-MASTER EDU PACKAGE FINAL

MATTHEW S. ROBINSON 62 Brookline Street, Needham, MA 02492

617 877 6264 / [email protected]

Table of Contents:

Resume 1 References 3 Educational Philosophy 4 Letters of Recommendation 7 Student Comments 12 Sample Curriculum (Lesson Plan) 19 Writing Samples 30

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617 877 6264 / [email protected] Summary Professional educator with upper elementary, high school, college, and adult education experience. Skills include differentiated curriculum design, implementation, and assessment, process-based writing and writing instruction, tutoring, coaching, academic communications, development and fundraising. Educational Licensure

- MA Department of Elementary and Secondary Education License 8-12 English (Certificate # 437040) - MA Department of Elementary and Secondary Education License 5-8 English (Certificate # 437040) - Massachusetts English Language Assessments-Oral (MELA-O) Categories I-IV - English as a Second Language License - Music Together Teacher License Massachusetts Tests for Educator Licensure:

- Test 01 (Communication and Literacy Skills) 85 - Test 07 (English) Pass

- Test 54 (English as a Second Language) Pass Education Boston University, Boston, MA May, 2010

- Master of Arts in Teaching (GPA: 3.88) - English Wheelock College, Boston, MA May, 2004 - Masters in Education (GPA: 3.8) University of Pennsylvania, Philadelphia, PA June, 1996 - Bachelor of Arts cum laude (GPA: 3.49) - Honors English, Humanistic Philosophy Academic Honors: - Member, Pi Lambda Theta, Alpha Gamma Chapter (Boston University) Teaching Experience English / Writing Professor – Bunker Hill Community College, Boston, MA 2012 -Present

Regis College, Weston, MA 2014 - 2015 Bentley University, Waltham MA 2012 - 2013

- Design, implement, and assess process-based writing curricula for college students and adult learners English/Writing Advisor – Mitchell Elementary School, Needham, MA 2013 – 2014 - Support fourth grade class with writing and English literature skills

Curriculum Designer / Teacher – Inquilinos Boricuas en Acción, Boston, MA 2012 - Designed, implemented, and assessed curricula for bilingual summer retention program ELA / AVID instructor – A+ Academy at Boston University, Boston, MA 2012 - Designed, implemented, and assessed AVID-based ELA curriculum for college preparation program English Teacher / Journalism Department Head - Jeremiah E. Burke HS, Boston, MA 2010 - 2012 - Designed, implemented, and assessed literature/writing curricula for students of various ages and abilities - Organized, edited, and supervised re-launched school newspaper, “The NEW Burke Banner” - Supported students with MCAS preparation in writing and reading comprehension skills - Coordinated Career Day series for seniors looking for alternative routes after graduation

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Boxing Coach / Wellness Committee Director - Jeremiah E. Burke HS, Boston, MA 2010 - 2012 - Designed, implemented, and supervised physical education/self defense enrichment program - Drafted, edited, and implemented comprehensive health/wellness protocol for entire school Student Teacher – 8th-12th Grade English - Boston Latin School, Boston, MA 2010 - Designed, implemented, and assessed literature and writing curricula for students of various abilities - Supported and supervised students with MCAS preparation and testing and study hall - Supported library staff, with particular attention to matters involving research, archiving and conservancy English/Writing Professor – Urban College, Boston, MA 2009 - 2010

- Designed, implemented, and assessed literacy and writing curricula in predominately ELL classroom - Conducted research on efficacy of the Writing Process in predominately ELL classroom Writing Coach – Boston Writing Project, University of Massachusetts, Boston 2010 - Supported high school juniors and seniors with summer writing initiative

Curriculum designer – Writers’ Express, Cambridge, MA 2010 - Researched, composed, and edited writing curricula for upper elementary and high school students Teacher - AP English/MCAS - Community Charter School of Cambridge, Cambridge, MA 2009

- Designed and implemented differentiated curricula for standard and advanced high school courses - Prepared students for successful completion of Advanced Placement examinations and MCAS

Supervisor/Instructor - Critical Writing Seminar - Newton North High School, Newton, MA 2009

- Supported high school students with intensive writing program using the Writing Process

Private Tutor – English / writing / study skills / test preparation / special needs 1996 - Present Additional Academic Training - Research for Better Teaching – Studying Skillful Teaching December, 2011 - Sheltered Instruction Observation Protocol (SIOP) December, 2011 - Harvard University/McLean Hospital P.E.A.R. Student Support Training May, 2011 - English Language Learners Categories I-IV training / MELA-O Certification March, 2011 - New England High School Journalism Collaborative Workshop March, 2011 Administrative/Extracurricular Experience Education Administrator - Commonwealth Shakespeare Company, Boston, MA 2008-2009

- Design materials to help audience members more richly engage Shakespearean theater

Contributing Editor/Content Provider (Over 150 international publications) 1996 - Present - Research, compose, edit, and publish content for various print- and web-based venues

Website Designer – St. Matthew’s University, Grand Cayman 2008

- Compose and edit copy for school website and other marketing and development materials

Leadership Positions/Affiliations Member - Boston Leaders for the Future of Education, Boston, MA 2009 - Present New England Area Alumni Interview Officer - University of PA, Boston, MA 2003 - Present New England Chairman - Boxing Scholarship Foundation, Inc., Boston, MA 1996 - Present Participant - Jewish Big Brother & Big Sister Association, Newton, MA 1996 - Present Communications Administrator 2004 - Present

- Brookline Community Center for the Arts, Brookline, MA - Gay Lesbian Student Education Network, Boston, MA

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EDUCATIONAL REFERENCES Anthony D’Aries Professor of English / Writing Program Director 781 768 7277 Regis College, Weston, MA Frank Pantano New Teacher Developer, Boston Public Schools 617 756 3341 Office of Teacher and Leadership Effectiveness, Boston, MA Jeffrey Lappin Supervisor of Therapeutic and Clinical Services 617 635 9837 Medford Public Schools, Medford, MA Maria DePina ELA/Special Education Teacher 617 224 3965 Jeremiah E. Burke High School, Boston, MA Lyn Montague ELA Teacher/Supervisor 617 559 6200 Newton North High School, Newton, MA Deborah José Teacher/Supervisor 617 359 8992 Newton North High School, Newton, MA Tim McQuade Math Teacher 413 330 4929 Boston Latin School, Boston, MA

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EDUCATIONAL PHILOSOPHY

Conducting Myself

As they are both things about which I have always been passionate and things I am

rarely without, music and means of learning are driving forces in my life. It seems only natural,

therefore, that I should reflect on one while considering and crafting my philosophies on the

other.

