledge and skills based on the TEKS (Texas Essentials for Knowledge and Skills) standards, then the facilitator posed the question, "How can we teach both?"

Jennifer considered this idea and reflected on her practice. Certainly, she wasn't opposed to the idea of teaching 21st Century Skills, but she teaches math courses. She adheres to her scope of mathematical learning outcomes, prescribed by the TEKS. She doesn't teach presentation, collaboration or critical thinking. She teaches math. Jennifer raised her hand, and respectfully shared her doubts. How could she build these skills in her classroom, with so much math to "cover?" What about tests?

Despite her reservations, Jennifer dug into the three-day workshop and planned her first project. The project, "We Built this City," was for her Geometry class. It would address math concepts including lines, rays, perpendicular lines, parallel lines, intersecting lines, similar figures and irregular polygons. In short, students would be asked to design their own city grid plans that included all of the required content.

Jennifer, who is now a PBL veteran, looks back on this "project" and laughs. She says, "it really wasn't a "PBL unit," rather it was a pretty simple applied learning task." Jennifer is now very familiar with the Buck Institute's model for Project Based Learning. Now she carefully assesses each of her projects for their integration of the Eight Essential Elements using BIE's project design rubric.

After the We Built this City project, Jennifer noted that the class performed as well or better than her class in the previous year on the common district assessment for the addressed learning outcomes. These test results reassured her that PBL was an effective delivery for content as well as 21st century skills. With the stakes lowered, Jennifer decided to give PBL another try.

For her second project, she addressed proportions, scale and similar figures in a project called " The Math of Art." Her students were asked to select a famous architectural monument and to build a mathematically similar scale model of it. Then, they explored the question, "Is the model as aesthetically pleasing as the original?" - essentially asking if a mathematically similar model of the Parthenon is as cool as the actual Parthenon, and if not, why not? She also decided to teach and assess the 21st Century Skill of Collaboration. When the project was complete, Jennifer again found that students had performed as well or better than in previous years on the assessed learning outcomes AND she had addressed a 21st Century Skill. A win-win.

By now, Jennifer was well on her way in what we could call a PBL journey. We know that PBL takes practice. It takes time. It takes an evolution for many educators. Why is that? Teachers go to professional development all the time. They learn about Cornell notes and they take that new skill back to the classroom and put it into practice. Simple. Why is PBL so much bigger?

PBL is a journey because it is a set of practices that sit on a foundational paradigm - beliefs and philosophies about how people learn. In PBL, learning is not the result of knowledge being poured into an empty head; learning occurs when students actively build understanding through meaningful inquiry into authentic and relevant problems, challenges, controversies, simulations, investigations and scenarios. We know that our beliefs impact practice. So, if our beliefs don't evolve, our practices won't evolve. Jennifer began to see the evidence of learning in her new practices; this encouraged her to deepen her PBL practice. As her practice deepened, so did student learning. Jennifer's practices and paradigm were evolving in tandem.

Now Jennifer is becoming a hotbed of ideas for new projects. When she looks at her standards, she thinks about how to "PBLize" their delivery. Her third project, for her Statistics course, was called " Just the Facts Ma'am." The driving question: "How can we implement a statistical survey that is both valid and ethical?" In addition to her Statistics content, Jennifer explicitly taught and assessed the 21st Century Skill of presentation.

In the project, one student group decided to investigate the school's annual fundraiser to the Giving Tree charity, in which students pay $2 to be able to wear jeans to school for the day. The team designed a valid and ethical survey to find out if students were paying the $2 to wear jeans OR because they were genuinely interested in supporting the cause, and used the results to show how the school could be more successful with the fundraiser in subsequent years.

Jennifer's fourth project, for her Advanced Quantitative Reasoning course, was transformative because Jennifer went from teaching math for math's sake to teaching math as a means to enable real-world impact. This project, " The Math of Giving," addressed her budgeting unit. In this unit, students develop budget models to show the interrelationship of income, expenditures, assets, debt, interest, etc. Jennifer contextualized this content by looking at two prominent global organizations - Heifer International and Kiva. Both organizations help people in underdeveloped nations around the world, by providing livestock or micro-loans. She wondered, How does this aid impact the recipients and their communities? Which provides a bigger impact? This led to the project's Driving Question, "How can we get the most bang for our philanthropic buck?" Students were asked to investigate the nature of livestock aid and micro-loans in countries where both aid organizations were present. They developed budget models for families without aid, with livestock aid and with a micro-loan respectively. Then, they did an analysis report to answer the Driving Question.

