IF YOU DO NOT HOPE, YOU WILL NOT FIND WHAT IS BEYOND YOUR HOPES. [ST. CLEMENT OF ALEXANDRIA

W E ARE ALL INVENTORS, EACH SAILING OUT ON A VOYAGE O F DISCOVERY, GUIDED EACH BY A PRIVATE CHART, O F WHICH THERE IS NO DUPLICATE. THE WORLD IS ALL

GATES, ALL OPPORTUNITIES. RALPH WALDO EMERSON]

L TIPS FOR MOTIVATING STUDENTS

Robert Harris Version Date: March 2, 1991

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1 . EXPLAIN. Recent research shows that many students do poorly on assignments or in participation because they do not understand what to do or why they should do it. Teachers should spend more time explaining why we teach what we do, and why the topic or approach or activity is important and interesting and worthwhile. I n the process, some of the teacher's enthusiasm will be transmitted to the students, who will be more likely to become interested. Similarly, teachers should spend more time explaining exactly what is expected on assignments or activities. Students who are uncertain about what to do will seldom perform well.

2. REWARD. Students who do not yet have powerful intrinsic motivation to learn can be helped by extrinsic motivators in the form of rewards. Rather than criticizing unwanted behavior or answers, reward correct behavior and answers. Remember that adults and ch~ldren allke continue or repeat behavior that is rewarded. The rewards can (and should) be small and configured to the level of the students. Examples include: books, lunches, certificates, exemptions from final exams, verbal praise, and so on for good performance. Even something as apparently "childish" as a "Good Job!" stamp or sticker can encourage students to perform at higher levels. And the important point is that extrinsic motivators can, over a brief period of time, produce intrinsic motivation. Everyone likes the feeling of accomplishment and recognition; rewards for good work produce those good feelings.

3. CARE. Students respond with interest and motivation to teachers who appear to be human and caring. Teachers can help produce these feelings by sharing parts of themselves with students, especially little stories of problems and mistakes they made, either as children or even recently. Such personalizing of the studentlteacher relationship helps students see teachers as approachable human beings and not as aloof authority figures. Young people are also quite insecure, and they secretly welcome the admission by adults that insecurity and error are common to everyone. Students will attend to an adult who appears to be a "real person," who had problems as a youth (or more recently) and survived them.

I t is also a good idea to be approachable personally. Show that you care about your students by asking about their concerns and goals. What do they plan to do in the future? What things do they like? Such a teacher will be trusted and respected more than one who is all business.

A. HAVE STUDENTS PARTICIPATE. One of the major keys to motivation is the active involvement of students in their own learning. Standing in front of them and lecturing to them (at them?) is thus a relatively poor method of teaching. I t is better to get students involved in activities, group probiem solving exercises, helping to decide what to do and the best way to do it, helping the teacher, working with each other, or in some other way getting physically involved in the lesson. A lesson about nature, for example, would be more effective walking outdoors than looking at pictures.

Students love to be needed (just like adults!). By choosing several students to help the teacher (take roll, grade objective exams, research bibliographies or biographies of important persons, chair discussion groups, rearrange chairs, change the overhead transparencies, hold up pictures, pass out papers or exams) students' self esteem is boosted and consequently their motivation is increased. Older students will also see themselves as necessary, integral, and contributing parts of the learning process through participation like this. Use every opportunity to have students help you. Assign them homework that involves helping you ("I need some magazine illustrations of the emphasis on materialism for next week; would someone like to find one for me?").

5. TEACH INDUCTIVELY. I t has been said that presenting conclusions first and then providing examples robs students of the joy of discovery. Why not present some examples first and ask students to make sense of them, to generalize about them, to draw the conclusions themselves? By beginning with the examples, evidence, stories, and so forth and arriving at conclusions later, you can maintain interest and increase motivation, as well as teach the skills of analysis and synthesis. Remember that the parable method of making a point has some significant historical precedent.

6. SATISFY STUDENTS' NEEDS. Attending to need satisfaction is a primary method of keeping students interested and happy. Students' basic needs have been identified as survival, love, power, fun, and freedom. Attending to the need for power could be as simple as allowing students to choose from among two or three things to do--two or three paper topics, two or three activities, choosing between writing an extra paper and taking the final exam, etc. Many students have a need to have fun in active ways--in other words, they need to be noisy and excited. Rather than always avoiding ar suppressing these needs, design, an, educations! activity that fulfills them.

Students will be much more committed to a learning activity that has value for them, that they can see as meeting their needs, either long term or short term. They will, in fact, put up with substantial immediate unpleasantness and do an amazing amoljnt of hard work if they are convinced that what they are learning ultimately meets their needs.

7. MAKE LEARNING VISUAL. Even before young people were reared in a video environment, i t was recognized that memory is often connected to visual images. We can provide better learning by attachini; images to the ideas we want t e cenvey. Use drawings, diagrams, pictures, charts, graphs, bulleted lists, even three-dimensional objects you can bring to class to help students anchor the idea to an image.