One of the most important things I have learned through my own learning and my

experience as a teacher is that each student needs to be considered and cared for as an

individual and dealt with as a unique set of strengths, challenges, and desires. In this way,

students are indeed very much like instruments. Although instruments can be grouped into

families, no two are exactly alike. Crafted by different makers and taken up by different artists,

each member of a given group has a unique tone and timbre, and neglecting any one of them

can obscure the harmony of the whole.

As the conductor, it is my responsibility to support every performer so that they can all

learn and grow and find the beautiful music inside of each of them. Though I have a wide

array of experiences in education and working with students, I am no maestro. In fact, I never

hope to be! While I hope to help my students learn as much as possible, I also hope that I

never lose my own desire or the drive to learn and that my students inform and inspire me as

much as I do them.

When students perform together with their teacher, the classroom becomes a concert

hall; a venue in which the materials, the arrangement of furniture, and even the very walls

themselves must all be considered and used to maximal efficiency so that the music can be

appropriately reflected and amplified. Such goals can be reached by displaying not only the

works of past masters, but also the creations of contemporary composers and of the students

themselves. Such arrangements will both inspire and encourage students to strive for

greatness and to feel proud of their work. Such

feelings and goals are key, as they make the difference between students who find pleasure

in their own creations and compositions and one who decides to focus on other means of

expression, or to stop performing altogether.

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As they give life and (hopefully) support to the performers, parents must also be

involved. Working in concert with teachers, parents emphasize and encourage harmony and

prevent discord. They can also suggest how to support each student and what pieces each

can perform. Together, parents and teachers help students expand their repertoires to create

ever more beautiful music.

As the pieces we learn and the tools through which we engage them are varied, so too

are the means of engagement. Just as the same piece will sound different if played on horns

or flutes or by a small ensemble or an orchestra, lessons are also significantly affected by the

ways in which they are approached. While presentations may differ, however, they do not

involve questions of “better” or “worse.” They are all valid and all have potential to instruct.

While the lessons themselves are important, a great deal of learning can also arise

from assessment. If a section of a piece has been mishandled, for example, the shrillness of

the sound will signal the need for change. Fortunately, improvement can also be tracked and

encouraged by paying attention to the results of past performances and also those of the

current one. Furthermore, while the conductor may have the best perspective, every member

of the group can contribute meaningfully to the assessment. After all, just because the tubist

could not hear it, the flutist might have noticed a mistake in their own performance the

correction of which will enhance the entire performance. Such self-assessment is especially

important as it allows and encourages other members of the group to see how their

colleagues gauge success and may even inform their own assessment in the future. If, for

example, the flutist is only worried about tone while the tubist is concerned with volume, it may

be a good idea to have them work together to develop new ways to gauge success and to

encourage mutual learning and growth.

As far as the instruments used in creating and judging a performance, they vary as

much as the pieces themselves. While much great music may be old and well-tried, there are

new compositions written every day and new ways to approach both old and new additions to

the repertoire. Whether it be through an online site that offers audio excerpts of a given piece

or communal whiteboard projects that allow and encourage students to participate in the

process, the tools of education are important and must all be engaged effectively whenever

appropriate.

While they are all different, instruments can be made, or at least encouraged, to work

together in a harmonious way. Such is the way of the orchestra, in which various instruments

work together towards a common goal. Though the conductor may have a solid idea of how

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they want the sound to be, ignoring and neglecting the desires of the performers will not result

in a harmonious finale.

Though I may not know the exact range and character of each instrument (at least not

when they are first introduced into my academic orchestra) I have come to develop a sense of

which instruments sound best together and how to bring them to that point. The longer I

perform with the group, the better able I will be to elicit the most beautiful music from them

and to encourage them to work together most melodiously. No primo don I- I work with my

students to elicit the most beautiful and satisfying music possible, regardless of where it

comes from.

In the same way that a good conductor can raise the performance level of the artists he

conducts, so can an experienced teacher bring their class to a new level of development. This

is the goal to which I now aspire. At the same time, however, I know that I must continue to

hone my own craft and expand upon my own skills and my own familiarity with contemporary

instruments.

Just as it is said that a great piece of music is never truly finished, but always open to

new interpretations, so is a conductor never finished with their study, no matter how many

years they have been at it. This is my charge and this is my passion.

And one- And two- And-

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BOSTON PUBLIC SCHOOLS

THE JEREMIAH E. BURKE HIGH SCHOOL

January 31, 2012 To whom it may concern: It is my pleasure to write to you on behalf of Matthew Robinson. I have supervised and worked with Mr. Robinson for the past two years in his role as an ELA teacher at the Jeremiah Burke High School in Dorchester, MA. My impressions of Mr. Robinson, both professionally and personally, are those of the highest regard. He is a multi-talented professional who has consistently demonstrated good judgment and exceptional commitment in his teaching and leadership with all students, including Special Education and English Language Learners. Mr. Robinson has been able to make strong relationships with the students and their families. Mr. Robinson will bring a wide range of qualifications and talents to a school community. He has insight into human dynamics, as well as a deep appreciation for the point of view of the families he serves. He appreciates a challenge and is reflective in his own learning. I believe that Mr. Robinson will bring these same skills to the position. It is therefore, without hesitation, that I recommend Mr. Robinson. Please feel free to contact me if you have any questions, 781-223-4191. Sincerely, Jeffrey Lappin Director of Special Education