Jennifer did a Critical Friends Protocol prior to implementing this project in which I asked her, "So, what is the right answer? Which one gives you the biggest bang for your buck??" Jennifer replied, "Actually, I don't know. But, I am going to model the process of figuring it out WITH the kids." I loved this step in Jennifer's journey. She went from seeing Math as a discipline with one right answer, to contextualizing accurate calculations in the project for an incalculable greater good.

P.S. The class still scored well on the test.

Think about where Jennifer began her PBL journey. She took her first step with "We Built this City," an applied learning task. Why was she able to make such a profound journey in only two years? Jennifer is open-minded, deeply reflective and committed to continuous improvement in her practice. She commits to harnessing the power of collaboration to revise her projects with a Critical Friends Protocol before implementation and to revise her projects post-implementation with a Post-Project Review Protocol, data analyses and student reflections. She wants her students to be engaged and believes she can help cultivate the ideal grad, even in her math classes.

What is Jennifer up to now?? She's redesigning her first project. Now she's calling it "Cake Boss." Students will work with authentic clients - individuals who have upcoming weddings, quinceaneras, retirement parties, engagement parties, baby showers, etc. They will engage in a client intake process to learn what type of cake the client envisions for their party. The students will learn the Design Cycle, as a form of critical thinking, to design a cake for their client. They will produce two deliverables - a blueprint and a scale paper/cardboard model. The clients will be able to have their cakes actually made, at a competitive rate, by the school's culinary department in conjunction with their pastry unit. Several local pastry chefs will also judge students' cake designs.

Jennifer is now taking a leadership role with PBL implementation in her school as the Leader of the Teacher Leaders. She wants to help her fellow PBL teachers in their PBL journeys, one step at a time.

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Over two years ago, Jennifer Rust, a math teacher at John Dubiski Career High School in Dallas, Texas, attended the first day of a three-day Buck Institute for Education "PBL 101" workshop. She came with an open mind, but had her fair share of reservations about PBL's applicability to her teaching practice.

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Great ideas to lay out the EDP in an English classroom

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. . we forget that we can be playful and try wild ideas in the pursuit of academic learning . . .

Empathy-fueled, human-centered problem solving is picking up tremendous traction as of late, thanks in no small part to fantastic introductions to design thinking's educational value from Thomas Riddle and Susie Wise on Edutopia.

Three years and counting into my journey with design thinking, Mary Cantwell's DEEPdt process serves as my springboard, Twitter community #dtk12chat, my comrades in ideating arms, and the Mount Vernon Institute for Innovation's FUSE experience as resonating reminder, I'm in a constant state of vision and revision with integrating DT into my teaching. Rather than seeing this cycle as a reason for frustration - as one might think after three years of deep investment (pun fully intended) - design thinking continues to infuse me (the puns keep coming) with hope and enthusiasm.

DEEPdt plays well with content area teaching because it so well mirrors Bloom's Taxonomy and guides students toward higher order thinking. (Other design thinking frameworks do as well - I borrow tools, protocols, and ideas from others all the time - DEEPdt just happens to be the one that suits my brain and my users best.)

DISCOVER. Here students delve into the content knowledge. What do we need to know about ________ in order to solve ___________?

What do we need to know about George and Lennie in order to design a homestead that will meet their needs? What do we need to know about their character traits? What do we need to know about argument in order to craft editorials that compel readers to take action? What do we need to know about commas and indicators for pause in order to craft speeches that achieve a particular tone?

And still there are other questions that invite inquiry and discovery into our problem solving. What might we need to know about writing structures and formats? What might they need to know about literary devices? What might they need to know about the current vocabulary or the grammatical devices at play? What might they need to know about the character or plot in a given text? What might they need to know about the symbolism or metaphors employed?

