Two poems about nature and rest: “The Peace of Wild Things” by Wendell Berry and “Sleeping in The Forest,” Mary Oliver

“Sleeping in The Forest,” Mary Oliver

I thought the earth remembered me,

she took me back so tenderly,

arranging her dark skirts, her pockets

full of lichens and seeds.

I slept as never before, a stone on the river bed,

nothing between me and the white fire of the stars

but my thoughts, and they floated light as moths

among the branches of the perfect trees.

All night I heard the small kingdoms

breathing around me, the insects,

and the birds who do their work in the darkness.

All night I rose and fell, as if in water,

grappling with a luminous doom. By morning

I had vanished at least a dozen times

into something better.

“The Peace of Wild Things,” Wendell Berry

When despair for the world grows in me

and I wake in the night at the least sound

in fear of what my life and my children’s lives may be,

I go and lie down where the wood drake

rests in his beauty on the water, and the great heron feeds.

I come into the peace of wild things

who do not tax their lives with forethought

of grief. I come into the presence of still water.

And I feel above me the day-blind stars

waiting with their light. For a time

I rest in the grace of the world, and am free

Reflections/ Research on Teaching Cultural Studies and Literature

Selected Bibliography: Primary and Secondary Texts for Literature Teachers on the Arabian Peninsula

Suggestions for Literature Teachers in the Middle East

Two poems for spring: “Dear March – Come in” by Emily Dickinson and “March” by Goethe

“March,” Goethe

 

Look, it’s snowed for hours,

The time is not yet right,

For all the little flowers,

For all the little flowers,

To fill our hearts with light.

The sunlight is deceiving,

Mild but false it shone,

Even the swallow’s cheating,

Even the swallow’s cheating,

Why? He comes alone!

Alone, could I be happy

Even though spring is near?

But if you were with me,

But if you were with me,

Suddenly summer’s there.

“Dear March – Come in,” Emily Dickinson

Dear March – Come in –

How glad I am –

I hoped for you before –

Put down your Hat –

You must have walked –

How out of Breath you are –

Dear March, how are you, and the Rest –

Did you leave Nature well –

Oh March, Come right upstairs with me –

I have so much to tell –

I got your Letter, and the Birds –

The Maples never knew that you were coming –

I declare – how Red their Faces grew –

But March, forgive me –

And all those Hills you left for me to Hue –

There was no Purple suitable –

You took it all with you –

Who knocks? That April –

Lock the Door –

A good poem for hard times – “Atlas” by U. A. Fanthorpe

Foodways and Literature – Animal Poems

Foodways and Literature – Food Stories and Poems

Literature and Ethnography

A good poem for hard times – “Atlas” by U. A. Fanthorpe

“Atlas,” by U. A. Fanthorpe, from Safe as Houses

 

[Atlas is the Greek God who holds up the sky]

 

There is a kind of love called maintenance

Which stores the WD40 and knows when to use it;

 

Which checks the insurance, and doesn’t forget

The milkman; which remembers to plant bulbs;

 

Which answers letters; which knows the way

The money goes; which deals with dentists

 

And Road Fund Tax and meeting trains,

And postcards to the lonely; which upholds

 

The permanently rickety elaborate

Structures of living, which is Atlas.

 

And maintenance is the sensible side of love,

Which knows what time and weather are doing

To my brickwork; insulates my faulty wiring;

Laughs at my dry rotten jokes; remembers

My need for gloss and grouting; which keeps

My suspect edifice upright in air,

As Atlas did the sky.

 

“The Function of Poetry” by Billy Collins

Reflections/ Research on Teaching Cultural Studies and Literature

Teaching Literature and Staying au courant – The Man from Nowhere and the Ancient Greeks

Using Cultural Understandings to Improve Teaching, part 1

 

U.A. Fanthorpe

https://www.poetryfoundation.org/poets/ua-fanthorpe

U A Fanthorpe

Antigone and Ismene – Making Difficult Choices

This is a wonderful article:

https://www.washingtonpost.com/opinions/2024/01/15/hong-kong-security-law-chow-hang-tung-jailed/

I have taught Antigone many times. The first was almost by chance. I needed a Greek play and didn’t want to do Oedipus, so I picked up Antigone and was amazed by how powerful the play was. I had forgotten its strength and, importantly for a literature professor, how it balances out everyone’s POV. There is something to be said about each person’s argument. Teaching it was a joy. All the students had an opinion about what should happen and were happy to engage with the characters and plot. I ended up writing some essays and doing some presentations about using Greek plays on the Arabian Peninsula but what was most interesting about Antigone was that students did not judge Ismene harshly.

