River of words. Georgia's 2001 teacher's guide

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veto International Environment'11 Poetry and Art
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Georgi'11S 2001 Te'1cher's Gui~e

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Georgia Department of Natural Resources
Environmental Protection Division, Water Protection Branch 4220 International Parkway, Suite 101, Atlanta, Georgia 30354
Alan W. Hallum, Branch Chief 404/675-6232
FAX: 404/675-6245

Dear Teachers,
Thanks for your interest in the River of Words (ROW) Poetry and Art Project. ROW is a terrific tool to help your students identify their ecological address and explore their creativity .
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In our state, River of Words is sponsored by the Georgia Project WET (Water Education for Teachers) program. Since 1997, Georgia teachers have successfully incorporated this dynamic educational endeavor into their classrooms. We have sent at least one national grand prize winner to the awards ceremony in Washington, D.C. each year.
You can lead your students in a study of their watershed, poetry lessons and/or art lessons using this helpful Teachers' Guide. The Guide is organized as follows:
- What is River of Words?, Contest rules and guidelines, How to order Materials - Field Trips to Support River of Words - National River of Words Teachers' Guide - Activities to Support River of Words - Inspirational Stories from Georgia Teachers
Keep in mind, contest guidelines change each year. The ones enclosed are current.
HAPPY ROWing!!
Sincerely,
P'etfe;f;;ffoUe: /~~.
404-675-1638 petey_giroux@mail.dnr.state.ga.us
The preparation of this guide was financed in part through a grant from the U.S. Environmental Protection Agency under provisions of Section 319 (h) of the Federal Clean Water Act of 1987, as amended .



Rivet o
International Environmental Poetry anc:1 Att: Proied for K-12 Stuc:lents
Georgia's 2001 Teacher's Guiqe
TABLE OF CONTENTS
What is Rivet of Wotds? Contest Rules and Guidelines
How to otdet National Rivet of Wotds Matetials... p. 1
Field Ttips to Support Rivet of Wotds.............. ... p. 15
National Rivet of Wotds Teachets' Guide............ p. 19 Adivities tq Support Rivet of Wotds............... ... p. 66
lnspitational Stoties ftom Geotgia Teachets........ .. p~ 88



ENVIRONMENTAL POETRY & ART
What is Rivet of Wotc!s?
Contest rules qnq guiclelines
How to otqet Nqtionql . .Rivet of Wotqs Mqtetials
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What is River of Words?

River of Words is an arts and environmental education program that:

nurtures respect for and understanding of the natural world

promotes literacy in all its forms

trains teachers how to integrate the arts into core curriculum subjects

gives youth a forum for expressing their creativity and concerns

helps children develop a sense of belonging to a particular place

builds community partnerships

leverages existing resources in support of education

facilitates interdisciplinary teaching methods

distribtes, publishes and displays children's art & poetry

publishes an Educator's Guide and curriculum support materials

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River of Words (ROW), a non-profit organi~~on, was founded in 1995 by then-US Poet Laureate Robert Hass and writer Pamela Michael. Every year, in affiliation with The Library of Congress Center for the Book, we conduct an international poetry and art contest for children in grades K-12.

Each April, eight US wiP.ners, one international winner, and a "ROW Tea.cher of the Year" are honored (during National Poetry Month) at an Award Ceremony at The Library of Congress in Washington, DC. Seventeen states currently award state ROW prizes, as well.

River of Words publishes an annual poetry book of winning submissions,
selected by Robert Hass. We also exhibit the children's paintings at museums, libraries, conferences and other venues around the world. Through our website and many workshops and presentations around the country, we provide students and teachers-and their communities-with tools, inspiration and incentive to begin exploring the natural and cultural history of their own homegrounds.

The contest is free, and every child is acknowledged with a personalized "Watershed Explorer" certificate. Children may enter on their own or through schools, nature centers, libraries, youth clubs and other organizations. Girl Scouts can earn their "Water Drop" patch by entering the contest and fulfilling other requirements (www.epa.gov/adopt/patch).

The contest deadline is: North American entries-postmarked by February 15 International entries-received by March I

PO Box 4000-J Berkeley, CA 94704 USA 510-548-POEM

www.riverofwords.org

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Frequently Asked Questions About the River of Words Contest
Who is eligible?
Children 5-19 years of age, who are not yet in college. Youth older than 19, but still in high school, are eligible.
When is the deadline? Each year, U.S. entries must be postmarked by February 151h and received by February 22nd International entries must be received by March 15'. Entries can be mailed in throughout the year; any entries received after the deadline will be automatically held for the next year's contest.
Is there an entry fee?
No; the contest is free to enter.
May I submit more than one piece? Yes. You can submit as many poems and/or pieces of artwork as you wish (including poem/art combinations). However, each entry must have a separate entry form.
How do I enter?
You may enter the contest through your school, environmental club, scout troop, art organization, or any other such group, or you may enter the contest on your own. Group entries should be sent to River of Words together in one envelope or package, rather than individually. All entries must be sent to us with a completed entry form, and should be sent to:
River of Words P.O. Box 4000-J Berkeley, CA 94704 USA
Am I entering as an individual or as part of a group?
If you completed your River of Words contest entry through work with a class, scout troop, nature center, youth organization or other club, then you are entering as part of a

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group. Individual work should still be marked as a group entry if iJ was completed

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through participation in a class assignment or group project.

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River of Words will mail group entrants' "Watershed Explorer Certificates" in one

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package to one address (school or scout leader's home, for example) for distribution.

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If you are entering the contest on your own, (i.e., you did not do your work through

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participation in a class assignment or group project) then you are entering as an

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individual. You will receive your "Watershed Explorer Certificate" at your home address.

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If you have any questions about your standing (whether group or individual) please

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contact us at info@riverofwords.org.

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How should I_ prepare my entry?

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Written poems should be no longer than 32 lines in length, and should be typed or neatly

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printed in ink (pencil does not photocopy!). Please staple your poem to your entry form

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such that each piece faces out Remember, each poem you submit requires its own entry form!

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ASL poems should be recorded on VHS videotape; each poem should be no longer than 3

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minutes in length. Please sign your full name and the poem title (if it has one) at the beginning of your poem. In addition to your poem, please include a brief summary of

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your poem. This summary should be typed or printed neatly in ink, and stapled to your

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entry form. Remember, each poem you submit requires its own entry form!

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Artwork should be no larger than 11" x 17" and should not be framed, matted, laminated

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or folded. If using charcoal or pastels, please remember to "fix" your artwork before

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tape sending. Please afix your entry form to the back of your artwork, using either or

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glue. Do not use staples, paperclips, or any glues that could seep through and damage

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your artwork! Remember, each piece of art that you submit requires its own entry form!

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How should I attach my entry fonn to my work?

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For written poetry entries, please staple the: entry form to your poem so that each piece

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faces out (in other words, after they are stapled together, your poem should show on one_

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side and when you flip it over, the front of the entry form should show on the other side).

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For videotaped poems (performed in ASL), please include all entry forms of students

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who appear on the tape in the same package. If other entries (written poetry or artwork)

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are being sent to River of Words in the same package, please place all the ASL entry

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forms together in an envelope and label them as ASL entry forms. Also, please remember to staple a short summary of the poem's content to the entry form.

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For artwork, please affix your entry form to the back of your artwork with tape or glue. If using glue, be careful to choose a glue that will not seep through and damage your artwork. Please, do not staple or paperclip entry forms to the back of your artwork!
Remember, for each poem or piece of artwork that you submit, you need to complete a separate entry form - thanks!
Where can I get entry forms?
You may download an entry form from the River of Words website (www.riverofwords.org), or you may request one to be sent to you via mail, email orfax by contacting the River of Words office.
River of Words P.O. Box 4000-J Berkeley, CA 94704 USA
Phone: 510-548-POEM (7636) Fax: 510-548-2095 Email: info@riverofwords.org
Is work returned?
No. However, by pre-arrangement, submissions from an entire state can be returned to one address (except for Grand Prize or Finalist artwork; in the case of winning artwork, high quality color reproductions will be returned instead). In states with a ROW State Coordinator, entries are returned to the coordinator. Many states award state-level ROW prizes as well .
Who sponsors River of Words?
ROW is a non-profit educational organization, incorporated in the State of California. We are supported by grants from foundations and donations from individuals, businesses, and government agencies, like the Environmental Protection Agency. We are affiliated with The Library of Congress Center for the Book, the Library's literacy promotion division, which hosts our Award Ceremony and Luncheon each year, as well as a Teacher Training Workshop.
What priz.es are awarded?*
National:

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4 Grand Prizes in Poetry, one in each of four age categories:

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Category I: (Kindergarten -Grade 2) Category II: (Grade 3 - Grade 6)

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Category Ill: (Grade 7 - Gra_de 9)

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Category IV: (Grade IO-Grade 12)

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4 Grand Prizes in Art., one in each of four age categories (same as above).