EMPATHIZE. And here we identify the point of view of the users involved. Those users might be readers of essays and stories or the audience of speeches, presentation and debates. They might also be the characters in a novel or the speaker of a poem.

Writing as an act of problem-solving begins with the basic premise that a writer is a designer, so long as one considers the act of writing an audience-centered experience rather than an author-centered one. When we write for ourselves, we our meeting our own needs. Whenever we write for others, there is audience and thus, user. Sometimes those users are the teachers, sometimes peers and community, sometimes a less defined, yet far more public readership.

Reading as an act of problem solving begins with the basic premise that the subject of the text - whether protagonist or antagonist, fictional or non - has been placed in those circumstances, on that page, with intention on the part of the author. Understanding that subject's motivations in light of the conflicts present, his or her character traits and extent of development, the structure of the plot may yield tremendous insight into the themes of the text. The uncovering of the author's intentions and application of that author's techniques and ideas in unique ways, particular those that solve problems raised in the text, opens all sorts of possibilities for ways to demonstrate understanding.

How might we design a sanctuary for Melinda of Laurie Halse Anderson's Speak, an alternative closing argument for Harper Lee's Atticus, a collateral-damage-proof plot for Hamlet's revenge?

How might we stage Romeo & Juliet in a way that casts them as the villains and the rest of the cast as their victims? How might we use Fitzgerald's language as commentary on 2016 celebrity culture? How might we transform the words of Ellison and Hughes into lyrics for socially conscious hip-hop?

EXPERIMENT. Self explanatory yet sometimes we forget that we can be playful and try wild ideas in the pursuit of academic learning. Here we might substitute "how might we . . .?" with "what if . . .?"

What if students write three intentionally terrible introductions, share them with their classmates, and identify the trends across them that let us know they are terrible? What if they organize those trends and create cheat sheets to help them. How might the guides they create become tools for their peers in the future?

What if students crafted twenty memes in twenty minutes as pre-cursor to a close reading, text-based discussion? What if those memes became the jumping on points for discussion and points of critical discourse?

What if students employed LEGO constructs as a means of demonstrating the rhetorical structure of a poem and used more elaborate constructs to represent entire collections of verse?

PRODUCE. Rather than looking at production as an end point and a point for grading, design thinking emphasizes feedback, the opportunity for revision and new iterations. It plays along gloriously well with the writing process and one might argue even enhances that process as the goal is reaching an audience through intention, rather than simply going through the motions of a process.

How might we provide meaningful feedback that balances critique with encouragement? How might we inspire new ideas and possibilities with our feedback? How might documenting our writing process help us to identify our intentions with each revision? How might we link our revisions to particular feedback in order to assess the value of both the change and the feedback given? How might effective citations help us learn where one another's ideas came from and help us to be better critics of one another's ideas?

The above are just a few ways to tackle English language arts curriculum through the lens of design. Some have been robust explorations I've done with students, others one day sprints, and yet others notions and fancies that I've just yet to find the time to put into practice.

And they all started with, "How might we . . .?" each representing an opportunity for inquiry and possibility, solution and iteration.

Dan Ryder is an educator, improviser and design thinker from the foothills of western Maine who spends every day trying to make the world a little more interesting than he found it. A moderator of #dtk12chat and #edchatme, follow him @wickeddecent on If you like what you've read, be sure to hit recommend below, to pass the story along to your followers! As always, consider following The Synapse for more authentic voices in Education! , I, and . Keep tabs on his efforts to walk the talk on his classroom blog at flight307.blogspot.com and with his co-conspirators Jeff Bailey and Matt Drewette-Card at Wicked Decent Learning.

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How Might We the Content?: Applying Design Thinking in a High School English Classroom

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we forget that we can be playful and try wild ideas in the pursuit of academic learning . . . Empathy-fueled, human-centered problem solving is picking up tremendous traction as of late, thanks in no small part to fantastic introductions to design thinking's educational value from Thomas Riddle and Susie Wise on Edutopia.

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This is a great resource and step by step video on how to incorporate the EDP to our middle to high school students in ANY subject.

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John Spencer

Posted on December 23, 2017

Every day, I ask my kids, "What did you make in school today?" Too often, they can't give me an answer. But on the days that they do, their eyes light up and they passionately describe their projects. It's in those moments that I am reminded that making is magic.