60 WASHINGTON STREET, DORCHESTER, MASSACHUSETTS 02121 PHONE 617-635-9837 FAX 617-635-6864

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BOSTON PUBLIC SCHOOLS

THE JEREMIAH E. BURKE HIGH SCHOOL HEADMASTERS OFFICE

February 13, 2012 To whom it may concern: I am writing on behalf of Matt Robinson, a colleague at the Jeremiah E. Burke High School in Boston. As a member of the Burke guidance staff assigned to serve students in the 12th grade, I am constantly looking for ways to serve and support my students. To this end, in addition to insuring that my students successfully complete all BPS graduation requirements, I assist them in developing and beginning to implement their post-secondary education/career plan. Because many of my students face major challenges both in and outside of school, I try to present them with a wide range of educational and career opportunities. In September of 2011, Mr. Robinson approached me with the idea of creating a series of Career Day programs in which employers and union representatives would come to the school to present our students with potential alternative options to college and to give them ideas about what they might do with their lives after they leave the Burke. Although we regularly have college representatives make presentations to our students, Mr. Robinson’s suggestion was more vocational. After discussing the project with me, we decided to work together to plan and implement a series of Career Day presentations. Mr. Robinson contacted a wide array of employers, professional trainers and consultants and ended up organizing a month-long series of presentations and speakers that was both well attended and well received. By the end of the series, many students found a new sense of purpose and direction. Mr. Robinson is a motivated and skillful teacher. I am sure he will be a tribute to whatever academic program he becomes involved with in the future. If you have questions or need additional information, please do not hesitate to contact me at [email protected]. Respectfully yours, Ronald Inniss Guidance Counselor

60 WASHINGTON STREET, DORCHESTER, MASSACHUSETTS 02121 PHONE -635-9837 FAX 617-635-6864

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August 3, 2009 DEPARTMENT OF ENGLISH

Newton North High School 360 Lowell Avenue Newton, MA 02460

August 14, 2009

To whom it may concern:

I enthusiastically recommend Matthew Robinson for a teaching position in your school. As Matthew’s supervising English teacher last month in the Critical Writing Program of the Newton Summer School, I feel that I know him well.

The Program: Critical Writing ran from 8—12 for the first three weeks of July, during which our high school students each started and finished one essay on each of the 15 days. They spent an hour on pre-writing exercises each day, and then an hour drafting, a third hour revising, and a fourth hour correcting . . . doing some of the work by hand, and some of it on laptops. By 12 noon each day, each student had corrected, formatted, and printed a new essay. Most of the essays were argumentative, and most were on current issues, such as the death penalty and the possibility of parents “designing” their children. On most days, too, a guest spoke to our students, and answered their questions on the topic of the day, such as a neuroscientist from Brigham and Women’s Hospital and a project manager from IBM.

Our seven tutor/editors were graduate students at Boston University’s School of Education, working with us as a part of their summer semester of graduate courses. With us, their job was each to work with three students in a group and individually, during every step of the writing process each day. Matthew had a particularly challenging group of three boys, one of whom is well known at Newton North for accomplishing very little. With Matthew’s help, he successfully completed all 15 essays, to the astonishment of, among others, his math teacher of this past academic year. “That’s a miracle,” she has said.

Recommending Matthew is a pleasure, for he was an excellent “tutor/editor” in our demanding program. What do I mean? I mean three things. First, he was dedicated and passionate about this work, in every way, including being on time, answering emails promptly, being in a good mood, speaking forcefully, and showing that he loves to write. Secondly, he showed a real ability to connect with his students. The three boys respected him and loved working with him. Finally, Matthew brought a wealth of experience from his years as a professional journalist, which is unusual for graduate students at Boston University and for first-year teachers.

For those and other reasons, I enthusiastically recommend Matthew Robinson. Please let me know how I can be of further help in supporting his application.

Sincerely,

R. L. Montague, Teacher of English

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To Whom It May Concern: I am writing to you today, in regards to an AP English Language and Composition substitute teacher, Mr. Mathew Robinson, that I had from April 27, 2009 to May 15, 2009, while in I was in the twelfth grade. During that time I found it very easy to get along with Mr. Robinson. While this might sound normal, for me, it is not. I am not the easiest student to have with both a learning disability and a medical condition. Mr. Robinson was able to deal with it in a way that did not make it a boundary or problem, which for me made it easy to get a long with him. During that time that I was Mr. Robinson’s student he helped me prep for the up coming AP Exam. Due to my learning disability I had to prep differently then the rest of class. From the start when I became a student of Mr. Robinson’s to the time of the AP Exam, he gave me individually assistance, mainly during lulls in class. When the exam was only a day or two away he even worked with me during his prep period and answered some last minute questions on his way out. Thanks to his extra help I scored higher then anyone expected on the exam. Mr. Robinson would be a great addition to any high school, please consider him for the position. Thank you. Sincerely, Susan L. Needleman Please note that this letter of recommendation was written by a student who not only volunteered but asked to write it on my behalf. The student is now a college student over the age of 18 and has consented to my using this letter with her name on it for this purpose.

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To Whom it May Concern: My name is Harry Skoler. I am an associate professor in the woodwind department at Berklee. This letter is written in support of Matthew Robinson, who is getting in touch with your department regarding a possible teaching position at your school. Matthew has written reviews over the years regarding my music, and I am aware of his long resume and accomplishments. Matthew is an extremely motivated, talented and diversified individual. He has accomplishments is so many different areas that I am overwhelmed by his drive and experience. Having been interviewed by Matthew, I find him to be uplifting, aware, insightful, detailed, and precise. He focuses in on one as if they are the main interest in his thoughts. He has all the qualities that would bring to Berklee an excellent teacher. His life is one of DOING, and his ability to relate, and sense of enthusiasm is evident and contagious. I have no question in my mind that he would be a welcome addition to your department. I have dealt with many individuals in the music industry, and few possess the accuracy and personal interest Matthew consistently shows. I highly recommend him for a teaching position. If you have any questions please feel free to contact me at any time. Thank you for your time and attention. Sincerely, Harry Skoler Associate Professor/Woodwinds Berklee College of Music

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What my students are saying… Mr. Robinson was the one that was helping me the most. - ELL student Best English teacher I had. - 11th grade student The academic success that I had in this class this year was…because Mr. Robinson told us that we could write. - ELL student All my improvements in English was thanks to…Mr. Robinson. He is a nice, friendly and understandable teacher. I think that having him as the teacher also helped me a lot because he is the kind of teacher that helps everybody whenever it’s needed. - ELL student Mr. Robinson has a very good personality and he loves teaching the class…. While I’m doing class work, he explains very well….[He] is my favorite English teacher. - ELL student

I was not confident and said “I can't” but my teacher Mr. Robinson helped me gain confident and read in front of everyone in class. Mr. Robinson help me gain confidence because he told me “You can do it”….After that day in class I learned to stay positive.