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International:

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One Grand Prize winner, in art or poetry, any age category.

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Regional:

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Shasta Bioregion Award Winner (Northern California, one winner only, in art or poetry, any age category).

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Anacostia Watershed Award Winner (Washington, D.C. area, one winner only, in art or

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poetry, any age category).

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Finalists: About 50 finalists total, in art and poetry combined- the exact number of

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finalists seiected each year varies depending on the number and quality of submissions.

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Teacher of the Year: 1 winner. There is no formal nominating procedure, but if there's a teacher you think we should know about (including yourself!) please let us know.

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The 8 national grand prize winners, one international winner, and the Teacher of the Year

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win a trip to Washington, D.C. with a parent or guardian. They are honored at an Award Ceremony and luncheon at the Library of Congress, have a VIP tour of the White House,

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go on a canoe trip and visit many historical sites.



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Regional winners and finalists receive prizes of books and art supplies.

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*River of Words reserves the right to not award a Grand Prize winner in any of the above

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categories if no entry merits such designation.

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Are entries acknowledged?

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Yes; everyone who enters will' receive a personalized Watershed Explorer Certificate,

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suitable for framing. A list of winners is sent to those who enclose a self-addressed, stamped envelope with 55 postage with their entries.

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What ROW resources are there?
River of Words produces and distributes curriculum materials, community partnership resources, and children's art and poetry.
River of Words also conducts Educators' Workshops at various locations throughout the year. For upcoming workshops, visit the Educators page on our website.
Who judges the work?
Poetry: Former U.S. Poet Laureate (1995-1997) and ROW co-founder, Robert Hass. Art: Museum of Children's Art (MOCHA) in Oakland, California Spanish Poetry: John Oliver Simon ASL Poetry: Susan Gonzalez
[For Teachers] How do I begin ROWing?
Read the River of Words' Educator's Guide. It contains lots of background material on watershed science and how to teach poetry to children. You 'II also find a bibiliography and resource guide, as well as classroom and field activities designed to help children explore their communities and their imaginations. Read through the River of Words Contest Rules & Guidelines, which contain specifics about entering, artwork size, poem length, etc. Check our State Coordinators' page to see if your state has a ROW Coordinator. If so, contact them for ideas and information. Contact local water or park districts, museums, conservation and arts organizations to see if they have any resources you can use: naturalists, poets, artists, videos, maps, etc. (One of the most successful and creative uses of River of Words that we've heard about was in Mill Valley, California, where an elementary school teacher took her students to a senior citizen's home that was situated alongside a small urban creek. The seniors talked to the children about what the area was like when they were children and together they explored the creek. The children's subsequent poems and artwork so inspired the seniors that they invited the kids and their families to return to the center, where they read them poems they had written in response to the children's poems. This project has turned into an ongoing oral history and creative writing project and has connected the school and the senior center in ways that lasting and profound.) If you are school-based, try to involve other teachers in River of Words. Collaborations between science, language arts, social studies, and art teachers have been very successful in many schools and have not only produced wonderful poems and paintings, but have led to community service projects like creek clean-ups and school gardens. Aside from the obvious benefit of shared ideas and workloads that cooperation allows, a group effort seems to energize students about the project, as well. River of Words is designed as a vehicle for building community partnerships. It is an opportunity to involve parents, service groups, local businesses, the media and other

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community resources in a common goal. While such partnerships are not essential to an

effective ROW project, giving students' work and concerns a wider audience can engage

them more fully in the process.

If possible, get outdoors, even if it's only the schoolyard. Utilize field activities that

encourage careful observation, data recording, sketching, listening, etc. Repeated visits to

the same site allow students to observe changes. Many teachers incorporate a "service

learning" component in their ROW projects, like water quality monitoring, tree planting,

gardening, or creek clean-up.



We call our curriculum approach "Watershed Explorer" for a reason-join your

students in the fun of discovering of more about the place you live.

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River of WordsTM Contest Entry Form
Note: If we can't read your handwriting, you can't win a prize and you won't get your Watershed ExplorerTM Certificate. So, please print carefully and use a pen!
Date: - - - -
I am entering as an individual_, OR. as part of a class/ group__. ( IMPORTANT! If you are unsure,
please see the Common Questions section of our website at www.riverofwords.org, or call 510-548-POEM !)
Name:_____________________ Age:_ Grade:_ Male: _ Female: _
Title of Submission:___________________ Art:_Poem:_ (Check one)
Note: If you are entering as part of a group you MUST indicate whether you are entering through your school, scout troop, summer camp, park district, library, or other organization below. School or Organization______________________________ School/Org Address_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ City_ _ _ _ _ _ _ _ _ _ __
State_ Zip/Postal Code_ _ __ Country:.______ School Phone - - - - - - - - -
Teacher/Facilitator(s) First Name_ _ _ _ _ _ _ _ Last _______________
Parent or Guardian's Name____________ Signature _ _ _ _ _ _ _ _ _ _ __ Home Address _________________ City_ _ _ _ _ _ _ _ _ _ _ _ __ State_ Zip/Postal Code._ _ __ Country _ _ _ _ _ _ Home Phone_ _ _ _ _ _ _ __
I hereby grant and assign to River of Words (ROW) the ~dusive right~ ~ o n , i n ~ of the original writing, artwcrt or photos that1 have submitted to River of Words, to use. re-use, p_ut>lish._ and ~lish, and otherwise reproduce,. and display the same, individually or in ~ o n with other original artwork. writing, photos, and video, in any and all media now or hereafter known throudiout the world. for illustration, promotion, art, advertising, and trade, or any other ptupose whatsoever; and to use my chi@'s name to i d ~ the author oI the work in oonnection with my participation in the River of Words Program. I understand that any use of this submitted work will indude my child's name as its creator. I hereby release and dischaI:ge luver of Words from any and all daims and demands arising out of or in oonned:ion with the use of the original artwo~ writing, photos, and video, induding without limitations any and all daims for libel or invasion of privacy. In any of the winning categories, River of Words maintains the exdusive right to declare no winner and withhold ~ if no poem or artwo~ ofmerit is found. ROW assumes no responsil:,ility for lost or ~ e d poetry or artwork. Ri".er of Words may sell, assign, license, or otherwise transfer all rights granted to 1t hereunder. lnis aufhoriiation and release shall also inure to the benefit of the sua:essors, legal representatives, licensees, and assigns of River of Words. I have read the foregoing and fully . understand the contents thereof. lhi.s release shall be binding upon me and my heirs, legal representatives, and as.5i~ I further release River of Words from any responsibility for injury incurred during the research or production of the original writing, artwork. photos and video.
I, _ _ _ _ _ _ _ _ _ _ _ ___, being the parent or guardian of the above-named minor, hereby
consent to and join in the foregoing release and consent on behalf of said minor.
Pledge of Originality: I declare and avow that the poem(s) or art I am submitting to the River of Words
Contest is my own original work.
Student's signature_______________________

PO Box 4000-J, Berkeley, CA 94704 USA

Tel: (510) 548-POEM (7636) Fax: (510) 548-2095
Website: http:/ / www.riverofwords.org Email: info@riverofwords.org

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Contest Rules and Guidelines

U.S. emries must be postmarked by February 15. International entries must be rec~ived by March_/. Entries may be sent in at any time throughout the year..

I. The contest is open to youth who are age 5-19, on the February 15 deadline date. Youth older than 19 who are still

enrolled in high school are elgible, but college students, even if 19 or younger, are not. Entrants need not submit

work through their school; individual submissions are also accepted (Please see Frequently Asked Questions for

clarification on these categories)...



2. Youth may enter the contest as many times as they like, but a separate entry form must be completed for each submission.

3. All entrants will receive a Watershed Explorer Certificate.

4. All poems must be original work. Written poetry must be either typed (preferred) or legibly written in ink (pencil

does not photocopy); ASL poetry must be submitted on VHS videotape. Poems should not exceed 32 lines in

length (written) or 3 minutes (signed). The student's name, school, city and state should be included on the

poem, and a completed Entry Form should be attached. For ASL poetry, please include a brief written suminary of

the poem's content, and staple this summary_ to your entry form. For written poems, please staple the Entry Form

to the poem so that each piece faces out. Collaborative poems are accepted, but only one child (chosen as the

group representative) wm be eligible for any prizes awarded. We are able to accept poems only in English.

Spanish and American Sign Language.



5. All artwork must be original work. Artwork should not exceed 11" by 17" in size. Acceptable media are paint, pencil, markers, ink, crayon, ch~k or pastel (fixed), photography, cl~. collage and computer art. All entries must
contain the student's name, school, city and state on the back - do not use a marker or anything that will show through! A completed entry form must also be affixed to the bac~ of each piece of artwork. Please attach the entry form with tape or other fixative (if using glue, be careful to use one that will not run through and damage the artwork) - also, do not use paperclips! High quality color reproductions of p:ize-winning artwork will be provided to their respective creators.