Gan’s article sets up a dichotomy with Antigone as the brave/ correct one and Ismene as the sister who must be forgiven. My students did not not make that division – each sister was doing what she felt was right. Most agreed that Antigone was correct to bury her brother against the laws of the state, but that did not necessarily mean that Ismene was behaving badly. I found that quality of acceptance very heartening.

Articles:

“Using Cultural Understandings to Improve Teaching in Oman,” in Unpackaging Theory and Practice in Educational Sciences. Abdülkadir Kabadayı, ed. Lyon: Livre de Lyon. 2023: 129-141.  https://www.livredelyon.com/educational-sciences/unpackaging-theory-practice-in-educational-sciences_595.

“Teaching Paired Middle Eastern and Western Literary Texts,” in Advancing English Language Education. Wafa Zoghbor and Thomaï Alexiou, eds. Dubai: Zayed University Press, 2020: 221-223.

“Teaching Literature on the Arabian Peninsula,” Anthropology News website, October 7 2019. http://www.anthropology-news.org/index.php/2019/10/07/teaching-literature-on-the-arabian-peninsula/

“Writing Prompts to Facilitate Creativity and Interesting Texts,” Proceedings of the 15th Oman International ELT Conferences. Muscat: Sultan Qaboos University Press, 2016: 46-52.

“Selecting the Right Literary Texts for Middle Eastern Students: Challenges and Reactions,” in Focusing on EFL Reading: Theory and Practice. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2014: 165-188.

“Who Are You Calling ‘Coddled’?: ‘Cloistered Virtue’ and Choosing Literary Texts in a Middle Eastern University,” Pedagogy 13.3, 2013: 415-427.

“Do You know a Creon?: Making Literature Relevant in an Omani University,” in Literature Teaching in EFL/ESL: New Perspectives. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2012: 302-314.

Selected Fiction (Novels and Short Stories) – Arabian Peninsula

A history-focused Whatsapp group I belong to recently had a discussion which elicited numerous suggestions about fictional works set on the Arabian Peninsula. I am including the works mentioned below along with some texts I have taught in my literature classes and/ or used for my research.

Anthologies

Akers, Deborah and Abubaker Bagader, eds. and trans. 2008. Oranges in the Sun: Short Stories from the Arabian Gulf. London: Lynne Rienner.

Jayyusi, Salma Khadra, ed. 1988. The Literature of Modern Arabia: An Anthology. London: Kegan Paul International.

Michalak-Pikulska, Barbara. 2016. Modern Literature of the Gulf. Bern: Peter Lang GmbH.

Pedagogy

Heble, Ayesha. 2007. “Teaching Literature On-line to Arab students: Using Technology to Overcome Cultural Restrictions.” Arts and Humanities in Higher Education 6.2: 219-226.

Michalak-Pikulska, Barbara. 2006. “The Mosaic of Quotations and the Labyrinth of Interpretations: The Problems of Intertextuality in the Modern Literature of the Gulf.” Intertextuality in Modern Arabic Literature since 1967. 187-200.

Ramsey, Gail. 2006. “The Past in the Present: Aspects of Intertextuality in Modern Literature in the Gulf.” Intertextuality in Modern Arabic Literature since 1967. 161-86.

—. 2004. “Confining the Guest Labourers to the Realm of the Subaltern in Modern Literature from the Gulf. Orientalia Succana, 53: 133-42.

Webb, Allen. 2012. Teaching the Literature of Today’s Middle East. London: Routledg

Short stories/ novels

‘Abd al-Majd / Abde Meguid, Ibrahim. The Other Place.

Algosaibi, Ghazi. An Apartment Called Freedom.

Alshammari, Shahd. Notes on the Flesh.

Wilson, G. Willow. 2012. Alif the Unseen. New York, Grove Press.

Oman

Al-Farsi, Abdulaziz. 2013. Earth Weeps, Saturn Laughs: A Modern Omani Novel. Trans. Nancy Roberts. Cairo: American University of Cairo Press.

Al-Harthi, Jokha. Celestial Bodies

Hamed, Huda. I Saw Her in my Dreams.

Michalak-Pikulska, Barbara. 2002. Modern Poetry and Prose of Oman. Krakow: The Enigma Press.