- ELL student

Due to my learning disability I had to prep differently then the rest of class. From the start when I became a student of Mr. Robinson’s to the time of the AP Exam, he gave me individually assistance…. When the exam was only a day or two away he even worked with me during his prep period….Thanks to his extra help I scored higher then anyone expected on the exam. Mr. Robinson would be a great addition to any school. - SPED student Matt Robinson, has helped me very much. He has inspired me to stay focused, get my thoughts all on to the paper and show everyone what I can do. He is very devoted to us. He lets us have our little fun but at the same time we have to work hard. He makes sure we get every step done by its deadline. He is very persistent on keeping us on track with our work. - Critical Writing Program student When you take a class is very important that you feel satisfied because you like the class and you want to learn new things. Is good to have excellent teachers that provide the help needed in order for you to be successful and that’s why I like the way my teacher Mr. Robinson teaches the class. He is a very excellent teacher. - ELL student

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What my Bunker Hill Community College students say…

Not every professor who knows their work is a great teacher. You really know the subject but more importantly you know how to teach. Sadly that is rare today. The passion that came across in your class was something that I looked forward to going into every class It takes more than regurgitating the textbook to be a teacher and you have an amazing formula to your teaching format in which the information being conveyed to the audience is easy to understand. You are a gift to others. Your teaching kindness is a blessing from above. You really want to help the kids in your class and I find that to be inspiring. It was an honor for me to be part of this class. This semester in your classroom was the perfect environment for me to learn. I felt like I learned about two solid years of English in one semester. I would just like to thank you for making the time I spent in your class one of the more enjoyable experiences I have had in my return to school. Staying after every class to answer questions is something I have never seen a teacher do, never mind all the extra materials you provide to assist us with our work and always responding to emails is only done by few of your colleagues. Professor Robinson was also a great help with lots of patience towards his students. I feel like you took the time to answer the questions I have and that you really tried your best to help us all become better writers. I had to step up my game. I feel like you truly challenged us to put forward our best work. I had a five-page paper for my nutritional science class and got an A+ on it and the teacher said it was outstanding. This semester has allowed me to conquer many of my fears when it comes to writing. This class has increased my confidence as a writer.

I feel that I have regained my confidence in writing. I feel much more confident that I ever have. Now, because I had the motivation to do better, I feel confident in writing a paper no matter how long it has to be.

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Overall, I found this course incredibly helpful and incredibly improving not only in my writing but also in my confidence towards writing in general. I feel that I have grown as a writer. I had a huge improvement in this semester. I honestly am positive that it aided me in becoming a better writer. I felt like I developed as a writer and I enjoyed the class and your style of teaching.

The book of sources you made for us really helped me. Our professor made us exercise each day…. That helped us a lot. By taking this course I have also learned that it is not only the fact on putting something down on paper, but also to understand what you have written. Overall I enjoyed the course and the way you taught. We all came out as better and more confident writers. This class was a great experience. This class was really entertaining and I believe that coming out of this class, I’m a way better writer then when I began. So thank you professor. Thank you Mr. Robinson for the opportunity to learn from you. This experience has taught me a lot about college level expectations and I will certainly better prepare for my next experience. I have found that this semester has allowed me to conquer many of my fears when it comes to writing. I feel that I have grown as a writer. After finishing, I realized I had the capability to do better than I expected. I started to feel more confidence in my writing and developed more abilities. Overall, I found this course incredibly helpful and incredibly improving not only in my writing but also in my confidence towards writing in general. I learned a lot from your class that will benefit me and my life tomorrow and into the future. This class was really entertaining and I believe that coming out of this class I’m a way better writer than when I began. I learned a lot and at the same time I had a lot of fun. I had a huge improvement in this semester. I learned how to express myself and how to think critically. After taking this class I am no longer afraid to write. Instead I use tools that can help me write better. Thank you, thank you, thank you!

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What my Boston Latin School students said… You were prepared and got through the whole class smoothly. He clearly did a lot of research on each book. Mr. Robinson demonstrated extraordinary knowledge on the subject. ¡Muy bueno! You knew everything and made things interesting. He had a planned lesson everyday and did research on the topic. All assignments were helpful and reinforced what was supposed to be learned. All handouts demonstrated clear organization and were useful in preparation for tests. The homework was really helpful when studying. He engages the class with discussions which are more enjoyable than lectures. I didn’t dread this class which was good. He tries to be engaged with all of the students. Your positive and energetic attitude made class interesting. Everyday was fun. I had a great time in this class. The class encouraged me to learn. I was challenged and that was good. I felt like I learned a lot. I enjoyed coming every day. I love learning because of you. One of the better teachers. Just the kind of teacher I would like to have in every class. One of the best student teachers I’ve ever had! Mr. Robinson has done, career-wise, what I aspire to accomplish in life. I’ll miss you!

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What my boxing students say… Having never boxed before, I went to Matt's boxing class a little nervous, but it didn't take long before I was a "regular." He has a great way of breaking down technique for beginners and ensuring other students are engaged and working hard. His motivation and cheerful spirit made boxing fun and created a safe environment for all. I always looked forward to the class and meeting up with my "boxing friends." Matt does a great job teaching detailed fundamental mechanics while making it fun at the same time. He has a variety of drills that focus on endurance and technique. His classes are a terrific workout. It was an absolute pleasure to take boxing lesson from Matt Robinson. I pride myself on being one of the original students (December 2008-2013) with the exception of a year-off for my pregnancy. Matt is an engaging and knowledgeable coach, who really takes the time to prepare his students. There were several other coaches that taught boxing at the same gym, but inevitably, those student would gravitate to Matt's class, because he knew the basics and he would stress(and overstress) how integral it was to have those fundamentals down pat before we could progress further. I have never regretted taking his class. In that time, not only did I learn to appreciate boxing and the endurance and athleticism of the professionals, but we learned commitment, camaraderie and built relationships with each other. Towards the end, we had a core group that showed up every Wednesday and with Matt's guidance, we welcomed all newcomers and integrated them into our group. Matt Robinson is a great boxing coach and he would be an asset to your organization. Matt teaches you the fundamentals of boxing and he pushes you to improve. He changes the class often and often brings new ideas to keep attendees engaged. With Matt, you're going to learn how to box and you will always get a good workout. No boxing teacher combines experience, motivational skills, uncomfortable pauses, the same beat-up red sweatshirt and a weird sense of humor into a one hour boxing class like Matt. The man is truly the Pauly Shore of boxing teachers.