It is very helpful to begin a class session or a series of classes with a conceptual diagram of the relationship of all the components in the class so that at a glance students can apprehend a context for all the learning they will be doing. This will enable them to develop a mental framework or filing system that will help them to learn better and remember more.

8. U S E POSITIVE EMOTIONS TO ENHANCE LEARNING AND MOTIVATION. Strong and lasting memory is connected with the emotional state and experience of the learner. That is, people remember better when the learning is accompanied by strong emotions. I f you can make something fun, exciting, happy, loving, or perhaps even a bit frightening, students will learn more readily and the learning will last much

longer. Emotions can be created by classroom attitudes, by doing something unexpected or outrageous, by praise, and by many other means.

The day you come to class with a bowl on your head and speak as an alien observer about humans will be a day and a lesson your students will remember. Don't be afraid to embarrass yourself to make a memorable point.

9. REMEMBER THAT ENERGY SELLS. Think about these problems for a minute: Why would so many students rather see Rambo, Robocop, Friday the 13th, or another movie like that than one on the life of Christ? Why is rock music more popular with youth than classical music or Christian elevator music?

Being energetic in your teaching is a motivating factor in itself; adding energy to the ideas you want to convey will further enhance learning and commitment to the ideas.

BASEBALL AND MOTIVATION

I t has been pointed out that students who are bored by school and "unmotivated" in the eyes of the teacher nevertheless find plenty of motivation for playing a sport. The obvious question, then, is, What is motivating about a sport? Think about a group of young people in a baseball game. The very things that motivate them to work hard and de we!! playing baseball can be adapted to the c!assroom. Let's !ook at them:

I. TEAMWORK. Humans are gregarious and like being around each other. Young people and adults usually like working as a team. Yet often the learning activities we assign call for individual effort. Young people especially complain that they don't like doing homework alone, yet we often insist that i t be done that way. By designing more team assignments, we can exploit the benefits of teamwork, where the weaker students will learn by having others help. And, of course, since teaching someone something is the best way to learn, the students who teach each other will learn better than if they were learning alone.

Why not let or even encourage your students to do their homework as a group? You will still have measures of individual learning when exam time comes.

2. FUN. Sports are fun, exciting, sometimes thrilling, highly emotional. Learning experiences should provide as much fun (or at least enjoyment and satisfaction) as possible. We sometimes think that some learning tasks are by necessity boring (like learning definitions, grammar, vocabuiaryj, but perhaps this attitude reiiects oniy a lack of creativity on our part. Americans especially have indulged the myth that work and play are two distinct entities that should never overlap. Work can be fun; i t should be fun.

3. ENJOYMENT OF SUCCESS. Playing a game provides a constant flow of accomplishments and the enjoyment of those accomplishments. Even the team that ultimately loses enjoys, say, a strikeout, a base hit, a well-caught fly ball, and so forth. Teachers should think about this stream of small but constant ego rewards. Breaking learning into small packages that can be conquered and that will in some way produce a feeling of accomplishment and success will help motivate students to go forward, even through very difficult material.

4. ACTIVE. A baseball game is not passive (like too much learning). I t requires both mental and physical activity. Teachers should strive to make learning always at least mentally active and perhaps often physically active as well. The students should be responsible for producing something, rather than just sitting passively, soaking up the lecture.

5. F L ~ I B I L ~ AND CREATIVITY. Baseball has rules, of course, but there is within those rules a large degree of flexibility, so that a player has a range of choices and strategies for accomplishing a given goal. I n education, it has been found that students learn better when the directions given them have a similar flexibility so that they can put some of their own creativity--some of themselves--into the assignment. The freedom to follow hints, suggestions, and their own inclination will produce a greater desire to perform and a better long-term learning experience.

6. TANGIBLE THINKING. The game connects thought with the tangible in that every decision is worked out physically and its result is seen in three dimensions. This kind of connection is the best there can be for learning and remembering, as well as for providing fun. Teachers should therefore attempt to connect ideas, concepts, conclusions, and so forth with physical reality, whether as effects and consequences or in a symbolic way.

Bring objects to class that will make or illustrate a point you want to convey. Call up students to stand before the class and give them roles or use them as examples of something. Connect ideas to pictures or to visual images in the imagination (that is, use concrete analogies whenever possible).

7. OUTSIDE THE CLASSROOM. I t has been said that most learning takes place outside the ciassroom. I t 's important, then, for the teacher to prime students to continue learning after class, to prepare them to be aware, to ask them to apply concepts in their lives after they leave class, to shape their out of class learning experiences through hints, suggestions, assignments.

F A L L

THE SIGNIFICANCE OF MAN IS NOT IN WHAT HE ATFAINS, BUT IN WHAT HE LONGS TO ATTAIN. -KAHLIL GIBRAN

PRESENT FEARS ARE LESS THAN HORRIBLE IMAGININGS. -WILLIAM SHAKESPEARE

DON'T BUNT. AIM OUT OF THE BALLPARK. -DAVID OGILVY

K E E P Y O U R R O O M N E A T & T I D Y - B U T I N T E R E S T I N G T O O !