UAE

Al‑Murr, M. 1998. “The Wink of the Mona Lisa” and Other Stories from the Gulf. J. Briggs, trans. Dubai: United Arab Emirates: Motivate Publishing.

—. 2008. Dubai Tales. P. Clark and J. Briggs, trans. Dubai: Motivate Publishing.

Al-Suwaidi, Thani. The Diesel.

Johnson-Davies, Denys, ed. 2009. In a Fertile Desert: Modern Writing from the United Arab Emirates. Cairo: The American University in Cairo Press.

Krishnadas. 2007. Dubai Puzha.

Michalak-Pikulska, Barbara. 2012. Modern Literature of the United Arab Emirates. Krakow: Jagiellonian University Press.

Unnikrishnan, Deepak. Temporary People.

Kuwait

Abulhawa, Susan. 2020. Against the Loveless World.

Al-Nakib, Mai. 2022. An Unlasting Home.

Alsanousi, Saud. The Bamboo Stalk.

Saudi

Aima, Rahel. Moon Rose – short story https://www.eflux.com/architecture/cascades/400332/moon-rose/

Al-Khamis, Omaima Abdullah. Al-Bahriyat.

al-Sanea, Rajaa. Girls of Riyadh.

Alireza, Marianne. 2002. At the Drop of a Veil.

Alwan, Mohammed. 1988. “Love and Rain” in The Literature of Modern Arabia: An Anthology. Ed. Salma Khadra Jayyusi. London: Kegan Paul International. 302-306.

Benyamin. Goat Days.

Ferraris, Zoe. Finding Noof. 2008. New York: Little Brown, 2012. (also Kingdom of Strangers and City of Veils)

Munif, Abdul Rahman. Cities of Salt.

Yemen

‘Abd al-Wali, Mohammad. They Die Strangers.

Ba-Amer, Salih. 1988. “Dancing by the Light of the Moon,” in The Literature of Modern Arabia: An Anthology. S. K. Jayyusi, ed. London: Kegan Paul International. 318-22.

Bajaber, Khadija Abdalla. 2021. House of Rust.

Dammaj, Zayd Mutee’. The Hostage.

Hunter, Barry Stewart Hunter. 2017. Aden.

Fairy/ Folk Tales

Al Taie, Hatim and Joan Pickersgill. 2008. Omani Folk Tales. Muscat, Oman: Al Roya Press and Publishing House.

Al Thahab, Khadija bint Alawi. 2012. Stories of My Grandmother. [Dhofari] Trans. W. Scott Chahanovich. Washington, D.C:  Sultan Qaboos Cultural Center.

ElMahi, Ali Tigani and Ahmed Mohamed al Khatheri. 2015. “A Folk Story from Dhofar: A Pathway to Indigenous Knowledge.” Journal of Arts and Social Sciences 6.2: 5-12. DOI:10.24200/jass.vol6iss2

Hamad, Abdulsalam. Omani Folk Tales. 2006. Seeb: Al-Dhamri Bookshop.

Johnstone, T.M. 1974. “Folklore and Folk Literature in Oman and Socotra.” Arabian Studies 1: 7-24.

Johnstone, T.M. 1978. “A St. George of Dhofar.” Arabian Studies 4: 59-65.

Johnstone, T. M. 1983.“Folk-Tales and Folk-lore of Dhofar.” Journal of Oman Studies 6.1: 123-127.

Mershen, Birgit. 2004. “Ibn Muqaarab and Naynuh: A Folk-tale from Tiwi.” Journal of Oman Studies 13: 91-97.

Paine, Patty, Jesse Ulmer and Michael Hersrud, eds. 2013. The Donkey Lady and Other Tales from the Arabian Gulf.  Highclere, Berkshire: Berkshire Academic Press.

Todino-Gonguet, Grace. 2008. Halimah and the Snake, and other Omani Folk Tales. London: Stacey International.

Also of interest

The Saif Ghobash Banipal Prize for Arabic Literary Translation [https://www.banipaltrust.org.uk/prize/ ]

Banipal Magazine [ https://www.banipal.co.uk/ ] which has special issues on specific countries, for example: Yemen [ https://www.banipal.co.uk/back_issues/73/issue-36/ ]

Literature and Ethnography

Teaching Literature and Staying au courant – The Man from Nowhere and the Ancient Greeks

Reflections/ Research on Teaching Cultural Studies and Literature

Foodways and Literature – Food Stories and Poems

Foodways and Literature – Animal Poems

Reflections on Ethnographic Work – Trying to Make Sense of Words and Actions

I recently asked one class what “lullaby” meant and one answer I heard was “candy.” I like those moments when I can make sense of where the distortion is as the ‘b’/ ‘p’ distinction is sometime difficult for native speakers of Arabic. I walked to the board and wrote “lullaby” and “lollypop.”