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The following two pieces were composed by my students: Elimaida Rosado College Writing 2 Instructor: Mr. Matt Robinson

My Favorite English Teacher

I have a very excellent teacher in my college writing class. His name is Mr. Matt Robinson. He now teaches Mondays English writing class. Mr. Robinson has a very good personality and he loves teaching the class.

When taking this class, I can see my progress in writing. Before I was not able to write an essay but now I can on my own even though I still know I have to keep practicing when it comes to grammar and punctuation but that has improved too little. Writing in English is not easy specially when is not your first language but with time and effort is possible. When I took English class before, I had a very bad experience I was not able to understand the class very well. Also when I asked for help when I did not understand something the only classmate who speaks Spanish would ignore me. I struggle a lot and I didn’t feel comfortable in the class.

Now that Mr. Robinson is the teacher and I’m very happy. He always has a good mood and I like the way he teaches the class. While I’m doing class work, he explains very well when I’m doing something wrong.

In my class I always have a good time. I socialize with my classmates. They are very good persons. When I don’t understand something they explain to me. They are very helpful.

When you take a class is very important that you feel satisfied because you like the class and you want to learn new things. Is good to have excellent teachers that provide the help needed in order for you to be successful and that’s why I like the way my teacher Mr. Robinson teaches the class. He is a very excellent teacher.

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Weapons of major writing

In the Critical Writing summer course, I have learned to use transition words more easily,

revise a lot, also my papers have become much more lengthy than before. My Boston University

tutor, Matt Robinson, has helped me very much. He has inspired me to stay focused, get my thoughts

all on to the paper and show everyone what I can do. He is very devoted to us, he lets us have our

little fun but at the same time we have to work hard. He makes sure we get every step done by its

deadline. He is very persistent on keeping us on track with our work. The first day Matt worked with

me, he helped me make a list of transition words. Now when I write, I refer to those words, they help

me use details and expand my ideas. From more details, my papers have gotten very lengthy. For

example, the first essay I wrote in this course was one hundred and fifty words exactly. My recent one

was over three hundred and twenty words long. Before, I never used a graphic organizer, but

gradually, I started using it, but I didn’t understand why we needed to use it at first. Now, I fill all of the

boxes, which helps me write my essays better. I’ve also learned to take a break in between, to relax

my mind. For example, everyday we start prewriting and drafting until ten o’clock, then we have a

break, have a snack, and then go onto revising. Revising in groups helps so much. We revise each

other’s papers, edit them, then show it to Matt, who is the last person to revise our essays. Then we

finalize our papers. When we revise, we remove a lot of unnecessary words. We go through every

sentence slowly and carefully. Every time we do that we find more mistakes. Critical Writing has

helped me so much in becoming a better writer. All of these things I have learned in this course will

help me in September.

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The following is an excerpt taken from a unit that was prepared for high school students yet that has since be adapted to many grade and ability levels:

UNIT: Elizabethan Poetry

Objective: This unit will allow students to discover and engage the cultural landscape of Elizabethan England, especially as it pertains to the arts and poetry in particular. Students will develop a context for and familiarity with major themes and elements of Elizabethan poetry and be able to explain how and why they came to be. They will then come to learn about the history and structure of one of the most popular and enduring styles of poetry of the age – the sonnet. By the end of this unit, students will be able to identify and discuss the sonnet form and its various elements and also to identify and discuss works by two of the most popular and enduring sonnet writers of the age (and of all time) – Edmund Spenser and William Shakespeare.

Rationale:

The Elizabethan age marked a major turning point in the history of English poetry. Inspired by the classical styles of Italy (in particular, the works of Petrarch) that had been brought to England through international commerce and conquest, a new poetic structure took hold and very soon took over the English poetic landscape. Through the use of particular meters and rhyme schemes, this new form of poetry - called the “sonnet” - inspired poets of all kinds to write of a wide array of themes – from comedy to history to love – in creative yet structured ways. These themes and structures would carry through the age and maintain the sonnet as an important form even when it faded from popularity. Though the sonnet may have gone out of favor towards the end of the 17th century, it remains popular today both for scholars and poets and therefore deserves focus in any unit on poetry.

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UNIT: Elizabethan Poetry Lesson 1: The rise of Elizabeth

Premise:

Having spread its own language throughout the world through conquest and trade, England also gathered many traditions from other lands in the course of its international exchanges. These exchanges were perhaps most notable in what would become English poetry. As the oral tradition gave way to an age of print, the demands on poetry and on poets changed. Even so, as the poets were supported in great part by the people, many of whom were illiterate, they still had to offer forms of personal and artistic expression that were easy to follow and remember. Therefore, the traditions of the great Greek and Italian epic and lyric poems survived and thrived in the age of Queen Elizabeth and influenced the greatest creative minds of the era.

Objectives: By the end of this lesson, the students will be able to:

1. Locate England on a map. 2. Place Queen Elizabeth roughly in time, perhaps amidst the English monarchs. 3. Discuss how poetry and the life of the poet changed during her reign. 4. Define such terms as “meter” and “rhyme” and identify them in the context of a poem.

Procedure:

In this lesson, the teacher will: 1. Assess and engage the students’ prior knowledge of Elizabethan poetry. 2. Discuss the cultural and artistic climate of the age of Queen Elizabeth. 3. Present germane vocabulary, facts, and figures to support student learning and

understanding. 4. Ask students to recall and synthesize what they have learned.

Assessment:

Students will demonstrate their understanding of this lesson by: 1. Discussing the importance of the rise of Queen Elizabeth. 2. Identifying some major themes of Elizabethan poetry. 3. Defining “meter” and “rhyme.” 4. Assessing a poem, noting its meter and rhyme scheme.

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Write Now:

Read over and respond to the following writings. What do they have in common? What makes each one different? How does each make you feel? Which is the easiest for you to read? Which do you think is easiest to understand? Do any sound familiar? Why?