I want to see schools transform into bastions of creativity and wonder. But here's the thing: this is hard to pull off. We all have curriculum maps and limited resources and standards we have to teach. We don't always have fancy maker spaces or high-tech gadgetry. Our time is limited and so creativity is often a lofty ideal that rarely becomes a reality.

This is what I love about design thinking. It works within the standards in every subject. It's a flexible approach that you can use with limited resources. It isn't something new that you add to your crowded schedule. Instead, it's an innovative approach to the work you are already doing - a process designed specifically to boost creativity and bring out the maker in every student.

The term "design thinking" is often attached to maker spaces and STEM labs. However, design thinking is bigger than STEM. It begins with the premise of tapping into student curiosity and allowing them to create, test and re-create until they eventually ship what they made to a real audience (sometimes global but often local). Design thinking isn't a subject or a topic or a class. It's more of way of solving problems that encourages risk-taking and creativity.

Design thinking is used in the arts, in engineering, in the corporate world, and in social and civic spaces. You can use it in every subject with every age group. It works when creating digital content or when building things with duct tape and cardboard.

As a teacher, I used design thinking for over a decade in coding projects, service projects, documentaries, and engineering challenges. As startup co-founder, I've used the design thinking cycle for product development. As an author, it's a framework I use for publishing. In other words, it's incredibly adaptable.

So, here's a description of the design thinking cycle that AJ Juliani and I developed and included in our book Launch: Using the Design Thinking Process to Boost Creativity and Bring Out the Maker in Every Student. Note that we added a final phase that's often missing from design thinking models. It's the idea of launching. It's the belief that after students have designed their work, they should send it to an authentic audience.

Although there are many models for design thinking, we have developed the student-friendly LAUNCH Cycle. We added a few components, including inquiry and research and we broadened the starting place from empathy to awareness, so that students could begin with a passion, an interest, a problem, or the observation of a phenomenon (sometimes the empathy comes later in the process).

We also created an acronym to help make it easier to remember:

L: Look, Listen, and Learn
In the first phase, students look, listen, and learn.The goal here is awareness. It might be a sense of wonder at a process or an awareness of a problem or a sense of empathy toward an audience.

A: Ask Tons of Questions
Sparked by curiosity, students move to the second phase, where they ask tons of questions.

U: Understanding the Process or Problem
This leads to understanding the process or problem through an authentic research experience. They might conduct interviews or needs assessments, research articles, watch videos, or analyze data.

N: Navigate Ideas
Students apply that newly acquired knowledge to potential solutions. In this phase, they navigate ideas. Here they not only brainstorm, but they also analyze ideas, combine ideas, and generate a concept for what they will create.

C: Create a Prototype
In this next phase, they create a prototype. It might be a digital work or a tangible product, a work of art or something they engineer. It might even be an action or an event or a system.

H: Highlight and Fix
Next, they begin to highlight what's working and fix what's failing. The goal here is to view this revision process as an experiment full of iterations, where every mistake takes them closer to success.

Launch to an Audience
Then, when it's done, it's ready to launch. In the launch phase, they send it to an authentic audience. They share their work with the world!

Note that there are many different design thinking frameworks out there and there is nothing wrong with the other models. A.J. and I both developed the LAUNCH framework because of our own experiences in working with students. But if another model works best for you, use that.

Design thinking can happen in any subject and in any classroom. However, it works best with standards or learning targets that:

Allow students to own the entire process

Have some sort of finished product that they create

Include an element of research, ideation (brainstorming and planning) and creativity

Provide an authentic audience

Incorporate a realistic context. In other words, you can't do something where the context seems distant, fake, or phony.

When I taught math, for example, linear equations didn't fit well with design thinking. While we engaged in some creative projects (like our Bad Graph mini-project or our cost comparison challenges) the standards didn't fit well with inquiry, ideation, and prototyping. By contrast, when we learned about probability, we were able to use design thinking to create marketable board games and when we studied statistics, we integrated it into a service learning project (involving Needs Assessments, budgeting, statistical research, etc.) We used proportional reasoning, volume, and surface area for our Tiny House Projects:

We were able to do a project centered around budgeting and another one using proportional reasoning, volume, and surface area (creating eco-friendly homes).