I explained the difference between the two words, then we started another loop of misunderstandings.  I said, “lullaby sounds like your term: lowlay.” My students looked at me in confusion, so I said, “lowlay” again. They were still confused so I tried to change my pronunciation,  “lowlie,” but the word had no meaning for them.

At the start of a different class, I asked, “Does the term ‘lowlay’ mean anything to you?” A few students called out, “it’s a lullaby.”  Aha! I had thought lowlay was a general Arabic term, but it turns out it has only a regional usage.

It’s sometimes exhausting, sometimes fun to be constantly in the middle of making meaning. Of course I expect this when I am teaching and walking my students through color metaphors (such as the connotations of saying “I’m blue,” “she looked green” and “he’s yellow”) and the various shifting frameworks that come up, such as how it’s polite in some cultures to hand cash directly to a person and in other cultures that is rude.

But I believe that as soon as you leave your door-yard, you are confused. I was recently at a grocery store check-out counter sorting things into different bags as some items needed to go to my house, some stayed in the car for camping and some had to go to my office. When I was done, I looked at the clerk and she asked me in Arabic, “Why are you doing this?” and pressed her lips together. “Are you sick?”

Pressing lips together in the States is a common physical reaction to concentrating but it did not hold that meaning for her; she thought it was a reaction to being in pain. I said, “I do this when I am trying to think carefully.” She nodded. I am glad she asked because there are so many chances to misunderstand something or guess the wrong meaning, it’s always better to check.

This makes those moments when I know what to do so much sweeter. Last week I went to an ATM on salary day, the 21st of the month when almost every company in Oman pays the monthly salary and ATMs are very busy. As expected a few men were waiting, not in a line but spaced out to the left and right of the ATM.

I got out of my car and instead of going to stand as close to the ATM as possible (which would signal that I was trying to claim the female and/or expat privilege of cutting into the line), I leaned against the side of the hood. I glanced quickly at the other men, then gazed off into the middle distance. When new men came, I glanced at them quickly and when all the men who were there before me had taken cash, I walked up to the machine.

Because that’s how you do it. There is no clear queue; you need to look at everyone who was scattered around the ATM when you arrived and instantly memorize them (it’s not polite to stare!). Then you wait and watch so that when all the people who were there before you have finished, you move towards the machine. (Make a QUICK first move so the guys who are waiting won’t try to jump ahead of you, then walk slowly.)

When I got back into my car, one of the research guys walked past. He glanced at me and kept walking. So I rolled down the window and read articles on my phone; when he was done, he came to my car and we chatted for 10 minutes.

He first walked by without acknowledging me because to stop would throw off the rhythm; the men who came after him would not know that he was waiting for the ATM. Better to take his position, get his cash, then talk to me. If I had driven off, he would assume that I was in a hurry or that I felt ‘shy’ to speak to him in front of so many men. By waiting and putting the window down, I was signaling that I was happy to talk. If he had walked away without speaking, it would mean he was in a hurry or that there was an older person in the car (i.e. he should not keep that person waiting).

It took a lot of questions in similar circumstances to figure out the permutations of dealing with ATMS and running into research guys by chance. Now I am glad I’ve got the basics down. Sometimes it’s “every new day is a chance to wildly misunderstand what is going on” and sometimes it’s  “every new day is a chance to learn.”

Reflections on Ethnographic Research: What is Missing and What Changes

Reflections on Ethnographic Research: Claiming Knowledge and Shifting Perceptions

Reflections on Ethnographic Research: Getting it Wrong

Steve Cass

Steve Cass passed away one year ago today and the first message on my phone this morning was from a former student of his in remembrance. He had that much of an effect on people – the weeks after his death many former students and colleagues came to reminisce with me. His devotion to teaching and his integrity made him respected by all who who knew him. And his sense of humor and kindness made him loved by all who knew him.

He always supportive of me, even though we argued a lot. He always wanted the ‘perfect’ while I was always saying ‘that’s not practical’. He wanted what was best while I focused on what is doable. Yet we managed to stay close.