When I consider how my light is spent Ere half my days, in this dark world and wide, And that one talent which is death to hide, Lodged with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest he returning chide; "Doth God exact day-labor, light denied?" I fondly ask; but Patience to prevent That murmur, soon replies, "God doth not need Either man's work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o'er land and ocean without rest; They also serve who only stand and wait." How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right. I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress when she walks treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare. One day I wrote her name upon the strand, But came the waves and washed it away: Again I wrote it with a second hand, But came the tide, and made my pains his prey. Vain man, said she, that doest in vain assay A mortal thing so to immortalize, For I myself shall like to this decay, And eek my name be wiped out likewise. Not so (quoth I), let baser things devise To die in dust, but you shall live by fame: My verse your virtues rare shall eternize, And in the heavens write your glorious name. Where whenas Death shall all the world subdue, Out love shall live, and later life renew.

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The history of English poetry (poetry from England or in the English language) stretches from about the mid-seventh century to today. English poets have written some of the most enduring poems in Western culture, and the language and influence of their works have spread around the world. Therefore, while it was born in England, the term “English poetry” now more commonly means poetry written in the English language.

Example: “The Lord’s Prayer” (in Olde and more modern English) Fæder ure þu þe eart on heofonum, Si þin nama gehalgod. To becume þin rice, gewurþe ðin willa, on eorðan swa swa on heofonum. Urne gedæghwamlican hlaf syle us todæg, and forgyf us ure gyltas, swa swa we forgyfað urum gyltendum. And ne gelæd þu us on costnunge, ac alys us of yfele. Soþlice. Father ours, thou that art in heaven, Be thy name hallowed. Come thy rich (kingdom) Worth (manifest) thy will, on earth also as in heaven. Our daily loaf sell (give) us today, And forgive us our guilts as also we forgive our guilty And lead thou us not in temptation, but loose (release) us of evil. Soothly

As much of it was composed before the invention of mass printing techniques, early English poetry was primarily transmitted orally. As it had to be easy to remember and pass on, English poetry took significant inspiration from its Latin predecessors, much of which had some sort of meter (the basic rhythmic structure of a verse) and rhyme scheme (the pattern of rhyming lines) that helped the composer and reciter make the poem moving and memorable. The introduction of printing toward the end of the 15th century allowed and encouraged the rapid dissemination of English poetry. It also allowed for changes in the form and style of the writing, as poetry no longer needed to be memorized in order to be passed on. Even so, the most prevalent forms of English poetry were still marked by their marked use of rhythm and rhyme. This was due in great part to the fact that many people were still illiterate, making books and print irrelevant and maintaining the importance of the old styles. Also, as the old styles had been around so long and had proven so popular, there was little impetus for change. As England was a major international trading partner, its language spread quickly and, with it, so did its literary traditions. It is small wonder, then, that the traditions and styles of English poetry were and are so influential and common. Today, millions of English subjects (and former subjects) from Australia to India to the United States write in the styles of English poetry, having been taught them while under British rule or simply through international exchange. Furthermore, thousands of non-native speakers can recognize and even compose their own versions of English poetry, even though it is not the tradition of their native cultures. Elizabeth I (1533 –1603) was crowned Queen of England on November 17, 1558. The daughter of Henry VIII and Anne Boleyn, Elizabeth (who appears as a minor character in Shakespeare’s play about her famous father) was the fifth and last monarch of the Tudor dynasty. As she was never married, she was often referred to as “the virgin queen.” With Elizabeth’s ascension to the throne, the artistic landscape of England changed. As Elizabeth’s court was more supportive of the arts, more creative types rose to prominence. Among the most notable of these were Edmund Spenser and William Shakespeare (who we will deal with in greater detail in coming days). As she was the center of this new poet-friendly movement and as much of the poetry was composed in or related to her court (Spenser’s most famous work, The Fairie Queene is a tribute to Elizabeth), this form of verse became known as courtly poetry (poetry related to the monarch’s inner circle). Aside from hymns to the monarch, other themes of this dramatic verse were religion, humanism, and love. As the base rhythm of the much of the verse of the time recalled that of the human heartbeat (again, more on that later), this may be of little surprise. Love became such a prominent theme, in fact, that poets found ways to approach it from many different sides, dealing with every aspect of friendship and romantic love (perhaps with homosexual undertones) and of the wearing effects of time on the beloved’s beauty and on love itself. Many writings of the time also dealt with English history (as had been the case with the great epics of yore), often accentuating the positive aspects of what had at times been a dark and bloody era. As it was quickly becoming the new national art form, such optimistic interpretations of England’s history were necessary to keep the peace and to please whoever was on the throne so that they would continue to patronize the playwrights.

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Another important goal of these dramas was to please the general populace. As such, comedies also arose, many of which took on pastoral themes that dealt with the lives of the common folk (and which were therefore called pastorals). Though they may not have been the patrons of the work, the common people did make up the greater parts of the audiences. So, even though memorization may not have been as important in this burgeoning age of print, poets still had to make their works accessible and interesting to the people who supported them. These requirements would lead to the rise of what has become the most popular and enduring form of Elizabethan poetry- the sonnet.

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Timeline of The Tudors:

King Henry VII 1485 – 1509 King Henry VIII 1509 – 1547 King Edward VI 1547 – 1553

Jane Grey 1554 Queen Mary I (Bloody Mary) 1553 – 1558

Queen Elizabeth I 1558 – 1603

Timeline of Queen Elizabeth I:

September 7, 1533 - Elizabeth born at Greenwich Palace. May 9, 1536 - Ann Boleyn beheaded January, 1547 - Henry VIII dies July 6, 1553 - Edward VI dies after a six-year reign; Mary I takes the throne. November 17, 1558 - Mary I dies, Elizabeth succeeds January 15, 1559 - Elizabeth's coronation ceremony 1561 - King Francis of France II dies Mary Queen of Scots returns to Scotland. 1568 - Elizabeth imprisons Mary Queen of Scots 1570 - Pope Pius V issues an interdict against Elizabeth 1571 - Ridolfi Plot to overthrow Elizabeth and replace her with 1580 - Pope Gregory XIII announces that killing Elizabeth is not a sin 1582 - Duke de Guise Plot on Elizabeth's life 1583 - Marriage negotiations with the Duke de Alencon 1585 - Act for the Preservation of the Queen's Safety passed 1586 - Babington Plot to overthrow Elizabeth and replace her with Mary February 8, 1587 - Mary Queen of Scots executed July, 1588 - Philip of Spain launches the Spanish Armada March 24, 1603 - Queen Elizabeth dies

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Homework:

1 a/b. Find and circle England on these two maps -

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2. Name the Queen who rose to power in the 17th century- BONUS: Provide some details about her - 3. How did poetry and the life of the poet changed during her reign? 4. Name three major themes of Elizabethan poetry - 5. Define “meter” - 6. Define “rhyme” - BONUS (synthesis): What does it mean for one country to conquer or colonize another? What changes result for each nation?