We all know the importance of a tidy classroom, however you should also try to keep i t from looking sterile. Try to keep your room as interesting as possible for students to look at. I f you have permission, paint your room an inviting color. Hang student work prominently and change it often. Use the walls to reflect what you are studying, as opposed to just having the same three posters hanging up all year. You spend even more time in this room than your students do, so changing i t on a regular basis will keep things fresh and new for you as well!

A T T E N D S C H O O L F U N C T I O N S

Your students want to know that you think of them as more than just a grade. It's tough to hang around school more than you have to, but attending after school functions is a good way to connect with your students. Try to attend at least one basketball game, band concert, track meet, drama performance, etc. every year. I f the students know that you care about their lives outside of your class, they will be more likely to care about what happens inside of your class. I f nothing else, you'll have something to talk to them about during passing period.

S E T T H E S T A G E !

Think about how you can aesthetically motivate your students. Consider everything from your classroom arrangement to the posters and pictures hanging on the wall to the colors in your classroom. Make your classroom an upbeat, inviting space where both learning and fun take place.

G E T T O K N O W Y O U R S T U D E N T S

This may seem obvious, but especially in those first few weeks of school, make it a point to learn all of your students' names as quickly as possible and to find out something about them. This will show students that you truly care about and are interested in them.

L E T Y O U R S T U D E N T S B E I N T H E D R I V E R ' S S E A T

Givlng your students control over some aspects of the classroom and their learning increases student buy-in, which in turn increases motivation. According to "The Art and Craft of Motivating Students," whenever possible "students should be allowed to determine class rules and procedures, set learning goals, select learning activities and assignments, and decide whether to work in groups or independently."

E S T A B L I S H A S Y S T E M O F C L A S S R O O M M A N A G E M E N T

(see 5-Star Count idea below)

Count Q: What is "the 5-star count"? A: It's a system of classroom management in which the teacher uses a simple countdown in order to get students' attention and later positively reinforces and rewards that behavior through "choice time." Q: How does "the 5-star count" work? A: At an interval during class in which the teacher wishes to gain the attention of her students, she holds up her hand and begins a verbal countdown: "Five starsn-pauses for students to tune in-"Four starsw- acknowledges that some students are listening and attentive while others still need to tune in ... etc. The countdown continues until the majority of students are listening and focused. Next, the teacher goes to the "Star Board" (a small whiteboard located within view of all students) and marks the appropriate number of stars that the class has earned. Stars are accumulated throughout the course of the week and are tallied Thursday afternnon. Each star that each class period earns equates to one m i n ~ t e of "choice time" at the end of class on Friday. For example, i f 1" period earned eight stars throughout the course of the week, they would have eight minutes of choice t ime on Friday. I n addition, every Friday students also have a 10-minute work period preceding choice time. I f all of their assignments are completed, then the work period becomes bonus choice time for those students. Q: So what's the point of "the 5-star count" and why does it w o r ~ ? A: The main philosophy behind "the 5-star count" classroom management system is that by tuning in quickly and listening, students are saving the teacher vaiuabie ciass time that wouid otherwise be wasted nagging students to focus and listen. Choice time is a way of rewarding students for their good behavior and positively reinforcing their ability to focus and be attentive in a quick and efficient way. '-The 5-star count" is especially successful because i t aims to encourage students to complete their work on time so that they are eligible for bonus choice time. This extrinsic motivation is particularly useful in students who aren't typically motivated by grades because it positively reinforces good work habits and responsibility by providing a relatively immediate incentive. And let's face it-we all know that students LOVE free time!

FOOTBALL REVIEW GAME

1. Write questions on index cards. The students can do this as well.

2. Cut a football shape out of construction paper.

3. Draw a football field on the whiteboard (use a visa-vis pen so lines don't erase

unintentionally but you can still wash i t off with water and a paper towel). Be sure to label the

yard lines. Don't forget the goal posts.

4. Divide the class into teams of equal ability.

5. Flip a coin to see which team receives the ball first. Let them decide which side of the field

they want.

6. Go down the rows and ask each team member a question. I f the team member answers

correctly, 10 yards are awarded. Be sure to move the football.

7. A FUMBLE occurs if the player gives the wrong answer. It becomes the other team's turn,

and they get the same question.

8. An INELIGIBLE RECEIVER is a wrong player on the team giving the answer. It becomes the

other team's turn, and they get a new question.

9. OFF SIDES occurs when someone on the other team answers. The team with the ball is

awarded 10 yards and gets a new question.

10. It is time to PUNT when the ball is fumbled three consecutive times. Say, "Punt." The first

person from either team to raise his hand and give the correct answer is awarded 10 yards

and his team gets a new question.

11. I f a team gets a TOUCHDOWIV, award six points. The additional point may be earned by

either answering another question or using a mini paper football and trying to flick i t between

your fingers as the goal posts. I f the team wants to go for three points, make the question

more difficult.