6. Art entries must be done on paper that will allow for duplication, display or framing. Please, no notebook or typing paper, and do not mat, mount, laminate, frame or fold artwork. Entries must be mailed flat or rolled in a tube _no folding, please!

7. Submissions become property of River of Words. Through submission of poetry or artwork. contestants and their legal guardians grant non-exclusive reproduction and publication rights to the works submitted.

8. All U.S. entries must be postmarked by February 15, and must be received by February 22. International entries must be r:eceived by March 1. We are not responsible for entries that are late or lost in the mail. Entries received after the deadline will be auto.matically entered in next year's contest.
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9. Winners will be announced in April of each year.* Wipners must sign an acceptance form. For a list of winners, please _include a self-addressed, stamped (55) envelope when sending in your entry. .
l 0. Grandprize: round trip transportation from the winner's nearest major airport to Washington, D.C. for the winner
and one parent or guardian. Prize is not redeemable for cash. Accommodations and some meals will also be, provided. Taxes and all other expenses are the responsibility of the winner. Winners must be available for travel .sometime in April.or May.**

*River of Words reserves the right to not award a Grand Prize winner in any given category ifno entry merits such designation.
. **International winners may be acknowledged at the Awards Ceremony for the foll.owing year's contest, if international travel logistics cannot be worked out in a timely manner.

FoR RJRTHER INRJRMATION OR TO REQUEST RIVER OF WORDS INSI"RUCTIONAL MATERIALS, CONTACT:
River of Words, P.O. Box 4000-J, Berkeley, CA 94704 USA Phone: 510-548-POEM (7636) Fall: 5 I0-548-2095 &nail: info@riverofwords.org ~ URL: www.riverofwords.org

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RJVEROF WORDS
Environmental Poetry & Art Contest
Pledge of Originality
The following pledge of originality must be signed by each entrant to the River of Words Contest and witnessed by an adult .

I declare and avow that the poem(s) or art I am submitting to the River of Words Contest is my own original work.

-E-n-tr-a-n-t's--S-ig-n-a-t-ur-e-------------------------

Witness's Signature

Date
A Project of International Rivers Network & The Library of Congress Center for the Book
P.O. Box 4000-J, Berkeley, CA 94704 USA Tel: (510) 433-7020 Fax: (510) 848-1008 Email: row@irn.org Website: http://www.irn.org
ROW 1016 6/5/97

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TO ORDER RIVER OF WORDS MATERIALS, PLEASE ALL OlIT THE FORM BELOW & RETURN WITH A CHECK, MONEY ORDER, CREDIT CARD NUMBER, OR PURCHASE ORDER TO: River of Words, P.O. Box 4000-J, Berkeley, CA 94704; fax 5 I0-548-2095; or email info@riverofwords.org.
# ofCopies Item
ROW Educator's Guide: $6.00 ROWing Partners: $5.00 1999 ROW Winning Poems: $7.00 2000 ROW Winning Poems: $7.00 200 I ROW Winning Poems: $ I0.00 River of Words Artwork _ _ postcard: $2.00, or __ poster: $ I5.00
Artist's Name: _ _ _ __ Title: _ _ _ _ _ _ _Contest Year:
ROW T-Shirts (featuring artwork by Tony Spiers): $15.00 please indicate size__ (sizes available: S-XXL, Children's L)
. California residents, please add 8% tax
Postage & Handling (For orders in Nonh America, add $2 for 1 item and $ I more for
each additional item. For international orders, add $5 for I item, and $2 more for each
additional item.
Total Amount

Name:_ _ _ _ _ _ _ _ _ _ _ _ School/Org: _ _ _ _ _ _ _ _ __ Mailing Address: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ___ City/State/Zip/Country: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Telephone: _ _ _ _ _ __ Fax: _ _ _ _ _ _ _ Email: ____________

Billing A d d r e s s : - - - - - - - - - - - - - - - - - - - - - - - - - City/State/Zip/Country: - - - ' - - - - - - - - - - - - - - : - - - - - - - - - Telephone: _ _ _ _ _ __ Fax: _ _ _ _ _ __ Email: _ _ _ _ _ __
CREDIT CARD ORDERS ONLY: Credit Card#: _ _ _ _ _ _ _ _ _ _ __ Expiration Date: _ _ _ _ __
Signature: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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We are proud to announce the publication of...
TO ORDER RIVER OF WORDS
PLEASE FILL OUT 1HE FORM.BELOW & RETURN WITH A CHE~ MONEY ORDER, OR PURCHASE ORDER TO:
River ofWords PO Box 4000-J
Berkeley, CA 94704 USA Fax: 510.548.2095

RIVER OF WORDS ~ The Natural World as Vi~~ by Young People
POE'IID' FROM TiiE ANNUAL RIVER OF WORDS
COmB'T

No. of copies

2001 RIVER OF WORDS Book - $10 , ; $- - - - -
IS.5N 1529-2533, ISBN 09662771-7-1, 64 pages, illustrated

1999 - 2000- 2001 Book Package - $20

$_ _ _ __

1999 RIVER OF WORDS Book- $7

$_ _ _ __

2000 RIVER OF WORDS Book -$7

$_ _ _ __

Postage and handling*

$_-_ _ _ __

California residents add 8% tax

$_ _ _ __

Amount enclosed

$._ _ _ _..;__

Note: To view or order other River of Words publications, including the poetry books and full color reproductions of our Prize-winning children's art, visit our web site:
www.riverofwords.org .
POSTAGE&: HANDLING: 1n North America, add $2 for 1 item. $3 for 2 items, $4 for 3-5 items.
For larger orders or to inquire about wholesale discounts, call 510-548.POEM. California residents, add 8% sales tax.
Foreign orders: add $5 postage/handling for 1 item. $7 for 2 items, $10 for 3-5 items.
Name_ _ _ _ _ _ _ _~ - - - - - - - - - - - - - - - - - HomeAddress _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Gty/State/Zip/Country_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Home Tel:l_) _ _ _ _ _ _ Fax:LJ,_ _ _ _ _ _ Email: _ _ _ _ _ _ __
Credit Card Order Only, Fill Out Below Credit Card# _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Exp. Date _ _ _ __
Signature _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ___;_ __
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Fielc! Trips to Support: Rivet of Wotc!s
"Sea Turtles' Enemies" Jacob McCall - National Merit Winner Lewis Elementary School - Kennesaw
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FIELD TRIPS TO NATURE CENTERS
SVPPORT RIVER OF WORDS
Across Georgia, nature centers offer programs that support River of Words.
On a field trip, your students might discover their local watershed and create poems or art they can submit to the contest. The content, timeframe
and cost of these programs varies by center.
"A Visit with Nature" Chris Hendrickson-National Finalist Avondale High School-Avondale Estates
Chatlie Elliott Wildlife Centet, Mansfield
Brooke Ager Discovery Area Watershed Field Trip For 4th-6th grade students
Students will learn about watersheds, explore CEWC's streams and lakes and have the opportunity to create poetry and artwork. Poetry and artwork can be done during the field trip or back at school (in which case a
teacher's guide will be provided). Cost: $3.00/student, Deposit required.
Contact: 770-784-3059
Chattahoochee Natute Centet, Roswell
A River of History Especially recommended for 6th/8th grade students In this program, the past comes alive as students hike through history, creating a timeline to illustrate how Georgians relied on the Chattahoochee River for economic survival, how they have impacted the river, and what history of this area means to them today. A portion of this program may be set aside for language/fine arts activities related to appreciating the Chattahoochee River watershed area. Classroom teachers are invited to bring a culminating activity. Cost: $5.00/student, 25 students/naturalist, 2 adults free/25 students. Deposit required. Contact: 770-992-2055, ext. 122 to make reservations
Dunwoody Nature Centet, Dunwoody
River of Words For K-Bth grade students Students will learn about watersheds, identify their ecological address, explore DNC's stream, inspire their creativity, and make art or poetry to submit to the contest. Cost: $6.00/student-$60 minimum for poetry, $7.00/student-$70 minimum for art. Contact: 770-394-3322
Elachee Nature Science Center, Gainesville
Nature journaling Activities For 5th-8th grade students Cost: $6.00/student. Contact: 770-535-1976
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McDuffie Environmental Education Center, Dearing

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River of Words For K-8th grade students

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The program will highlight this biologically diverse and technologically-rich site : Students will go on watershed

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walks near the center's wetland and along Fort Creek Trail. Then, they will use



multimedia software draw programs and digital photography to create original art and poetry

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entries for the contest.