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7. Mark the meter (using accent marks (‘)) and rhyme scheme (using letters) of the following excerpt:

But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

BONUS: Identify the poet who wrote this - BONUS (synthesis): Write a poem with a repetitive meter and rhyme.

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The following pieces appeared in the alumni magazine for Concord Academy:

FACULTY NEWS In an effort to add a few more lines to their already impressive CA cv’s, math professor Howard Bloom and music teacher Keith Daniel performed in a community theater production of the Broadway musical "1776." They had colleague Christine Campbell to blame, for it was she who choreographed the show for Acton's Theater III. In the production, Bloom took on the role of Connecticut Representative Roger Sherman and Daniel portrayed New York’s Lewis Morris. CA junior Maya Gupta was also involved as a violinist in the company’s orchestra. Another of CA’s master thespians, Theatre Director David R. Gammons, took some time in October to act as a guest set and costume designer at Suffolk University’s 11th Annual One-Act Play Festival. The evening of plays included “Impromptu” by Tad Mosel, “A Separate Peace” by Tom Stoppard, and “The Constitutional Convention, A Sequel” by Charles Mee. During the Festival, Gammons also lectured on topics of design. Speaking of festivals, Dance teacher Richard Colton’s new work, “Billy Nijinsky,” recently won “Best Production 2002” at the New York International Fringe Festival. The production was a collaboration with Blue Man Group's Associate Artistic Director Randall Jaynes. Congratulations, Richard! Turning from theater to poetry, English teacher Anne Colman recently attended a workshop on the topic, the gleanings from which she hopes to bring not only to her classes but also to CA’s Poetry Club. Ceramics teacher Marvin Sweet recently had two essays published in the newly released book, 500 Teapots: Contemporary Explorations of a Timeless Design (Sterling Publications /Lark Books). In other publishing news, History teacher Peter Laipson wrote articles on the topics of bachelorhood and on urbanization for the Encyclopedia of Men and Masculinity (Sage). He also began revisions of the manuscript for his book, No Genius for Marriage: Bachelorhood in Urban America, 1870-1950, which is set to be published by Cornell University Press in 2004. In November, Laipson’s colleague Mustafa Aksakal presented a research paper entitled “Ottoman Public Opinion and War in 1914” at the Middle East Studies Association's Annual Meeting in Washington, DC. For the third year in a row, Assistant Dean of Students and Health and Wellness Coordinator Jeff Desjarlais conducted summer training sessions for orientation leaders at Boston College. In a special presentation entitled “Courage, Strength and Faith: Friends Helping Friends,” Desjarlais also addressed BC’s 2300 freshman on the topic of alcohol use and abuse. Well done, Jeff!

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STUDENT NEWS On November 7, the CA student body took part in an Afternoon of Action. During this day of community service, students participated in a wide variety of programs. . Locally, students worked at Belknap House, The Emerson Umbrella arts space, and helped clean Mill Brook and the famed Sleepy Hollow Cemetery and Minuteman National Park. While some helped bring in the harvest at Drumlin Farms and Codman Farms, others shared the bounty with the help of the Haley House and Kingston House soup kitchens, Gaining Ground, The Boston Food Bank and Community Servings, a support organization that serves individuals living with AIDS. Students also helped out at Boston area shelters such as Project Hope and Rosie’s Place. Their dedication to the next generation was demonstrated through work at Lena Park in Cambridge and at The Stone Zoo in Stoneham and Dorchester’s Zoo New England. In keeping with CA’s dedication to education, students also assisted with area chapters of the Jump Start program. Other events of note include CA’s observance of National Coming Out Day on October 11, the Womens Organization student club’s fundraiser for breast cancer research, and a Halloween House Decorating Contest that was organized by House Faculty Brett Morrison. CASA (Concord Academy Service Activists) also served lunch at Rosie‚s Place on October 27.

CAMPUS EVENTS Adding another chapter to CA’s extensive library of arts events, students recently performed in and produced a number of new plays and projects. The CA Dance Company’s spring production of “Zero at the Bone” features choreography by Richard Colton and sets by Art teacher Antoinette Winters and Theater director David R. Gammons. Theatre III Company’s production of “Beauty Sleeping,” an original work based on the famed fairy tale, “Sleeping Beauty,” was written and directed by Gammons, who will also direct the Fall, 2003 production of “Heart’s Desire Hotel.” This year’s Student Theatre Independent Festival featured “The Importance of Being Earnest,” directed by Kasia Cieplakvon Baldegg ’02, and “Spiral,” an original work written and directed by Matt Ricci ’02. Summer Stages Dance celebrated a record year in terms of attendance, thanks in great part to director Amy Spencer. Among the guests artists who graced the PAC stage were the Concord Chamber Music Society, the internationally acclaimed piano trio Triple Helix and former Boston Symphony Orchestra Program Annotator Steven Ledbetter. Boston-based Salsa sensation Mango Blue also performed for the CA community in October. Other recent guests include South African teacher Baphiwe Nxumalo and Harvard School of Public Health Professor Jody Heymann (’77), both of whom have been on the leading edge of the fight against the AIDS epidemic in Africa. In recognition of her work, Heymann was awarded CA’s only award, The Joan Shaw Herman Award for Distinguished Service.

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The following piece appeared in the alumni magazine for The Bancroft School: Standing Tall: From day one through graduation - Confidence is built at Bancroft

Ask any Bancroft graduate and they will rattle off a long, long list of benefits they garnered while a student at their beloved school. Top among these, however, would be the all-important element of confidence.

From the first time students carry a flag into the auditorium until their senior co-op project, a Bancroft education gives students not only the knowledge and skills to succeed but also the confidence to use what they have learned to make their own lives and the lives of others better. According to Lower School Head Jyoti Datta, confidence is a “mindset” that Bancroft students have from their earliest days. But of what exactly does this confidence consist?