I am so very blessed to have had 17 years of friendship, to have had so many chats and so many laughs. I know that he is at peace doing yoga on a beautiful beach in heaven, but I miss him terribly.

Steve Cass, teacher and friend

Remembering Steve Cass

Teaching Metaphors: Conducting a Jazz Symphony

I was talking to a friend about teaching in Oman and trying to find the right metaphor. The usual comparisons: teachers as parent, as coach, as conductor couldn’t convey my exact meaning. Then I realized that teacher as conductor didn’t work because it was too constrictive – the players have to follow the music and what the person in front is signaling. That doesn’t give the necessary leeway for a positive classroom atmosphere.

But conducting a jazz symphony works. It gives the idea of someone basically in change but ready to let others take the lead and change direction if necessary; if the oboes feel the need to do a solo riff, then off they go. The conductor walks in with a musical score and general sense of how things should proceed, but also needs to be ready for the swerve.

There are days I walk into a classroom and everyone is ‘off’ – tired, cranky, silent. Sometimes there is a reason (an important football match the night before), sometimes it just happens and I need to readjust like a quarterback calling an audible. Suddenly I will decide that we are starting with group work or I might try to tease them into getting organized; sometimes I have to roll with it and try to do all the heavy lifting or give students a choice of different activities.

Or sometimes I walk in and there’s a manic energy, as if everyone had a few espressos for breakfast. Then I need to try to harness that liveliness into productive discussions.

A regular conductor knows exactly how they want the music to sound, but with a jazz symphony, you never know what is going to happen. Even after twenty-five years of teaching, I can still be knocked off balance. Once a student’s phone rang and they said, “I have to take this call.” I remember standing there utterly blank for a moment, wondering what to do. The student seemed serious, but letting a student leave class to talk on the phone was, for me, a dangerous precedent to set.

I was stuck. According to my rules, I should have said, “if you leave class, I will mark you absent.” But the student was asking permission in a straight-forward way, I felt (although I had no way to prove this) that there was an emergency and there had not been any negative behavior in that class.

After a few seconds of silence, I nodded and said, “OK.” I did not feel comfortable yet I thought I was making the right choice for that moment. I braced myself for fallout however, the student came back in after a few moments and no other students asked to leave for the rest of the semester.

Sometimes the best way to lead people is to let them do what they want.

Using Cultural Understandings to Improve Teaching, part 4

(photo by S. B.)

Using Cultural Understandings to Improve Teaching, part 1

Using Cultural Understandings to Improve Teaching, part 2

Using Cultural Understandings to Improve Teaching, part 3

I hope that my previous essays on teaching might help all teachers, but this essay is focused on teaching writing to students who can put together a few paragraphs in English by explaining the benefits of doing daily in-class writing. I also discuss the benefits of having students use rubrics, come up with their own topics and share papers.

In-class Writing – for classes such as Introduction to Creative Writing and Writing Workshop, just telling students HOW to do something is not effective unless students have a text to work off of, so I ask that every student brings a large notebook to class every day. They write the date at the top of page, I give a prompt to help them get started, then let them write for 10-15 minutes.

For creative writing class, I might ask them to write a poem about the weather, then the next day, ask them to take that poem and change it so the weather itself is the narrator, i.e. the “rain” or the “sun” speaks and explains their feelings. If we are doing drama, I might ask for a dialog between two people who are very different ages or a dialog in which someone is trying to get something in a sneaky way.

For a writing workshop class, I might ask them to explain something they want to change about our university. Then I ask them to take that topic and change their writing so they are talking to other students, then change it again so they are talking to administration. This kind of practice allows them to get a handle on “audience” and how to craft arguments depending on who you are writing for.

Writing daily means that when it is time to think of topics for their main papers, they have pages of writing to look through to help them come up with ideas. Also, as the semester goes on, students are able to write more quickly so that a student who managed a few sentences in 10 minutes during the first class might be able to write two paragraphs after two months. When I ask them to review their journals and they can see their progress, it improves their writing confidence for doing midterms and papers in other classes.

A really important part of doing daily journals is that I do not comment when a student does not write in class one day. From friendships with Omanis who are not connected to the university, I can see how students are sometimes subject to enormous pressures at home. For most North American/ UK/ EU students, college is seen as the most significant factor and while some students might have a job, there is a general understanding that school work comes first.