Cost: McDuffie, Lincoln, Warren, Jefferson, Burke and Emanuel county students are FREE.

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As space permits, other students - $3.00/student.

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Contact: 706-595~2755, ext. 4614, 706-595-2031, ext. 4614

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Newman Wetlands Center, Hampton

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River of Words & Nature Journaling

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For 6th-12th grade students

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Students will learn about wetlands and the watershed, and will explore the role of human beings as stewards of these ecological systems. They will spend time in the creeks and Yfetlands of the Clayton County Water

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Authority property and participate in observation exercises of the wildlife and plant communities in these

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environs. They will have the opportunity to create poetry and artWork. either on-site or back at school.

Cost: $5.00 per student with a minimum of $50.00. Maximum number of students per class: 20.

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Contact: 770-603-5606

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Oatland Island Education Center, Savcmnah
River of Words

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For Ist-8th grade students

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Students will learn about watersheds an.d wetlands. and be able to describe the characteristics of wetlands, observe Georgia's dynamic coastal wetlands through direct experiences in our salt marshes and tidal creeks,

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unleash their imaginations in a wetlands poetry writing session. The Ist & 2nd grade field trip is 2 hours in length

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and the J'd - 8"' grade field trip is 2.5 hours in length. Cost: $3/student for Chatham County students and $5/student for Non-Chatham County students with a .

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minimum of I5 students or $45.

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Contact: 912-898-3980.

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Oxbow Meadows Environmental Learning Center, Columbu~

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River of Words

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For 2nd-6th grade students

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Students will learn about watersheds, visit and explore a pond and marsh environment, and learn about the

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animal and plant life unique to their ecological address in the Chattahoochee River Valley. A portion of the

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program also includes a culminating activity where students will create artWork for submission to the River of Words contest.

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Cost: $6.09/student, 25 students minimum.

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Contact: 706-687-4090

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Sandy Creek Nature Center, Athens

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River of Words

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For 2nd-8th grade students

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Enjoy a trip to our local wetlands, sample the edge of our pond, learn about our wetland plants and animals, and

discover the importance of the surrounding watershed. Wrap up the program by creating your own watershed

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art or poetry inspired by your visit. Field study program is 2 hours. Cost: $2/Athens-Clarke County students and $4 for non-ACC students.

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Adults chaperones welcome and are free. Minimum $40 fee.

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Contact: 706-613-3615, ext. 23 I

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. I
Nqtionql Rivet of Wot~s Teqchets' Gui~e

"Lunch Time" Shclnnon O'Keefe - Grclnd Prize Winner
Lewis Elernentclty School - Kennesclw

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OF ORDs

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National Environmental Poetry & Poster Contest for Students

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TEACHER'S GUIDE

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:RI

OFWORDs
TEACHER'S GUIDE
TABLE OF CONTENTS

.ntroduction by Robert Hass
-.iow to Use This Guide
9'}le River of Words Project

Wtories in the Land Program Classroom & Field Activities.......................................................... 7

~bout Watersheds ......................................................................................... 12

"Coming into the Watershed," by Gary Snyder ........... ............................................. 13



Map of US Watersheds ............................................................................. 14



The Stream Scene, by the Oregon Fish and Wildlife Department .......................................... 15



"Finding Your Bioregion," by Peter Berg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

e1eaching Poetry and Art .................................................................................... 24



"My Philosophy of Teaching Poetry~ by Sheryl Noethe ................................................. 25

"Tips on Leading Poetry Sessions, by Jack Collom ..................................................... 26



"Basic Creativity," by Hannah Hinchman .................................................. : ........... 31

e~ources and Bibliography ........................................................................................ 32
River of Words Ttacl,~'s Guidt C 1996 International Rivers Network
"Findins Your B1oregion C 1995 Peter Berg, Planet Drum Foundation, San Francisco. Reprinted with permission. 1.ong Person e Gladys Carti Reprinted with permission.
"Sprms Rain" from Human Wishes C 1989 Robert Hass. Ecco Press, Hopewell, NJ. Reprinted with permission. 'The Negro Speaks of Rivers C, Alfred A Knop( New York. Reprinted with permission.
Tht Strwm Scmt ~ Oregon Fish and Wildlife Departmenl Reprinted with permission. "Comins into the Watershed" from A Place in Space 0 1995 Gary Snyder. Counterpoint Press, Washington, DC Reprinted with permission
"My Philosophy of Teaching Poetry," and 'Tips on Leading Poetry Sessions," from Pod,y Emyivhm C 1994 Teachers & Writers Collaborative. New York.
Reprinted with permission. Map of US Watersheds. from "Water: A Story of Hope Cl US Fish and Wildlife Service and the Terrene Institute. Reprinted with permission.
River of Words is presented by International Rivers Network,
and supported by The Library of Congress. Poet uureate, Robert Hass, and The Orion Society. The 1996 River of Wonis Contest is one of several events that comprise Watenlied, Wrilcn, Naturr &. Communi~,
a national series of events celebrating community values, the American literary imagination, and its connection to the natural world.
Additional support from California Poets in the Schools. the International Otildren's Art Museum, Northern California Independent Booksellers Association.
Pod,y Flash Magazine, Preserve All Lifeforms (PAL), and Teachers & Writers Collaborative. Special Thanks to: Kara Adanalian, Craig Altobell American Rivers. Arnold Aprill Rachel Bagby, Marie Baldridge, Bay Area Global
Education Program of the World,4Jairs Council of Northem Califomta-end the lnstihlle fOl' lntemational Studies at Stanford University, Thuon Chen. Counterpoint Press, Bonnie Dankert. Pro( John Elder, Natalie Gerber, Grace Grafton. Jim Haba. Judyth Hill Richard Hunl Paul
Hynds. Annice Jacoby. Joyce Jenkins. Germaine Juneau, Jo Anne W. Kay, Carolyn Klasco, Malcolm Margolin, Nick Morgan. Carol
Murphey, Christian McEwen, David Phinney, David Rhinehart. River Network, San Francisco Estuary Institute, Pamela Satterwhite. Nancy Shapiro, Randy Showstaclc, Gary Snyder. Richard Sterling, Ann Straub, Tenene Institute, Amy Thomas, Karen Wessel and Olen Wong.
Rii-rr of \t'ords Ttach~, Guidt compiled and edited by Pamela Michael Project Director, and Carolyn Wcsl Contest Manager. Art by Shane Eagleton / Graphic design by Acme Graphics. San Rafael Generous donations &om Bantam/Doubleday/Dell and the Faultless Starch/Bon Ami Company.
~~ RivIneterrsnaNteiotwnaolrk -22River of Words Project

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I've known rivers:

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I've known rivers ancient as the world and older than the flow of human blood

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in human veins.

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My soul has grown deep like the rivers.

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I bathed in the Euphrates when dawns were young.

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I built my hut near the Congo and it lulled me to'sleep.

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I looked upon the Nile and raised the pyramids above it .

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I heard the .singing of the Mississippi when Abe Uncoln went down to New

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Orleans, and I've seen its muddy bosom turn all golden in the sunset.
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I've known rivers:

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Ancien~ dusky rivers.

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My soul has grown deep like th~ rivers.

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-Langston H~ghes

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"The Negro Speaks of Rivers"

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...: -' "O H BEAUTIFUL FOR SPACIOUS SKIES," the song goes, "for amber waves of grain, for



purple mountains' majesty across the fruited plain~ In the future they are going to

e

say of us that, at the end of the twentieth century, we inherited a vast and beautiful



and living land, still full of wild mountains and rivers, the remains of great forests, windy desert



mesas, bayous and glades and lakes, and a teeming creaturely life, all this endangered and some



of it rendered immensely productive by our energy and cleverness and ingenious technologies,



and they are going to ask what we did with il



They might come to say that we respected il That we were a country from the begin-



ning that took its character from our relationship to the immensity and beauty and promise of



the land and that, though we exploited it brilliantly, sometimes mercilessly, and often unwisely,



we also loved it and that in end we preserved it and cared for il That we understood that we



were in a relationship of community to the land itself, its watersheds and grasses and trees and



elegant quick-eyed life, and that we passed it on, still thriving, to our children.