“Confidence is being able to stand up and hold your own in front of classmates, teachers, older and younger peers, and adults,” Datta suggests. And while it is hoped that all children grow up in an environment in which such attribute can be developed, Datta says that Bancroft is especially adept at supporting it. “Our students feel comfortable and confident to be able to learn and own their learning,” she says, citing the Lower School as “an environment where people care for the students and care about what they have to say.” While many educators talk about supporting their students in developing confidence, Datta and her team of teachers in the Lower School have the students speak for themselves. “Starting in Kindergarten,” Datta notes, “each child has an opportunity to be up on stage during our morning …and lead the school in saying the Pledge of Allegiance.” Many new students also publicly share what they are learning or doing in their classes with parents, teachers, and peers. Such opportunities give students a chance to take risks and enter unfamiliar and potentially uncomfortable situations with support “Public speaking is encouraged from a very young age and they learn to embrace this with enthusiasm and excitement instead of fear,” Datta says.

While many students do not even look at complex texts like the works of Shakespeare’s until high school, Bancroft students not only explore but perform these plays much earlier on. In fact, Datta says, today’s fourth graders not only present performances of “Twelfth Night” and “A Midsummer Night's Dream,” they also perform such stories as Goldilocks and the Three Bears…in French! By the time they reach fifth grade, every Bancroft student is ready for their moment in the spotlight- and they all get it! “Each child has a speaking part,” Datta says, “and they build teamwork and leadership skills through this process.” In addition to drama, many Bancroft students also take advantage of the school’s strong arts and music programs as means of self-expression and development.

“They are validated and encouraged,” Datta says. “They come to recognize their strengths and share their talents and accomplishments with others in a nurturing and encouraging environment.” Though these skills may first be developed within the more comfortable confines of the Bancroft community, many students are soon ready to show their stuff to the outside world. From field trips to a four-day trip to Leadership School at Camp Kieve before the transition to Middle School, Bancroft students spread their wings far sooner than many other students. “Often museum staff are amazed by how much our knowledge our young students have about a subject or topic,” Datta says, noting how enthusiastic Bancroft students are to share what they have learned. “There are numerous opportunities for children to have their voices heard.”

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In fact, public speaking begins early on in a Bancroft career and continues right through to graduation. In the Middle School, Jane Merritt oversees the eighth grade forum, another key element in the Bancroft system of confidence building. According to Merritt, confidence involves “a feeling of self-assurance that a student gets when they believe in their own abilities or qualities.” As Bancroft students are encouraged to develop not only innate but also potential skills and abilities, they quickly develop confidence in these abilities as well. And just as they have plenty of opportunities to show and share in Lower School, there are many Middle School milestones that continue to bolster their confidence. From Speak Out Night in sixth grade (during which students present research projects) to the seventh grade Science Fair to Merritt’s Forum (in which students must research, prepare, and present a five-minute talk and PowerPoint) and the World Fair (for which eighth graders research and prepare interdisciplinary discussions about current events in various countries), the path through Bancroft’s Middle School is virtually paved with opportunities to show what students know and to feel good about doing so. “Each year the projects require students to work more independently and to present to larger groups,” Merritt says, noting a scaffolded structure that is so key to proper learning and development.

“Speak Out changed me in a way that I am now more comfortable speaking in front of an audience,” says recent sixth grader Carleigh O'Connell. “The teachers helped me to prepare by giving me constructive criticism and encouraging me to prepare by speaking in front of an audience before the real thing. The preparation support that I received at Bancroft didn't exist at my previous school.” Even Middle School assemblies are completely student-run and feature book reviews, vocabulary-based skits and other public speaking segments that are prepared and presented by the students for the students. “Students who choose to do so may also use the Assembly to showcase a particular talent they have,” Merrtt says, recalling such diverse offerings as pianists, jugglers and a student rock band.

As Bancroft students progress through the program they are continuously supported. The Upper School experience is no different. As at the beginning of their careers, opportunities for public speaking and presentation foster such personality elements and get soon-to-be graduates ready to present themselves to colleges and the world.

Though confidence building is a key element of the Bancroft experience from start to finish, Upper School instructor and speech team advisor Chris Sheldon observes that it is never explicitly discussed. It just is. “

I don't think you could say Bancroft has a ‘system’ of confidence building,” Sheldon suggests. “I think instilling confidence is what we all try to do in our classrooms and extracurricular activities, and that makes it integral.” By providing students with appropriate challenges and the support to overcome them, the Bancroft system allows and encourages students to find and develop their own sense of confidence.

“They certainly come back from college to tell us they are extremely well prepared,” Sheldon notes. As he works directly with the speech team (a team that has qualified for the National tournament for the past six years and that has also had six state champions, nine runners-up and placed three other students in the top 10 in their categories), Sheldon may get to see some of the more confident Bancroft students. However, he says, many come to him with other skills and strengths that also contribute to their abilities in and confidence with public speaking.

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“A lot of the students who come to the team already have some confidence,” Sheldon admits, “[and] certainly the team gives them an opportunity to shine in a way that they might not otherwise have. However, all students on the team, from those that win awards at Nationals to those who have just started, bring talents.” Speaking of talents, many Bancroft students have been able to use the skills and talents fostered and developed at the school in their post-Bancroft careers. Wilma Cespedes-Rivera graduated Bancroft and is now a successful actor in New York! “Confidence is an energy that needs to develop with time,” Cespdes-Rivera suggests, “and I must say that my confidence in my craft began at Bancroft.” In fact, Cespedes-Rivera credits the talented team at Bancroft with lighting the “small wick of confidence that was in me back then” and fanning the flame into the confident conflagration it is now “It is a hard to say that I was truly confident in high school,” she admits, “but Bancroft gave me the tools I needed to begin to develop my confidence. Whether it was in the speech team, bringing home awards, or the fact that when I got to college I knew what the right format of writing a paper was, Bancroft truly did guide me in the right direction to gaining confidence.” As a member of the speech team and the theater department, Cespeda-Rivera took full advantage of the opportunities to develop her confidence at Bancroft. “My passion for acting grew far more at Bancroft that it ever would have at a public school,” says Cespeda-Rivera, who notes that she still keeps in touch with Mr. Sheldon and does what she can to support the next generation of speech stars “I only hope that those programs are still helping students today.” Don’t worry, Wilma- They are!

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