The following are some examples of classroom projects that use design thinking:

Reading: Book Blog, CuriosityCast (an inquiry-based podcast), note that just about every design thinking project includes reading in the research phase

Writing: Student Blog, Class Online Magazine, NaNoWriMo (writing a novel in a month)

Social Studies: Service Learning Project, Historical Documentary Project, Whiteboard Video (similar to RSA Animate), History-Themed Blogs, History-Themed Theater Production (using design thinking to build empathy with the audience)

Economics: Create a Product (similar to Shark Tank) Projects, Mock Entrepreneurial Teams

Math: Create a Board Game, inclusion of math integration into project budgeting, creating an eco-friendly home, creating a Scratch game

Science: Solar Energy Designs, Engineering Projects, Science Fair

PE: Design a Sport, Create a Fitness Campaign

Art: Class Art Magazine, service-oriented art projects, visual design in a Shark-Tank style project

Music: Music Video Projects

Foreign Language: Design-oriented Tutorial Partnerships (where students work with refugees to create video tutorials for aspects of American life and then learn and practice the language as a result)

Computers: Scratch project (designing a video game), Multimedia Composition Projects, Digital Product Cycle

These are just some of the ways that I have seen design thinking used in various subject areas at all grade levels. Because design thinking is not tied to a specific subject, you can easily find specific standards that fit within the framework.

Please leave your email address below and click the yellow subscribe button to receive the free design thinking toolkit. It includes a free design thinking project, an eBook, and a suite of assessments. I will also send you a weekly email with free, members-only access to my latest blog posts, videos, podcasts and resources to help you boost creativity and spark innovation in your classroom.

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John Spencer Posted on December 23, 2017 Every day, I ask my kids, "What did you make in school today?" Too often, they can't give me an answer. But on the days that they do, their eyes light up and they passionately describe their projects.

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A MiddleWeb Blog
By Jody Passanisi
I usually have a clear idea of what I am going to do in my first unit. I have my set historiography activities that I expect (well, hope) will blow the students' minds when they realize that history is an interpretative narrative and not necessarily a string of facts.

This year, however, is different. This year I've decided to embark on a Design Thinking challenge for every regular unit that I teach. That means that my units on the Constitution, the Revolutionary War, the Federalists and Democratic Republicans, Westward Expansion, Causes of the Civil War, Civil War, and Reconstruction (and, if I'm lucky, the Progressive Era) will all be looked at through the lens of Design Thinking.

It's the wild west of teaching, and I am both excited and nervous to embark on the journey.

The elements of Design Thinking

Design Thinking is a process for creativity and innovation (Kelley & Kelley, 2013).

This method is being used now in some classrooms to encourage students to problem solve, to look at inquiries in new ways, and to invent and create solutions to challenges. This is an emerging educational strategy, with many methodological similarities to Project Based Learning.

I strongly recommend the resources put forth by IDEO if you want to delve more deeply into the strategy. The process that I will follow with my students will be broken into the following steps:

1. Empathize

2. Define and Research

3. Ideate

4. Experiment, Reflect, Revise

5. Share

While Design Thinking and its best friend, Project Based Learning, are found in many a science classroom, it seems to me that history classrooms are a bit more reticent to take up the mantle of, especially, Design Thinking pedagogy. Why?

Why Design Thinking belongs in history class

Any teacher reluctance may have to do with the fact that Design Thinking is a truly relevant and engaging pedagogy that is meant for students to solve problems that exist now. And, obviously, in history class we are dealing with the stuff of the past. Also, history is a subject where content often is king. It's hard to cede control of the content and relinquish the goal that students might hit every content mark that's expected.

So applying Design Thinking in history courses could be seen as challenging, but I see it as a great opportunity. For my U.S. history students, what could be more relevant than looking for solutions to challenges that were created in the past and are still having impact on our lives today?

For my students' first challenge, they are going to head to a local college and interview the students about what they think needs to be fixed in government. This will help my eighth graders come to a place of empathy - the problems they will hear about are problems that real people have.

Then, my students will choose one problem that spoke to them or possibly relates to their own life. That's their design challenge: to create a solution to the problem that they heard about.