Or they will say of us that we were clever, energetic, and greedy. That we kept saying



how much we loved the land and that we were going to respect it, but we also kept saying that



it made good sense to exploit it just a little more before we stop. And we kept cutting down our

forests and polluting our rivers and fouling our air just a little more, just a little at a time, until



there was not much left. How is this story going to turn out? The answer to that question lies with our children-
the first generation of the twenty-first century. It lies in their own imagination of the land, in their understanding of it and knowledge of it and their feeling for the wild life around them.
The idea of River of Words is to ask them to educate themselves about the place where they live
and to unleash their imaginations. We need both things-a living knowledge of the land and a live imagination of it and our place in it-if we are going to preserve il Good science and a vital art and, in the long run, wisdom. All this must begin in the classroom, in family conversation, and in family outings. There is no reason we cannot give our kids hope, and a sense of pride, and a love of our amazing earth, and a sense of purpose, and we need to begin now. River of Words is the seed of a place to start Please join us in this effort.
To you students, I would say this: learning your watershed should be an adventure and so should expressing it in poems.and art I _hope.you'll bring all of your natural energy and imagination to il It doesn't matter whether you live in the city or the country; water runs through it that supports your life. Your imaginations run through the place where you live like the water does. So I wish you watery minds and earthy minds and airy minds-and fiery minds, and all of us involved with River of Words hope you have fun with this project

Robert Hass

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United States Poet Laureate

ELCOME to the River of Words Teacher's Guide.
We hope to provide you with

.nformation and ideas to

.nspire you to bring the won-

.der of nature into the class-
:room By helping your students
econnect to their environmen~
e,you can help them connect to
ean essential part of themselves.
~ e poems and posters they
.create as a result of this con-

4t'1ection will help them under-

.tand their own vital place in

.he natural community. We
~ope this connection will
.nspire life-long stewardship
emd creativity.



In recent years, American

educators have begun moving

:toward interdisciplinary
.=umculum, _incorporating

.essons from disciplines that

&eretofore were considered dis-
4'tinct This approach broadens

=he educational experience for
9'oth teachers and students. e1{iver of Words is pleased to pre&ent a Teacher's Guide combining
~nformation from the sciences
and from arts and letters.

How ro USE THI s GUIDE
This Tt.achtr's Guidt is divided into three main teaching sections: Tht Storits in tlit Land Program Oassroom & Field Activities
About Watersheds Teaching Poetry and Art We suggest you read through the information from The Orion Society's Stones in the Land Program first The program uses an innovative approach to environmental edu-
cation developed by John Elder, PhD. The introduction on page 8 will give you an understanding of the principles upon which the program is based. There is no need to follow any example exactly; the lessons work best if you allow your own environment
and ideas to become a part of the process. If you are new to teaching the natural sciences, Stream Sctne by the Oregon Fish
and Wildlife Department on page 15, will give you a good introduction to watershed ecology. The Resources and Bibliography section on page 32 contains a wealth of sources to further your own understanding. and that of your students. But even without an extensive grounding in the natural history of your own area, you and your students can discover the geography of your own place by following the steps in "Finding Your Own Bioregion,0 on page 22.
If you have never led a creative work session, take heart, and read through the tips and information from teachers in the Teachers & Writers Collaborative, beginning on page 25. Continue on to read Hannah Hinchman's section on teaching art to students on page 31.
Preparing students for the Rivtr of Words Contest does not need to be elaborate, nor
do you need special skills, equipmen~ or resources. You can easily use the resources available in your own classroom and school yard For brief poetry lessons on watersheds and the local natural environmen~ a reading of two or three example student
poems. followed by a group discussion trying to guess exactly what the student-poet
was seeing. hearing. etc., sets a mood of observation and attention, both to words and nature. Students could look out the window atthe weather, open the windows and smell the fresh air, remember and share a recent experience of a rain or snow storm, think about where the. water from those storms went A walk out in the school yard is a field trip to the local sky, air, and geography. Puddles are useful laboratories.
We suggest that you use this cross-disciplinary curriculum as a way to reach out into your own community. Contact a local nature or environmental education group to find an expert who could lead a field trip or present a classroom demonstration. Or call a local arts education group and bring a working poet or artist into the classroom to help inspire your students. You can download an extensive list of community resources for your state from our world-wide web site. If you don't have access to the web, give us a call Helping you branch out into your own community is part of what
the Ri~ ofWords Project is all about We think you and your students will enjoy preparing for the 1996 Rivtr of Words
contest But we planned the program with an eye on the future. This Tt.achtr's Guide is our gift to you. We hope you will continue to use it as the seasons unfold

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Inteniational, _ 0 ~IVERS are the artenes of the planet They sustain much of its terrestrial life and .. _, , ___ -_' . . ' _ 0 for countless centuries have dictated the course of human settlement To this day,
Rivers, Q uch of the world's drinking water and food supply remains largely dependent Network o on rivers. From the Amazon Rainforest to the Vietnam Delta. tens of millions of people

. .

, . . _,

0 de~ve _their livelihood and culture dii:ectly fr~m ~vers But-1'.ke our atmosphere, forests,

Linlang Human Rights and

soils and oceans-the health of nvers 1s detenorating at a rapid pc,1ce. Toxic pollutants, mas- ,

Environmental Protedion

0 sive dams and uncontrolled diversions are rapidly diminishing their ability to support life.

Q During the last decade, a network of citizens groups. scientists. engineers and poli- .

Internatio~rR.ivers Network
(IRN) is the wd;ld's principal:_,/

Q cy m~kers from more than 100 countries formed to reverse this trend. Whil<; we are mak.Q ing progres~, the n_~twork knows that the long-term health of rivers will depend on the

organization degicated to,. .

understanding and actions of future leaders, policy makers and decision makers. To help

developing and assisting a

0 spread the word, 'one of today's leaders, Poet Laureate Robert Hass, has teamed up with

global grassroots movement-

0 International Rivers Network and The Orion Society to create the River of Words Project

to protect and restore the

Q Ri11er of Words is a creative and exciting ~ay for tomorrow's leaders to begin understanding

integrity of the world's rivers

the importance of _rivers-and the_ com~unities they support-today. There are three

Q

and watersheds,
to promote the _wise manage- . ment of the planet's freshwater resource's for the benefit

aspects of this proiect that make 1t part1cularly meaningful, even beyond the important

issues surrounding the wise stewardship of our riparian resources

.O

,0 One of the first things we learn as children is our home address. Later we discover our

0 neighborhood, memorize maps of countries, and over time develop an understanding of

of the people and ecosystems who depend on them,
and to create a worldwide understanding of river ecology-the interdependence of all biological, physical and cultural aspects of rivers and' their watersheds.
IRN, a non-profit organization, has worked for the last ten years to promote sound river management and to protect watersheds and riverine
communities. Our staff of
hydrologists, engineers and environmentalists assists groups, institutions and indivi-

0 the political geography that governs the human world around us But what about our 0 natural word? Rivers and watersheds are key ingredients to helping us understand our
ecological address-where and how our food is grown. where we draw our water, the
0 location and health of the forests that'ultimately frame and furnish our homes With our

0 ecological address in hand, we know how our actions affect our natural neighborhoods,

0 cities and towns-not just for their own sakes, but for their abilil);,to nurture and sustain

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the world we huinans create.

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Rivers have piayed a central role in the art and culture of mahy ?ocieties and remai~

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the inspiration for contemporary artists and writers worldwide Expressing the impor-

tance of rivers in human terms though literaiure and the arts communicates so much

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more about their importance than mere economic and scientific equations Fish kills;

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0 toxic sludge and degraded watersheds speak volumes on their own. without the rieed to

be quantified, calculated and ranked. Conversely, a healthy, thriving watershed spea!G volumes that no scientific equation can quantify. Literature and the arts must cont'inue

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to play a key role in nurturing ecologically sound perceptions and policies.

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0 Our rivers and watersheds may span several states or countries, or be considered nation0 . al and international treasures, but their healthy management requires strong local com-

duals around the world to advance sustainable freshwater policies and practices. To receive more information about IRN's ' programs, publications and

0 mitment Communities must take the re~ponsibility for their stewardship, n_ot just a few

local officials or state and national agencies. This is why River of Words has worked hard to include not just educators and schools, but also river and creeks organizations. book-

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sellers, libraries and poetry and art,; groups in your area, so. that the comf!lunity as a .

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whole gets involved and committed

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information services, write to:

We all need rivers, and right now they very much need us. River of Words is an

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.o excellent opportunity to strengthen your community's relationship to its riv~i:5 and water-

shed, to help your children develop an abiding sense of place," ~nd to have fun while doing it

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Owen Lammers Executive Director. International Rfrm Network

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THE ORION Soc1ETYs
Stories in the Land Program

'<:ill__.,~__,.-....._.-,~_,,_~,;;?
For each home ground we need new maps, living maps, stories and poems, photographs and paintings, essays and songs. We need to know where we are so that we may dwell in our place with a full heart -Scott RussellSanders

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THE ORION SOCIETY

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Introdu

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NY WATERSHED-BASED APPROACH to .environmental education will be significantly

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influenced by the particular bioregion in which a school is located. Thus, there is less

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of a need for curricular "guides or other prescriptive material than there is for certain

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broad principles, and for examples of curricula that have worked for a variety of teachers.

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The Orion Society's Stories in the Land Program. directed by renowned environment~! educa-

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tor John Elder, PhD., has developed one set of principles that has proven helpful to many tea'chers.