In Oman, if older relatives come to visit on the night before an exam, students might be expected to sit in the salle or majlis with them. Sometimes a family decides that a student will be married in the middle of the semester, or a beloved sister is married so a student is busy for weeks with the preparations, then has to cope with the sadness that the sister is no longer living in the house. There might be a death in the family or sometimes a student has to sit up all night with a sick child. And sometimes a student is simply out of ideas.

At the start of the semester I say, “you need to write at least half a page every class period, but if you can’t write in class a few times during the semester, that’s fine. Sit quietly and take care of yourself. But you will have to do the writing at some point. I will put the prompt on Moodle (the on-line teaching program) in case you miss class, you still have to do the writing.”

Knowing they have to do the work, but they can take a break if they are having a bad day, eliminates scolding, arguments and unhappiness. When I am walking around the room to check progress and I see a blank page, I quietly say, “do it later tonight with a cup of tea” and walk on. I have never had a student abuse this by not writing for several days in a row, but every semester I have students who simply can’t focus. Sometimes they look at me and shake their heads, and I whisper, “it’s ok.” Sometimes they will try to explain what’s wrong and I say, “you don’t need to tell me the reason. No phone, don’t talk to anyone, draw a picture if you want. Make up the work later.” Of course for tests, students need to do the work at the correct time, but I don’t think it’s helpful to force students by pretending there is something magically useful about writing EVERY day.

The journal work is usually worth 10 points (from a class total of 100). I collect the journals three times during the semester without advance notice and skim though them. If the students’ journals are organized and have 1/2 page of writing for each class period, they get full credit. If not, I write what the issue is and give a lower grade. Then I hand them back at the start of the next class period.

Writing papers

Some people advise giving out sample papers and students usually want a sample but I don’t think it’s a good idea for students who are at the level of being able to write 3 or 4 connected paragraphs. A sample is too easy to copy. On the other hand, it’s never helpful to give vague assignments such as “give me a 5-paragraph argument essay.”

The happy middle ground is a three-step process: create and discuss a rubric, have students hand in topic choices and do an in-class workshop day. This drastically cuts down on the chances to cheat/ plagiarize and improves students ability to think and write from themselves.

using rubrics – Three weeks before a major paper is due, I always give out a detailed rubric (see example below) which gives all the relevant dates and explains the sections of the paper. Using a table format means I can write the points the students earn next to the explanation, so they can see where they have made a mistake. I also add examples of quotes because some students have not used quotes before and having the sample sentences right on the rubric means they don’t have to look elsewhere for help. Lastly, I put the late-paper policy so, again, students have all the information they need in one paper.

choosing topics – On the day I hand out the rubric, I tell students that they need to think of at least three topics, and write them out on a paper with a few bullet points and hand it on by the due date. I review the topics and put a check next to the topics which are ok for them to use. This cuts down on over-used topics (on-line teaching!) and allows me to make sure no two students are doing the same idea.

sharing writing  – A week before the paper is due, I set up a “workshop” day in which students read each other’s writing. The two most important aspects are to start small and provide a framework. Nothing could be less helpful than simply giving a student’s paper to another student.

In classes in which I use peer groups, I always try to put students in groups with a task to work on several times at the start of the semester so they can start to get to know each other. If we are doing daily in-class writing, I will announce (BEFORE THEY START TO WRITE!) that they are going to share that day’s work with another student. I let them write, then assign everyone a pair and they switch notebooks and talk about what they wrote. Doing this a few times allows students to get to work together and feel more comfortable about sharing papers.

The second step is to give students a review sheet to fill in (see sample below) instead of simply asking students to read or “comment.” Having a worksheet allows them to read with a purpose and check that the student has done all the assigned parts, which makes them reflect on their own writing.

I explain to students that another student in the class (they will not know which one) will read their paper and if they don’t want to use their real name, that’s fine. They need to make sure that there is either a name or title on the paper. When I walk around the room to pick up the drafts, I can verify that each student handed in a draft, then I mix up the papers and hand them back with the peer review sheet.

As students finish reading and filling out a sheet, I give them a second paper to work on which helps stop the “do the worksheet in a hurry and then just sit” syndrome. They know if they finish one paper, they will get another one to work on.