12. I t now becomes the other team's turn.

13. The team with the most points at the end of the allotted time is the winner.

W I N T E R

UNREST OF SPIRIT IS A MARK OF LIFE; ONE PROBLEM AFTER ANOTHER PRESENTS ITSELF AND IN THE SOLVING OF THEM, WE CAN FIND OUR GREATEST PLEASURE. - KAL MENNINGER

MAKE DEALS WITH YOUR STUDENTS AND CHART THEIR PROGRESS

Maybe you want the class to work together to see i f you can get 100% homework turn-in, or maybe you want to individually chart students' progress on their essays. Create a big chart and have students graph or somehow account for their progress so they can visually see how they are achieving their goals.

MAKE YOUR STUDENTS FEEL COMPETENT

Increase students' feeling of competence by connecting real-world experiences to what they are learning in class. Make your lessons relevant and valuable.

HELP STUDENTS TO FEEL CONNECTED TO THE CLASSROOM

Celebrate birthdays. Organize a birthday database so you can acknowledge your students' special day. Make a class calendar of birthdays. Greet students at the door using their first name. Take a photo of each of your students and create a class bulletin board . Have class officers, such as a secretary to record notes and maintain an absent work folder and a social chairperson to plan class parties and events.

START A '"QUOTE OF THE WEEK9' PROGRAM

"Many of life's failures are people who did not realize how close they were to success when they gave up." -Thomas Edison Cl "Hitch your wagon to a star." -Ralph Waldo Emerson

" I f you knew how much work went into it, you wouldn't call i t genius." -Michelangelo "i know God wiil not give me anything i can't hanaie. i just wish that He

didn't trust me so much." -Mother Teresa " I f we did the things we are capable of, we would astound ourselves."

--i-homas Edison "All our dreams can come true - i f we have the courage to pursue them."

-Walt Disney "Be who you are and say what you feel, because those who mind don't

matter and those who matter don't mind." -Dr. Seuss "Success is never final. Failure is never fatal. It is courage that counts."

-Winston Churchill " I f you have built castles in the air, your work need not be lost; that is

where they should be. Now put the foundations under them." -Henry David Thoreau

1. Write at least 25 'easy' review questions.

2. Write at least 25 'hard' review questions.

3. Buy or make a small (3-4 inches diameter) ball. I make mine with a paper wad in

the middle surrounded by a few layers of masking tape.

4. Set up the room with a (clean) garbage can in the front. This will be the 'basket'.

5. Place a piece of masking tape on the floor approximately 3 feet from the basket.

6. Place a piece of masking tape on the floor approximately 8 feet from the basket.

7. Divide the students into two teams.

8. Explain that each student must answer the questions given to them. Easy and

hard questions will be evenly interspersed.

9. Keep score for the questions. Easy questions are worth 1 points each and hard

questions are worth 2.

10. I f a student gets an easy question correct, they have a chance to shoot for an

'extra point'. They will shoot from the tape mark that is furthest from the basket.

11. I f a student gets a hard question correct, they have a chance to shoot for an

'extra point'. They will shoot from the tape mark that is closest t o the basket.

Uses : 8

How l D

Tips : D

Snowman Challenge!

I used i t with balancing chemical equations, but it can be modified for any subject where students will be asked to practice a skill they have just learned. Gets kids to practice without knowing they are practicing and without the moans and groans accompanied with doing worksheets.

:o Play: Instead of giving the students a worksheet with practice problems, put them onto fun shapedlthemed cards (make sure each problem has a number). Prepare 39 beach ball cards by printing beach ball shapes on one side o f the page and the problems you want the students to solve on the other side. Cut apart. Set aside an area of your classroom, such as a table, or tape them to the waII/whiteboard. Create a key for yourself with all the problems for easy check off. Create an answer sheet for students with game rules, directions, and answer boxes (or use the masters provided at sciencespot.net).

During the game, I sit at the front counter and have the teams come to me to have answers checked. I am able to see everyone working and I don't have to try to run all over checking answers. i reward the top teams with candy or other prizes. This helps to prevent the sharing of answers or tips on the problems. I f you have challenge problems you can indicate them on the cards, i f the students choose challenge problems they are rewarded with extra credit. I limit the teams to a total of 2 people. I f I have an odd number, I ask for a volunteer to work alone. For Honors and high achieving classes I used i t as a class competition, the first 4 teams to finish both the front and back side of the answer sheet got a candy prize. For my lower achieving classes, I de-emphasized competition by giving the class the "goal" of c~mplet ing a certain number of problems. Each team that met their goal was rewarded with a prize. The game can also be modified by season, using different shapedlthemed cards. I told my students at the beginning of the period that we were going to be playing a game with candy prizes, but that first they needed to learn the skills necessary to play the game. This caught their fuii attention right from the beginning and got them keyed into the lesson (i.e. balancing chemical equations). http://www.sciencesgat,net/Bages/cl~sscherr:.html#Anch~:8 has a better description. The author provides masters, answer sheets, etc. It is under the balancing equations lesson.