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These are:

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1. Attentiveness to the local environment, rather than a study of global problems or political

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controversies, is the most productive way to start.

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2. This should be an inclusive approach to the landscape and community, registering the

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natural history and the human history alike.

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3. An interdisciplinary curriculum, in which the arts and literature are integral as well as the

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natural sciences, both engages. and instructs students.

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4. Time spent exploring and studying out of doors complements work in the classroom.

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Teachers in cities and suburbs can pursue this model of environmental education just as

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successfully as those in the country. Ralph Allen, an Orion Society Fellow teaching in a Philadelphia

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high school, had this to say after his recent "Sense of Place" course: 1've had students tell me at the

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outset of this uni~ 1 don't have a watershed'. And I've had the same students come back glowing with

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stories of wonderful little streams they've discovered or of rediscovering favorite streams from their

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childhoods, or of finding a whole pattern of streams buried beneath city streets and railroads." Young

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people discover their place in a wider community, including a geological history, characteristic

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weather patterns, flora and fauna, indigenous cultural traditions, and the more recent history of

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migrations and commerce. From such a broadened perspective, a sense of environmental and ethical

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responsibility naturally arises.

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The following brief reports convey the range of Orion Society Fellows' receii{~rricula.

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We hope tha~ though yo~r teaching situation and region may differ dramatically):i6m theirs, these

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teachers' stories may still be useful and inspiring as you formulate the best approach in your own .

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watershed. Good luck!

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W .KAREN WESSEL
Homer Junior
High School Homer, Alaska

e live in the Anchor River Watershedhome, at its source, of the King Salmon whose fishery brings thousands of people to h~r banks on the Kenai Peninsula in Alaska every summer. Brown and black bear, moose, bald eagles, halibu~ stellar sea lions, minke and orca whales, and the sea otter are among the many heralded citizens of this ecosystem, rich in Sitka spruce, red alder, and birch For eleven years, Homer Junior High has welcomed the spring with an exodus of students from its doors to the natural world of Kachemak Bay. As part of a natural science, writing, and art cross-curricular team, I have led groups of students into the words and waters and let them be a part of this world Through sketching, we explore the stratigraphy of centuries, opening a window on the geology of the region. Oimbing up the moraine of Grewingk Glacier, we experience the plant succession of glacial terrain, drawing, photographing, and writing along the way. We sit silent for twenty minutes under the canopy of old cottonwoods, listening, smelling, watching.

We break the silent meditation with our pencils-to sketch, to write, to create a record of our impressions in the immediacy of the moment Perhaps there is an eagle's nest above or bear scat before us. Once we sat next to a depression in the last fall's leaves marked by tufts of black bear fur.
From our sketches and journals emerge the work of a~ to be crafted, to be shared, to finally be published or displayed Writers enter a workshop mode for peer comment and editing. Models of effective poetry and prose of the natural world help us to shape the art and sometimes to inspire it More often it is born in silence, however, a silence where the senses reign, affording communion with other sentient beings of our home.
The headwaters of the Anchor River flow into the Cook Inlet and Kachemak Bay of the Pacific Ocean, the great water that finally mixes with all others, celebrating life and grieving pollution. Our students know_ these waters, because they feel them at their source. They feel them in a quiet breathing. a reverence, from which grows the art of poetryand painting.

w. JC> ANNE KAY

i'~:v',1,\ .;~~\;:'f~h Grade Teacher, Tetonia Elementary School, Tetonia, Idaho

V ~wa ~

little help from community volunteers, elementary

2. Animal life: At this station, students learn about the

W' ,students can experience hands-on science in your

animals that inhabit the river area. They look for signs of these

.community. Students can learn about local watersheds. water

animals and if they are lucky, observe the wildlife. They learn

quality, and ecosystems in a day-long activity that will leave them how to identify the wildlife that is common in this area. They also

.wanting more.

learn about food chains and animal survival



A Day On the River begins with an orientation to water-

.sheds. On the day before the activity, have students "build" moun-

tains and valleys of rumpled paper. Using spray bottles, have students "rain" on their creations and the water will settle into

watersheds" that students can see. A good review of the water

.cycle ~11 _also help students understand what they will be expenenang.
. Students arrive ready for A Day On the River with the .following materials: warm clothes, good hilcing shoes, a sack

.lunch, plastic containers, magnifying glasses, sample bottles,

strainers, and small plastic zip-lock bags. -

..



Upon arrival at your chosen site, students will rotate through

.the following activity stations during the day:



1. Water life: At this station, students screen the water from

the river to discover insects and other living organisms that

inhabit the river. They test the river for temperature, pH balance,

.phosphates. and bacteria (with the help of local biologists). Each

team also creates a water ecosystem from the river in a plastic
container that will be sent back to the classroom for observation.

3. River history: At this station, local experts tell the students stories of the river and its development They' also tell the students how the area has changed over the years.
4. Nature hike: Students take an hour-long hike along the river, identifying trees, plants, and undergrowth. They look for wildlife and collect specimens.
5. Nature art: During the hike, students stop and learn about nature sketching from a local artist Students spend time selecting a plant from the river area to sketch and identify. They also use . the mat~ fo~d near the river to create nature sculpture, working in groups of three or four. When they are finished with their creations, they share what they have created with other members of the class.
Upon arrival back at school students use the materials they have collected in their specimen bottles to. create ecosystems in the classroom that can be observed for several weeks. They also take their nature sketches and create finished products for display.
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-Before going out for a full-day field trip,

.. CRAIG .AI.TOBELL

students had plenty of practice making observations along the river behind the

Sixth Grade Teacher

school I encouraged students to list sensory

images (phrases which captured what they
Cogswell Memorial Middle School saw, fel~ heard, smelled, tasted). When the

Henniker, New Hampshire time came for all-day field trips to new des-

. tinations, students carried with them confi-

dence in recording their observations in a

field journal We focused our observations

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0 the-most time on was haiku because of its

emphasis on the direct observation of

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0 nature and its simplicity Also, because of its
o shortness, haiku poetry lends itself well to o teaching the process of revision, a skill I
wanted to focus on. We read a lot of haiku

by contemporary poets and noticed that

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0 most of these poets place far more emphasis
on capturing the essence of the moment

than on creating poems which adhere to

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0 on different characteristics of the watershed the typical 5/7/5 syllable sequence typically

each time. One subject that was particularly 'associated with haiku This is a significant exciting to the kids was our study of river point because I feel that most teachers do

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creatures. After collecting maao-inverte- the opposite. They stress the syllables,

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0 brates, we brought them back to the class- which tend to result in haiku that are limp

room for observation, andusing books and field guides, we le.arned more about their

and lifeless and miss the magic of the moment.

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natural history, then wrote poetry based on

0 After revising and editing our poems,

our newfound knowledge.

we moved on lo the artwork We use a

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After this and other such field trips, we collage style for illustrating the poems. I

Q spent time reading the poetry of some out- show students picture books that make use

standing poets whose work is accessible to of this technique such as books illustrated

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this age group. Students selected poems that had meaning to them and wrote about them in journal entries. After being

0 by Eric Carle. Students have fun generating

a large collection of painted papers using

methods that we have learned about or

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immersed in reading and hearing poems,

invented.Some of these methods include

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the group generated a long list of the quali- blow painting, screen painting, spatter

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ties of poetry. We then used this list as the painting, marbleizing, crayon resis~ plexi-

basis for our own poetry writing.

glass, :watercolor wash, finger painting, etc

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During our poetry writing, I exposed

C As students pain~ I ask them to make use

students to various poetry styles such as free verse, rhyme, poems written from the animal's point of view, poems for two voic-

of colors that will compliment their poems: Later students will cut up these painted
papers to create images for illustrating

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es, and haiku poetry. By far, the style I spent their poems.

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ANN STRAUB

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Ihird Grade Teacher, Bristol Elem~ntary Sch~ol

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Bristol, Vennont

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T ast Spring. my third grade class an~ I volunteered to . . ~ting a 1poc;m about the part of the environment that
Lplant willows, pines ,and spruce m an eroded area "spoke to them during the watershed experience. Storm

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of Lewis Creek. our local watershed As the children

clouds rumbled across the Green Mountains drenching

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explored the creek and the surrounding fields and wood- us as each child's poetic voice was heard Under drier

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lands, two parent volunteers and I furiously wrote down conditions in our classroom. we made textured "rain~.. their uninhibited, creative language. We read back to the scapes using birch bark, textured wallpaper, burlap, col-

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. children the playful descriptive dialogue that occurred as ored liss~e paper, paper bags, etc, streaked with \Vhi,te

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they interacted with the environment They ~ere asked

pine n~es dipped in black tempura paint tc;> create an

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to consider "human verbs" (i.e., gossip, argue, knit) when

environment resembling our Lewis Creek experience.
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._:

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l:'or many years. my deep interest has ..L rested in seeking a way to design a

complexities of aviary anatomy, causing us to further appreciate the unique beauty of a sin

. ;,,BONNIE DANKERT

course of study engaging students in regional gle feather. With pastels, watercolors, and habitat educating them on the denigration of sharpened pencils. in one afternoon of draw-

Santa Cruz High School

the watershed. Plwnbing the depths of our ignorance, there lies a need to look into the

ing exercises we discovered a delicate intima-
cy for these vanishing creatures.