Will they get to every bit of content about the Constitution that I would have hoped? Possibly not, but on the other hand, the students are going to find themselves hard pressed to be able to solve a problem in government without a great deal of context to support their ideas. They will have to delve into federal, state, and local issues, I expect.

Discovering solutions, whether past or present

Later, the students will identify a problem in the Civil War or Reconstruction. You don't have to be a history teacher to draw a through line from those 19th century events to current civil rights issues (as this map demonstrates). So the students will look at history, go back in time, choose a problem in Reconstruction and solve it - either in the past to affect the present OR in the present by implementing something that would fix a problem Reconstruction had created.

Design Thinking in history requires the same tools as in other disciplines: strong and rigorous research, free and creative brainstorming with wild ideas, convergence with analysis of desirability, feasibility, and viability, and reiteration and reflection.

The stakes can be high for these students engaged in Design Thinking in history - they really could get in there and help to think of new solutions for problems we face. They will just be looking at history to guide them.

Bringing together writing, soft skills and content

I see the history classroom with Design Thinking as a three pronged approach. Students still need to write - I will have my students stop periodically to do workshops on expository reading, research skills, and writing (all based on what they are need for their projects) and then do an on-demand writing after the unit/project.

Additionally, there has been much talk of the "soft skills" that students will need to get along in this new world that awaits them: collaboration, perseverance, creativity, etc. Design Thinking activates these skills and more: it creates self-efficacy, risk-taking - all of the things we say we want to see in our students.

And, finally, a promise to those who love history and the details of history: students will learn content. It may be not precisely what one might expect that content to be: it may be deeper, it may be better, and it may surprise us what they learn and understand as a result of looking at the content in this new way. And it may reinvigorate teachers, too.
Have you used Design Thinking in your history class? How has it gone?
Reference: Tom Kelley & David Kelley, Creative Confidence (2013).

Image credit: Map from Strange Maps contributor Mark Root-Willey, used in The Black Belt: How soil types determined the 2008 election in the deep South, November 17, 2008, The Vigorous North.

Jody Passanisi is the author of History Class Revisited: Tools and Practices to Engage Middle School Students in Social Studies. Co-published by Routledge and MiddleWeb, this practical guide will help teachers consider the unique needs of middle schoolers, who are in the midst of many social and emotional changes and need to see why the study of history matters to their own lives. Use the code MWEB1 at the publisher's website for a 20% discount.

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Design Thinking in the History Classroom

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A MiddleWeb Blog By Jody Passanisi I usually have a clear idea of what I am going to do in my first unit. I have my set historiography activities that I expect (well, hope) will blow the students' minds when they realize that history is an interpretative narrative and not necessarily a string of facts.

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http://bit.ly/STEM-RESOURCES-ONLINE (Huge Google Doc with Links)

Harvard Project Zero - Agency by Design

Twitter: #makered

Google group: k12makers.com

Stanford Fablearn Fellows

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Stanford Youtube: Powtoon
https://youtu.be/a7sEoEvT8l8

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NBC Learn: http://www.nbclearn.com/
CK12: http://www.ck12.org/
Better Lesson: https://betterlesson.com/
Read Works: https://www.readworks.org/
The Buck Institute:
https://www.bie.org/
NGSS Phenomena: https://www.bie.org/
Crosscutting Concepts:
https://crosscutsymbols.weebly.com/

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Sara Cuje: All about Design Process: http://steminspired.weebly.com/blog

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Rubistar Rubric: http://rubistar.4teachers.org/index.php
WordPress: http://www.wordpress.com
Stanford Design Thinking: https://dschool-old.stanford.edu/sandbox/groups/designresources/wiki/36873/attachments/74b3d/ModeGuideBOOTCAMP2010L.pdf?sessionID=573efa71aea50503341224491c862e32f5edc0a9

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Stanford University - A Virtual Crash Course In Design Thinking, Design Thinking Bootcamp

University of San Diego - INSTITUTE FOR ENTREPRENEURSHIP IN EDUCATION

Hasso-Plattner-Institut, Germany - School of Design Thinking

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https://www.pinterest.com/pin/143622675596384428/?lp=true