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R E A L I S T I C G A M E S TO R E V I E W F O R F I N A L S

Are your students feeling stressed out by final exams? Try to lighten the mood with a review game. You can find them at http://teach.fc~s.netftrtl0/PowerPoint.htm. You can add content from any subject matter. They work especiaiiy weii if you have a Smart Board, but even if you don't they still have the desired effect. I f the game in your classroom looks more like the game on TV (and therefore more "official,") the students will be more likely to buy in.

S P R I N G THE FUTURE BELONGS TO THOSE WHO BELIEVE IN THE BEAUTY OF THEIR DREAMS.

-ELEANOR ROOSEVELT

IN ABSENCE OF CLEARLY DEFINED GOALS, WE BECOME STRANGELY LOYAL TO PERFORMING DAILY ACTS OF TRIVIA.

-UNKNOWN

Toothpick Fish Lab

Purpose We are going to experiment with genes and environment for a population of "toothpick" fish. You will learn how a specific trait, fish skin color, is controlled by different forms of a gene (red, yellow, green). You will also see how the environment can change a population by selecting for or against certain traits.

Introduction The colored toothpicks represent three different forms of a gene (green, red, and yellow) that controls one fish trait: skin color. The table below tells you which forms of the gene are dominant, which are recessive, and which are equal (or co- dominant).

"Combining red and yellow genes results in a fish with orange skin color.

The green gene (G) is ...

REMEMBER: EACH TOOTHPICK REPRESENTS A GENE, NOT A FISH.

1. Answer questions 1-3 on your lab sheet.

e dominate to all other color genes

2. Make a first generation of fish. To do this, pull out genes (toothpicks) in pairs without looking and set them aside carefully so that they can stay in pairs. This simulates the way offspring are formed by a sperm from the male fish combining randomly with eggs from the female fish. Once you have drawn the 12 pairs, record the results in Table A.

3. Count the numbers of each color of fish offspring and record the numbers in Table B where i t says first generation. Table B is at the very end of your lab sheet.

4. What is the genotype of a yellow fish?

The stream where the fish live is very green and !ush with lots of vegetation and algae covering the streambed and banks. The green fish are very well camouflaged from predators in this environment. The red and orange fish are fairly well camouflaged as well. However, the yellow fish can be seen very easily against the green algae and vegetation. Because of this, predators are easily able to find them and eat them, and none of the yellow fish survive or reproduce. I f you have any

yellow fish (fish in which both toothpicks are yellow), put those fish aside and do not use them for the rest of the period.

5. Put all the genes you have left back in the gene pool (remember you have set aside yellow fish) Draw a second generation of fish, again without looking. Record your gene pairs in Table A. Total up the fish of each color and record the numbers in the second generation row in Table B.

6. The well camouflaged fish live longer and have more offspring's, so the numbers of those fish are increasing. However, your yellow fish die can still be easily spotted and die again!!!! Move them to the graveyard (toilet). Draw toothpicks to make a third generation of fish. Record your data in Table A and then write the total numbers of each color in the third generation row of Table B. Now, return survivors to the gene pool (be sure to set aside any genes from yellow offspring).

STOP HERE. Answer questions 4-7 on your lab sheet

7. Draw more pairs of genes to make a fourth generation of fish. Record that data in Tables A and B. Do not remove the vellow fish.

STOP! An environmental disaster occurs. Factory waste harmful to algae is dumped into the stream, killing much of the algae very rapidly. The remaining rocks and sand are good camouflage for the yellow, red, and orange fish. Now the green fish are easily spotted by predators and can't survive or reproduce.

8. Because green fish don't survive, set them aside. Now record the surviving offspring (all but the green) in the last row of Table B (fourth generation survivors row). Contribute your final data on the class tally. Your instructor will total the data for the class.

After examining the data for the class, answer questions 8-10 on your lab sheet.

Name Period

Green

Phenotypes (fish color)

I

Red

Possible Genotypes

Yellow

Orange

Based on the answers you gave in the table above, answer the questions below. 1. Can two red fish mate and have a green offspring? Why or why not? 2. Can two orange fish mate and have a red offspring? Why or why not? 3. Can two green fish mate and have an orange offspring? Why or why not?

Table(s) A: Gene Pairs and Resulting Fish Colors in Generations 1-4

Fish 4 Fish 4 Fish 5 Fish 6 1 Fish 7 1 ~ ~ Fish 8 Fish 8 Fish 9 Fish 9 Fish iO Fish 18 Fish 11 Fish 11 Fish 12 Fish I2

Offspring Offspring

4. Have all the yellow genes disappeared?

Genotype 1'' generation

1 Genotype Phenotype

5. Has the population size changed? I n what way?

Phenotype lSt generation

Genotype 2nd generation

1 Genotype 1 Phenotype

6. Would you expect this to occur in the wild? Explain

Phenotype 2nd generation

Offspring 1 3rd 1 3rd generation I Offspring 1 4th 1 4th generation

7. How does the population in the third generation compare to the population in the earlier generations?

8. Has the population changed compared to earlier generations? How?

9. Have any genes disappeared entirely?

Table B: Phenotypes (color of fish) for Surviving

10. Yellow genes are recessive to green; green genes are dominant to both red and yellow. Which color of genes disappeared faster when the environment was hostile to them? Why?