Santa Cruz, California

water's shallows and call witness to the shadows of death My choice was to focus on the avian community, specifically four California birds, the light-footed clapper raiL the elf owL the brown pelican, and the peregrine falcon The destruction of coastal watersheds is resulting in the alanning disappearance of many California species. Federal state, and local water-management practices, land acquisition, private ownership, and the lack of suitable revegetated habitat directly affects every bird This brings us to examine our nation's Endangered Species Act with careful analysis particularly on current proposals offered for consideration
"Watersheds," an interdisciplinary blueprint successfully provides a variety of avenues for students to access an elaborate network of communities, and make a personal connection We educate one another through collaboration and a collective spirit Wildlife arfut Rochelle Mason's "Animals and Feathers workshop introduced to students the

Student research and field studies revealed the watershed's rich diversity, transposing multiple visions of each fragile com munity. To gather assorted perspectives, students interviewed local growers, visited organic farmers, and followed a running debate among activists, government officials, and business people concerned with the economy. We continually looped back to the vital necessity of The Endangered Species Act to underscore the importance of habitat preservation. Active involvement in such endeavors plants seeds for future stewardship.
. The ramifications of watershed destruction branches into every river, slough, and ocean. influencing the quality of our water, the viability of our soiL the integrity of our intentions. The search for this land's legacy of rain-bearing rivers, high-rising mountains, and gently sloping beaches converges at the waters edge, where streams and tributaries are marked with the passing beauty of native, pink salmon

THE ORION SOCIETY

The Orion Society is an environmental education organization that fosters nature literacy in people of all ages.

The Orion Society's programs include publications and other teaching tools that seek to deepen our relationship with nature;

teacher-training institutes, teaching fellowships, and model ciassrooms; ~riter tours that seek to cultivate holistically aware

and environmentally caring citizens; and community-building projects that are working to reshape our economic and
I
social institutions to make them more ecologically sustainable. 1

To receive more information on The Orion Society1s programs and teaching resources, {vrite to:

The Orion Society, 136 East 64th Street, ~ew York, NY 10021.

I

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About Watersheds

'
.;;::;:;'t~~!'"~~~~~~~~~~~~~~~~~~.2}:='~F:i.~n;,

Long.Person, you passed a stone's throw away from his door,

Your ripples are Cherokee prayers, ,

.



You carry the hopes of this nation ~ithin your banks, ...

You and he are alike, you are contained histories,

You are a generation of yet unbroken channels:

-Gladys Cardiff From "Long Person"

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Excerpt from
.,..,........~-,..... ~.,.. ,.,,~~, .,....-....,..._.....
:'Coming : into the : Watershed"
el,y Gary Snyder

AWATERSHED is a marvelous thing to consider:

this process of rain falling. streams flowing and

.

oceans evaporating causes every molecule of

water on earth to make the complete trip once every two

million years. The surface is carved into watersheds-a kind

of familial branching. a chart of relationship, and a defini-

tion of place. The watershed is the first and last nation

whose boundaries, though subtly shifting. are unarguable.

Races of birds. subspecies of trees, and types of hats or rain

gear often go by the watershed. For the watershed, cities and

dams are ephemeral and of no more account than a boulder

that falls in the river of a landslide that temporarily alters

the channel. The water will always be there, and it will

always find its way down. As constrained and polluted as

the Los Angeles River is at the momen~ it can also be said

that in the larger picture that river is alive and well under

the city streets, running in giant culverts. It may be amused

by such diversions. But we who live in terms of centuries

rather than of years must hold the watershed and its com-

munities together, so our children might enjoy the clear

water and fresh life of this landscape we have chosen. From

the tiniest rivulet at the crest of a ridge to the main trunk of

a river approaching the lowlands, the river is all one place

and all one land. The water cycle includes our springs and wells, our
Sierra snowpack, our iqigatioQ c.anals, our c.ar wash, and the spring salmon run. It's the spring peeper in the pond and the acorn woodpecker chattering in a snag. The watershed is beyond the dichotomies of orderly/disorderly. for its forms are free, but somehow inevitable. The life that comes to flourish within it constitutes the first kind of community.
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1. North Pa-:ific Coast 2. Klamath/Central Pacific Coast 3. Central Valley of California/ San Francisco Bay
4. South Pacific Coast 5. Columbia River Basin 6. Great Basin 7. Lower Colorado River 8. Gila/SalWerde Rivers 9. San Juan 10. Middle and Upper
Rio Grande 11. Lower Rio Grande 12. Pecos River

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Watersheds

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of the United States

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17. Upper Colorado River 18. Platte/KansasRivers
19. Upper Missouri/Yellowstone R,vers 20: Main stem M1ssoun River 21. Lower MiSSOun River

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22. Mississippi Headwaters/Tallgrass Prairie

23. Upper Mississippi River/Tallgrass Prairie

24. Great Lakes



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25. Ozark Watersheds 26. Ohio River Valley

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13. Edwards Plateau 14. East ,Texas 15. Texas Gulf Coast 16. Arkansas/Red Rivers


0O Roanoke/Tar/Neuse.

Cape Fear Rivers

36. Delaware River/

Delmarva Coastal Aro

37. Hudson River/ New York Bight

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C 38. Connecticut River/ Long Island Sound

C 39. Gulf of Maine Rivers
40. Lake Champlain

C 41. Chesapeake Bay/ Susquehanna River

27. Lower Mississippi River

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28. Tennessee River 29 Central Gulf Watersheds

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30. Florida Panhandle Watersheds 31 Altamaha/Suwanee Rivers

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32. Peninsular Florida 33. Savannah/Santee/Pee Dee Rivers.

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43. Arctic Alaska 44. Northwest Alaska .' 45.--~nterior Alaska 46. Southeast Alaska 47. South Centrai Alaska 48. Bristol Bay/Kodiak 49. Yukon-Kuskokwim Delta SO. Bering Sea/Aleutian Islands 51. Beaufort/Chukchi Seas 52. North Pacific/Gulf of Alaska

HAWAII. SI
42. Pacific Islands

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PUERTO RICO

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VIRGIN ISLANDS
35. Caribbean

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C C Rtprinted from tht final rtpor1 of tht Nationcl Forum on Nonpoint Sourer Pollution,
convrnrd by,tht Conservation Fund and tht .\'alronal Gtographic Soc1rty.
C Map sourer, U.S fol,&. Wildl,ft Servict; rtpor1 ir a,a,lablt from 1ht Ttrnnt /nrtitut~ \X'ashington. DC

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C:

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...rom The Stream Scene, published by_ ,Oregon'~ :-fi~e:~,~1,,:::~!dlif~ _P.~a~ment

: Watersheds



'The study ofrivers is not a matter ofrivers, but of the human heart." -Tanaka Shozo


- ~ L LAND on earth is a watershed. Humans and

they form a second-order stream. When two second-order

. their activities play an important and essential channels join, a third-order stream is formed. and so on.



role in watersheds, yet few people understand First- and second-order channels are often small, steep, or

.em. Still fewer know the dynamics and boundaries of

intermittent Orders six or greater are larger rivers.

.he ones in which they live.

Channels change by erosion and deposition. Natural

A watershed is a sy~tem. It is the land area from

channels of rivers increase in size downstream as tribu-

which water, sediment, and dissolved materials drain to a taries enter and add to the flow. A channel is neither

.ommon watercourse or body of water. For each water-

straight nor uniform, yet its average size changes in a regu-

.hed there is a drainage system that conveys rainfall to its lar and progressive fashion. In upstream reaches. the chan-

.utlel A watershed may be the drainage area surround-

nel tends to be steeper. Gradient decreases downstream as

a;ng a lake that has no surface outlet, or a river basin as

width and depth increase. The size of sediments tends to

-Jarge as that of the Columbia River. Within a large water- decrease, often from boulders in the hilly or mountainous

.hed are many smaller watersheds that contribute to over- upstream portions, to cobbles or pebbles in middle reaches.

II streamflow.