And I make sure to explain that students who do not come with a draft will be given the chance to work on their assignment on their own. If a student comes in without a paper, I don’t ask, “Why didn’t you do the work?” I ask them to sit at the back of the class, make sure they have paper and a pen and ask them to start writing. After I have distributed papers to the rest of the class, I will sit next to every student who did not come prepared and ask if they have any questions. Then I will give them a peer-review sheet and remind them that they have to have someone else read their paper and they need to turn in their drafts and peer-review sheet with their final paper.

example rubric for writing class:

Assessment 3 –  May 14  – 10 points – due in class

 

topics due April 30, counts as a homework grade

peer review May 9, counts as class participation grade

 

  Explanation possible score student score
   Essay ·         a complete, realistic, original, thought-provoking argument paper on a topic that PERSONALLY impacts the author·         must have clear AUDIENCEtopics NOT allowed:·         not smoking

·         not cheating

·         driving (too fast or who drives)

·         on-line teaching

·         cell phones/ social media

·         where to take a vacation

·         correct grammar and spelling

·         at least 4 pages long

·         creative, interesting argument explained in introduction – 1·         compelling conclusion (restatement, positive or negative if this doesn’t happen, story, expand topic, etc.) – 1·         at least 2 points supporting the argument based on author’s reasoning – 2·         at least 2 points supporting the argument based on interviews/ external sources with quotes – 2

·         at least 1 rebuttal (anticipating counter-argument) – 1

·         1

points deducted if not long enough

 Draftsand documents ·         at least THREE drafts with evidence of substantial revision ·         at least one peer review sheet·         topic sheet with teacher approval ·         2
  Format  Paper should be:·         neatly handwritten in blue or black ink on plain white, large, lined paper·         each paragraph indented with between 3 and 6 sentences unless it is dialog points deducted if not done correctly
total score

Quotes are:

  • approximately 10 words or less
  • within a sentence:
  • My father agreed that, “There should be more hotels in Nizwa.”
  • “I think Dhofar should have more libraries,” said Dr. Risse.

Please note

  • 1 point taken off for lateness
  • last time to turn in an assignment is exactly ONE WEEK after due date

**********************************************

example peer review sheet for above assignment in writing class (the original has spaces for writing between the questions)

ENGL 285 – assignment 3 – peer review – May 9

Name of author or title of paper __________________________

* Is the paper divided into paragraphs?                                                          yes / no

* Are all the paragraphs indented?                                                                 yes / no

* Does each paragraph have 3, 4, 5 or 6 sentences?                                  yes / no

* What is the main argument of the paper?

* Who is the audience?

*Sections of the paper – for each section write the main idea/ argument

 

Introduction – is there a ‘hook’/ does the paper have an interesting opening?

Authors reasons

1)

2)

Outside reasons – either interview or website

1)

2)

Rebuttal

Conclusion

*What do you not understand? What questions do you have?

* What information should the author add to the paper?

* Circle all misspelled words or grammar problems.

Using Cultural Understandings to Improve Teaching, part 3

(photo by S.B.)

Using Cultural Understandings to Improve Teaching, part 1

Using Cultural Understandings to Improve Teaching, part 2

Image someone who works in a cement factory who meets 100 people every day who have made houses with their cement blocks. Or a restaurant in which a cook makes the food, then sits at the table and watches the customers eat the meal and comment on it.

That’s what teachers do – we have to face the recipients of our work every day. I always tell new teachers that they need to teach from their personality. You can walk into a class and decide to adopt a persona but if it’s not your personality, the “new you” is not going to last. Which is why I say that it doesn’t matter as much how you teach as it matters that you stay consistent and explain your reasoning, especially if you have to change your mind.

Students in high context cultures like Oman usually learn about behavior by observation, not explicit directives. When students are trying to understand an teacher, they value consistency because they are trying to figure out what the teacher is doing and why. Acting the same way and keeping the same rules day after day makes for a calm classroom.

My second suggestion is to always keep on top of the paperwork – after a major assignment is due, write down the names of students who did not hand it in and make a quiet comment to them in class so there can be no future arguments about what was turned in or not.

Also, in terms of class management and assignments, I recommend teachers make statements, not ask personal questions. Some teachers like to put students on the spot and ask questions such as “Why are you talking?” or “Why did you come late?” or “Why didn’t you turn in your paper?” To me, this opens up all sorts of unpleasant options such as a student saying a relative died or a cheeky, “I wanted to.”

If students are talking when they should be listening, reading or writing, then it’s good to ask “Do you have a question” or “Is something not clear?” to help get students back on track, but “Why are you goofing off?” is not helpful. If it’s an issue of class management, a flat statement is usually best: “Please come to class on time.” If it’s an issue of a student not doing work, again a flat statement lets the student know you have noticed the omission without getting details of the student’s personal life.