Toothpick Fish Orange Red Environment

There is a lot of green seaweed

All the seaweed dies and leaves bare rock and sand.

Yellow

--

Fourth Fourth (survivors)

Generation First Second Third

Green

Materials: Big white marshmallows -for body Little colored marshmallows -for humps and noses Tooth picks - for legs and antenna Unbent small paper clips or pipe cleaners - for tails Thumbtacks or push pins - for eyes

--Toothpicks hold the head on, and the body together

Reebops (Reebopins minimus) are small organisms that live in empty pop cans. Chances are you have never seen one as they are extremely fast little organisms! Chromosomal analysis has revealed that each Reebop has 8 pairs of chromosomes for a total of 16 chromosomes. Half of the chromosomes in a Reebop come from the father, and half come from the mother. Reebops have only one or two genes 011

each chromosome (humans on the other hand may have hundreds or thousands of genes on each chromosome!). Genes are segments of a chromosome that code for a trait, for example, in Reebops there is a gene for eye color. There can be more than one allele at each gene; an allele is a version of a eene. There are two alleles for eye color in R-whops, is the allele for red eyes and e is the alle!e for u - green eyes. In this case E is dominant to e. The term genowpe describes the combination of alleles that an organism has. The telm phenotype describes what an organism looks like.

1 . Look at tlie Mother and Father Reebops. Describe their traits, how are they similar, hoxvv are they different?

2. Lay out the chromosomes upside down.

Separate the chromosomes into mother (pink) and father (blue) chromosornes.

For each of the colors, organize the chromosomes from longest to shortest.

4

For each parent there are 2 chromosomes of each length. Take ONE chromosome of each length from each parent. You should have one pink and one blue chromosomes of each length. These are now your baby Reebop's chromosomes.

3. IVext, flip the chromosomes over so you can see the letter(s). Each letter is an allele. Record these alleles in the table on page 2. For each trait, the baby's genotype is the allele from the mother plus the allele from the father (one pink and one blue).

4. Use the baby's genotype and the chart below to determine your baby Reebop's phenotype. Record

1 antenna 2 antenna No antenna Red nose Orange nose Yellow nose 2 eyes 3 eyes 3 body segments 2 body segments 1 green hump 2 green humps 3 green humps Curly tail Zig-Zag tail qtr5light tail - .A -. Blue legs Purple Legs red legs Female Male

Name Date Period

Mother's Allele Father's Allele Antenna 1 Baby's Phenotype is:

1 Nose color

Baby's Phenotype is:

1 Eyes

Baby's Phenotype is:

1 Body Segments

Baby's Phenotype is:

Humps

Baby's Phenotype is:

I Tail

Baby's Phenotype is:

1 Leg color

Baby's Phenotype is:

Sex

Baby's Phenotype is:

Your Baby's Name

Your Baby's Birth date

Remember that the genotype is represented by letters and the Phenotype is what it looks like (eg. Red nose).

1. When every one is finished creating their Reebops, compare them. Do they all look the same?

2. What are some differences? (give at least 2 examples)

3. All of the baby Reebops came from the same two parents, why don't they all look the same?

4. What is the probability that a baby Reebop will have red legs? Give both the fraction and the percentage. Hint: Do a punnet square.

5 . What is the probability that a baby Reebop will have a curly tail? Give both the fraction and the percentage.

6. How is it possible for 2 babies to have different genotypes, but still look the same?

7. M'hich two traits in Reebops are controlled by incomplete dominance? (You will not be able to tell by looking for 2 different letters for the same trait.) How do you know?

Reebops Teacher Setup: You will have to construct identical sets of Mom and Dad Reebop's chromosomes fro the students to sort. Place each set into an envelope. 'Chromosomal analysis" has revealed that Reebops have seven pairs, or 14 total chromosomes. To do this, cut strips of pink (Mom) and blue (Dad) construction paper to create the chromosomes (see below). Each envelope should contain one color of 14 chromosomes; each pair of students receives two envelopes, one pink (Mom) and one blue (Dad). Each parental set consists of pairs of chromosomes of seven different lengths. Each chromosome pair has the one of each of the two alleles for the given traits written on one side (i.e. A, a or El e). More traits, such as sex, can be easily added if you wish.

Mom's chromosomes (pink)

Dad's chromosomes (blue)

How to run the activity: Introduce your students to Mom and Dad Reebop and distribute the chromosome sets to each pair of students. Have the students open and take out the contents of each envelope. Have them turn the chromosomes face down on the table so that no letters (alleles) are visible, and ask each student to sort them by length. When both the Mom and Dad have beeii sorted, i t is now time to "make a baby." Each student will arbitrarily take one chromosome of each length and place i t in a separate "baby pile." This will be their Reebop baby's chromosomes. The remaining chromosomes can be returned to the appropriate envelopes. Each Reebop baby will have 14 chromosomes, half pink and half blue. The students can then discover what their baby will look like by turning over their baby's chromosomes and decoding the alleles, referring to the Lab Sheet for the key to Reebop traits, and filling out the

attached worksheet. Once the students have determined their baby's traits, have them come to you for the materials to build their babies. When they are all finished, students should see that each Reebop baby should look different than all the other Reebop babies, despite all having the same parent Reebops. Have students think of a name and complete the questionnaire for their baby.

EXTRA TIME AT THE END OF THE LESSON?

Try a puzzle! You can use word puzzles, logic puzzles, history-themed puzzles ... you get the idea. Students sometimes enjoy a little competition, so if you like, make i t a race to see which student or team of students can be the first with the correct answer, and small prizes can be awarded. Small activities like this will hopefully keep them in their seats until the bell rings.

S E E NEXT PAGE FOR ANYTIME ACTIVITI ES...

LANGUAGE ARTS AND SOCIAL STUDIES EXTRAS

Context: The following techniques/projects were employed in two 12th grade Language Arts classes at Bishop Blanchet High School during the second semester o f the 2006-07 academic year.

Rationale:

It is no secret that seniors become increasingly difficult to motivate as graduation approaches. I n light of this trend, I decided prior t o the beginning of the second semester to make a concerted effort to find creative ways t o keep the students engaged.

I n addition to responding to the "senioritis" effect, I sought to make all material we were covering in class relevant to the lives of the students. This rationale is based on a pedagogical platform that I tried to employ in all m y classes: the Ignatian Pedagogical Paradigm. This model is based the work of the philosopher Bernard Lonergan, and seeks to lead the students through the following steps: 1) context (for the learning experience), 2) experience, 3) reflection, 4) action, 5) evaluation. I n this approach, contextualizing and reflecting on an experience is critical.

Techniques:

1. Freew riting on Quotes

Description : I often began class by giving students a half-sheet of paper with a series of quotes and asked them to reflect on 1-2 of the quotes for 10-15 minutes. This simple freewriting exercise served multiple purposes, as it gave students a respite from a hectic schedule and allowed them to be quiet and relaxed for a period of time. However, the most critical elements of this simple exercise were as follo~vs:

1) Students were exhorted to think of this exercise as "thinking on gaper." Those students who were traditionally most resistant to writing initialiy protested this type of activity, so I chose to frame it by arguing that writing is simply thinking, and while you may not ever take another Language Arts course again, you are most certainly going to think. This angle, combined with the following aspects, seemed to take the edge off what is often viewed as a mundane activity.

2) The quotes students were asked t o respond to included not only quotes from the text we were reading, but also quotes that were loosely related to the text. For example, after completing a large essay assignment, I had students reflect on the writing process by responding to 2-3 of the following quotes:

Easy reading is damn hard writing, -Nathaniel Hawthorne

Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead. -Gene Fowler

Writing comes more easily if you have something to say. ~ S h o l e m Asch

I f I don't write to empty my mind, I go mad. -Lord Byron

Writing is utter solitude, the descent into the cold abyss of oneself. -Franz Ka fka

I do not like to write - I like to have written. -Gloria Steinem

The above quotes gave the students the opportunity to vent (or praise) regarding the process of writing, which provided both a sense of closure and a cathartic effect.

I n addition to quotes related to writing, reading, or the text we were reading, I would usually offer one prompt that was seemingly unrelated t o the curriculum and offered the students the oppor t~~n i ty to escape from the reality of school life for 10-15 minutes.

This exercise also proved to be beneficial for the following reasons:

i) It gave students practice in reading and responding to the ideas of another.

ii) It firlfilied a therapeutic need as i t allowed students to center themselves and "unload" daily stresses or concerns in a productive manner that was aligned with the class goals.

iii) The casual nature of the writing removed the pressure to "write formally" and in many cases yielded the most thoughtful, honest, and stylistically and grammatically correct writing students did all semester.

iv) The personal nature of the writing allowed for students to communicate with me as their teacher, and they appreciated the fact that I wanted to hear what they had to say.

v) The exercise provided an oppor t~~n i ty for genuine reflection, which was a vital component of the teaching paradigm I elr~ployed (see above).

2. The Se nior Memoir Project

Description and Rationale: Fitting in with the theme of student-centered learning (or self-centered learning), I wanted to have the seniors complete a final project that summed up their four years of high school at Bishop Blanchet. I wanted to give them 1) a context in which to relive their high school experiences, both good and bad, 2) an opportunity to reflect on these experiences, and 3) a platform for making informed choices in the future.