If a student is way out of bounds, I sometimes use. “What on EARTH are you DOING?” which focuses on the action, not the reasoning and since not all students know the idiom, it can create a moment of confusion which stops the action and allows me to refocus the class back to our work.

Lastly, if a student is upset and the problem is unsolvable, distract them. Change the topic so they can focus on the future, not get stuck in an escalating situation. For example, if a student did badly on the midterm and wants a new exam or for you to change the grade, start talking about the next assignment, stressing if they do well on the up-coming work, their grade will improve.

Staying consistent, keeping an eye on students who are doing poorly, making statements and distracting angry students means a peaceful atmosphere in a class and fewer explosions.

For example, I accept papers up to one week late (with a late penalty) and on the last possible day to submit, I always check my grade book before class to see who might need to still give me a paper. In one course only one student hadn’t done the assignment, so in class, I walked by their desk and said quietly, “You haven’t given me the assignment.” Then I stood and looked at the student until they responded by nodding.

Months later, 10 days after the course ended and two days before the final exam, this student came to my office with a few papers stapled together and said, “This is the assignment. I did the work but you didn’t accept it.” This is a situation in which I could have said “that’s not true” but the basis of the student’s speech was fear of failing the class. So I addressed that aspect, not the lying.

I briefly explained again my policy about accepting late work and reminded the student that I had checked with them in class on the last day they could have submitted. Then to change the focus, I took a piece of paper and wrote out the grading scale for the class, adding in the student’s grades so far and showed that if they did well on the final, they could pass the class. The student was not happy but I avoided a long, angry discussion.

When the student was ready to leave my office, I said, “You can’t get a grade for what you wrote, but if you want me to check it – I will read it now and give you feedback so if  there is a mistake, you won’t make the same problem on the final exam.” Saying this is a good way to make peace by showing that you want to help the student and it’s often a check on the student’s intentions. If they took the assignment seriously, did the work themselves and want to do well on the final, they will hand over the work and let me look at it. If they got the work from another person, my comments won’t help them and they will not show me the paper. That student did not show me the paper.

My last point is that, if it works with your personality, using humor is often very effective in Oman. Omanis have a great sense of humor and respond well to joking. It can be an helpful way to get your point across, but have a back-up plan ready.

For example, I am very consistent that I should never see a phone in class – phones need to be inside a purse or pocket or set face-down under the chair. I say this during the first few classes, then in the 2nd or 3rd week, if I see a phone I act like I saw a snake and yell, “OH NO! What’s that?” as I back away in horror. Everyone starts looking around to see what I am pointing at asking, “What? WHAT?” Then I point and say, “That black thing there!” They realize I am pretending to be scared of a phone and laugh while the student puts the phone away.

Or if I see a phone I cover my eyes and yell, “OH NO! That hurts my eyes!” Again everyone looks to see what’s wrong, then laugh when they realize it’s the phone. And they understand that I will always react when I see a phone.

After the 3rd or 4th week, I say, “we have talked about the no-phones rule, now if I see a phone, I will take it and put it on the front table.” Then if I see a student is looking at their phone in class, I walk by and quietly say, “give me the phone.” If the student tries to put in their purse or pocket, I shake my head and say, “No, you have heard the rule – either you give it to me or you can walk up and put it on the front table. Your choice.”  Then I do not move from their side until they give it to me to put on the front table or they have put it on the front table themselves.

If they refuse, then I say quietly, “Your choices are leave the class, give me your phone or put it on the front table.” I have never had a student refuse at that point, but if they did, I would say, “I am marking you absent,” then I would walk to the front of the room, mark the attendance sheet, then continue to teach the class, ignoring that student.

To me, it’s important to avoid anger and “no-win” situations. Using humor saves me from having to say over and over “no phones.” After I do a fake scream two times, everyone knows to look for who has a phone out – and everyone knows that having their phone on their desk means they are going to get negative attention.

Talking quietly and giving students a choice of “give me the phone or you put it on the front table” allows them some privacy and autonomy over what happens. (They can take the phone from the desk at the end of class.) Yelling and/ or saying “give me the phone” is too public and direct.

Sometimes I am told that I am “babying” students but taking away their dignity is never going to create a positive learning environment. I want to uphold the class rules in an equal and fair manner which allows students to concentrate on learning.

Using Cultural Understandings to Improve Teaching, part 4