Project Outline (as given to students): A memoir is a work concentrating on the writer's personal experiences. It is an autobiographical account whose focus of attention is usually the persons, events, scenes, and times known to the author.

Your task will be to write the memoir of your high school years and to illustrate it with photos that underscore, capture, and represent your career at Bishop Blanchet High School.

You will need the following sections:

A. Then and Now

Great literature often feeds on the remembrance of our perceptions that are no more, since they belong to a moment in the past. Our remembrances of things that are past allow for dispassionate description. Simone Weil says, "Distance is the soul of beauty."

Describe who you were as a freshman. Who were you then? Please focus on the followingm

a. Physical appearan ination, athletic skills, dance skills, etc. b. Attitudes toward academics, your peers, social interaction, teachers, parents, siblings, family time, etc. c. interests - in sckooi and outside of schooi. For exampie, sports, drama, service, hobbies, etc.

2. Describe the person you have become since your freshman year (You are a dynamic character!).

3. This section will utilize a comparison and contrast form of organization.

ti. Significant Experiences That Have Changed You

1. What have been the moments and experiences you have had in the past four years that have shaped who you are today?

2. Have there been any turning points, epiphanies, moments of insight, realizations, awakenings, or enlightenments?

3. What accomplishments have been sources of pride? Did you overcome any obstacles? Did you discover that you had resources and gifts you never realized you had? Did your accomplishment require cooperation and teamwork?

4. Your task here is to show the "domino effect." How did you become the person you are today?

6. Storytelling

1. You have had the opportunity to read n a n y stories over the course of your career at Bishop Blanchet. Some have made you laugh, some have made you think, and some have made you sad. What are the lived stories of your high school experience that have made you laugh, think, reflect and cry?

D. Friends

Aristotle links friendship to happiness. Friends, he says, are a necessary condition for happiness, and friends are a component of genuine happiness. Without friends our lives are diminished; with .friends our lives are enriched.

1. Who have been some of your friends these past four years? Describe their physical characteristics, their personalities, their gifts. Try to paint a picture of these people with words.

2. Are you presently friends with someone whom you would never have imagined being friends with earlier in high school?

3. How have your friends enriched your life?

4. What have you learned about the nature of friendship from your experiences?

E. The Soundtrack of Your Life

Imagine, i f you will, that you wanted to put together a collection of songs for your Ipod that have meant a lot t o you these past four years, some that bring you back to your frosh days, some to your soph, and others to your junior and senior years.

1. What would be some of those songs? Why are they important? Are they connected to certain times and places? Certain people?

2. Reflect on the songs you've chosen. What do they say about you? Your interests? Values?

3. Include what you consider to be the lyrics of your favorite song.

F. Inspiring Individuals, Memorable Individuals

I n all your classes, you've learned about many new people, people whose lives have caused you to pause and think, people whose lives have given you inspiration, people whose lives have given you an insight into yourself and life in general.

1. Who have been some of these people? (historical? literary?)

2. Explain what has touched you about these people? Why have their lives resonated in your hearts and minds?

G. A Piece of Literature

You've read novels, poems, short stories, and plays.

1. Which novel, short story, or play really grabbed you? Explain why.

2. Include your favorite poem of the last four years.

H. Visual Art

Select one of the following options:

1 What is the definitive film of your generation? Discuss why this film embodies the spirit of your high school years.

2. Discuss your favorite work of visual art (a painting, poster, photograph, sculpture, e

I. The Blanchet Years...

1. What have you ioved about the last four years? What in hindsight wouid you have appreciated more of?

2. I f you had to do i t over again, what changes might you make?

3. ... And Beyond!

After you have thoughtfully answered 1 and tat2 below, answer #3.

1. Who are you? What are your enthusiasms, qualities, gifts? What do people admire you for?

2. What are your values? How would you describe your personal code/spirituality?

3. Where do you see yourself goirrg in the future? What are your hopes for the future? a specific career? marriage? family?

Required Elements:

1. A cover/title page with a creative, original tit le and a photograph. 2. Photographs on as many pages as possible. Have fun with your

use of images, and make your memoir visually appealing. 3. Binding:

i. Your entire document should be bound in a professional manner. Binding can be done at Kinko's, the UPS Store, or a similar business.

4.. A back cover with a photograph of yourself.

5. Two page minimum for each lettered section above (typed, double spaced, 12 point font, etc.). This is your life - say what you have to say!

Optional Element:

1. I f you are an artist, you may choose to integrate your own work into the paper. Please speak to the teacher to discuss the possibilities before you begun working on this option.

2. Multimedia component: I f you are so inclined, you may explore the possibility of submitting this project in a multimedia format on a DVD. You will still be required to submit a bound hardcopy as detailed above. Again, please speak to the teacher to discuss this option.

TEED 540 Self-directed Group Project Dr. Cowan Pitre Summer 2007

Project Compiled by SU MIT Students: Meredith Jarvimaki Marisa Muniz Stephanie Stansel! Jason Odem Elizabeth Nicholls