More sand or silt are found downstream In some cases,

The point where two watersheds connect is called
fl divide. A watershed is drained by a network of

large floods cause new channels to form, leaving onceproductive streams dry and barren.

channels that increase in size as . e amount of water and sedi-

STREAMFLOW TYPES

enent they must carry increases:

Besides the ordering system previously described,

Streams are dynamic, open-

streams may be classified by the period of time dur-

water systems with channels

ing which flow occurs.

that collect and convey surface

Perennial flow indicates

~noff generated by rainfall,

a nearly year-round

.nowmelt, or groundwater discharge

flow (90 percent or

end . o the estuaries and oceans. The shape pattern of a stream is a result of

more) in a well-defined channel. Most higher

the land it is cutting and the sediment

order streams are

. t must carry.
~TREAM ORDERS
Sn most cases, a watershed system is

perennial.
Intermittent flow generally occurs only during the wet season (50 per-

almost entirely hillsides. Only ~bout one

cent of the time or less).

percent of a watershed is stream channels.

.The smallest channels in a watershed rave no tributaries and are called first-

\

.order streams. When two first-order
streams join.

t

Ephemeral flow generally occurs during and shortly after extreme precipitation or snowmelt conditions. Ephemeral
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channels are_ not well defined and are usually headwater or low order (1-2) streams.
The physical, chemical, and biological makeup of a

0
0 on soil moisture from a greater depth than evaporation
because plant roots may reach into available moisture sup-

ply. Transpiration is greatest during the growing season

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stream relates to surrounding physical features of the

0 and least during cold weather when most plants are rela-

watershed and geologic origin. Analysis of these features tively dormant

cj

aids understanding of stream-watershed relationships and predicts effects of human influences on different

0 Wind may cause erosion, control the accumulation of
snow in sheltered places, and may be a significant factor

stream types.

0 in snowpack melting. Wind erosion can occur wherever

FACTORS AFFECTING WATERSHEDS
CTimate

0 wind is strong and constant or where soil is unprotected

by sufficient plant cover.

0

Land and water are linked_ directly by the water cycle.

Physical Features .

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a Solar energy drives this and other cycles in the watershed. The area of watershed affects the amount i~ater

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0 Climate-the type of weather a regi~n has over a l~ng peri- produced. Generally, a large watershed receives more pre-

od of time-is the source of water. Water comes to the

0 cipitation than a small one, although greater precipitatio~.

watershed in seasonal cycles, principally as rain or snow. and runoff may occur on a smaller wate.rshed in a moist

In some areas,"condensation and fog-drip contribute water. climate than ori a large watershed in an arid ~limate.

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The seasonal pattern of precipitation and. temperature vari- . Shape and slope a.fa watershed and its di:ai_nage pat- . 0

ation control streanillow and wate~ production. Some precipitation infiltrates the soil and percolates
through permeable rock into ground~ater storage and recharges areas ca11ed aquifers. Natural ground water dis-
charge is the main contributor to streamflow during dry

0 tern influence surface runoffand seepagein streams drain~

ing the watershed, The steeper the slope, the greater the

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po_s~ibility for.

rapid runoff

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and er;sion. 0

summer and fall months. Without groundwater discharge,

many streams would

dry up. Pumping water
from an aquifer for industrial, irrigation, or domestic use reduces

ff I went inside a leaf
lwoutd'iee-theroots sprouting
and. hear, th~ rai~drops pitter
.pa~~: ifs~~-<if,:~19,ph,o,ne

the aquifer's volume. Unless withdrawals

in a marching band',and while' ,
the :~incfro~s falhhe nfots

~tt;~;I~~ ~ii~\i;:,::I aremodifiedor

do a little dance and 'lvhile all the

from the settling of the overlying lands.
Collapsed under-

J / < ~tiha Lee/5th" ade i .. ','.:-,'_,i, - '' gr. ' ,,c...'' '

Plant cover is

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more difficult to

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0 establish and infiltration
of suruce water is

reduce? on steep slopes.

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_O Orientation of a watershed C relative to the ~irection of .

storm movement also affects
C runoff and peak flows. A rain-
storm moving upa watershed _ .C
C from the mouth releases water in C such a way that runoff from the C lower section has passed its peak .

before runoff from the higher sec-

C tions has arrived A st~rm starting at

the top and moving down a water-

C

shed can reverse the process.

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ground aquifers no longer hav.e as much capacity .to - . - .

. Orientation of a watershed relative

accept and hold water. Recharge is difficult, volume is less, to sun position affects temperature, evaporation, and

C

C and yields are considerably reduced Springs once fed from . transpiration. Soil moisture is more rapidly l~st by evapo-

the water table also dry up. Climate affects water loss from a watershed as well as
providing water. In hot dry, or windy weather, evaporation loss from bare soil and from water surfaces is high.

ration and transpiration on steep slopes faci~g the sun.

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Watersheds sloping away from the sun are cooler, and evaporation and transpiration are less. Slopes exposed to the sun usually support different plants than those facing

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C The same climatic influences that increase evaporation away from the sun. Orientation with regard to the prevail-

also increase transpiration from plants. Transpiration draws ing winds has similar effects.

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Soils and Geology

.

Soil is a thin layer of the earth's crust It is composed of

mineral particles of all sizes and varying amounts of

organic materials. It is formed from breakdown of parent

rocks to fine mineral particles. This occurs by:



Freezing and thawing in winter Heating expansion and cooling contraction
in summer Wind and water erosion The grinding action of ice Gravity rockfall .and avalanche movement Rock minerals in rain and snowmelt water Chemical action of lichens and other plants

Soils are of two types. Residual soils are those devel-

oped in place from underlying rock formations and sur-

face plant cover. Transported soils include those transport-

ed by gravity, wind or water. Characteristics of residual

soils are closely related to the parent material from which

they were formed.



Climate, particularly precipitation and temperature,

strongly affects soil formation. Rainfall causes leaching-

movement of dissolved particles through soil by water.

Temperature affects both mechanical breakdown of rocks

and breakdown of organic material. Soil bacteria, insects,

and burrowing animals a_lso play a part in breakdown

and mixing of soil components.



Soil often determines which plants will establish a

protective vegetative cover. Plants also modify and devel-

op soil. Plant roots create soil spaces. Plant litter adds

organic matter to soil and extracts water and minerals in

solution through the roots. Plant litter slows surface runoff

and protects the soil surface from rainfall's beating and

puddling effects. Soil depths and moisture-holding capaci-

ties are usually less on steep slopes, and plant growth rates are often slower.



Forage, timber, and water are all renewable resources.

Water is renewed by cycles of climate. Forage and timber

are renewed by growth in seasonal cycles. The av~ilability

of these resources is dependent upon soil. Soil is, except over long periods, a non-renewable resource. It may take

more than a century to produce a centimeter of soil and

thousands of years to produce enough soil to support a

high-yield, high-quality fores~ range, or agricultural crop.

Soil is the basic watershed resource. Careful management

and protection is necessary to preserve its function and

productivity.

Vegetative Cover

Grasses, forbs, shrubs and trees make up the major plant cover types. All four types build up organic litter and

affect soil development They usually develop under dif-

fering climatic conditions and all are important to water-

shed management



A forest usually includes, in addition to trees in

various stages of growth, an understory of shrubs and a

low ground cover of orbs and grasses. While all plants in a forest have some effect on water, trees are the most

important Tree-litter fall protects the soil's surface. Tree roots go deep into the soil and help bind i~ and tree

crowns provide the most shade. The effects of shrubs and

grasses are similar to those of trees including increased

protection for soil against the beating action of rain and

drying action of the wind.

Plant cover benefits a watershed. The canopy inter-

cepts rain and reduces the force with which it strikes the

ground. The canopy and stems also reduce wind velocity. When leaves and twigs fall, they produce litter, which

decomposes and is eventually incorporated into the soil. Litter protects the soil surface, allows infiltration and slows

down surface runoff.

Stems and roots lead water into the ground. Roots

open up soil spaces for water retention and drainage as

well as add organic materials to the soil. The movement

of minerals from roots to canopy provides recycling.

Windbreaks of trees and shrubs protect crops and

reduce moisture losses from evaporation. Grasses, trees,

and shrub stems along riverbanks trap sediments and

floating debris during high waterllows. Roots bind

and stabilize streambanks and slopes to reduce slides and slumps.

MANAGEMENT CONSIDERATIONS

Water quality is largely determined by the soils and , vegetation in a surrounding watershed. Accordingly,

human activities have pronounced impacts on watershed

quality. These activities include timber harvesting.

livestock grazing. agriculture, recreation and urban or

industrial develop~enl



Timber Harvest
Timber harvest opens and reduces plant cover density. Timber harvest does not negatively affect a watershed if slope and soil are carefully considered and plant cover rapidly restored. In snow zones, timber harvest can
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improve snow catch and modify snowmelt rate. Oregon and several other states have passed laws called Forest Practices Acts to ensure consideration of soil and water resources_ duririg timber harvest

0 and water may remove the finer and more fertile soil par-
tides, reducing land productivity. Agricultural operations . .. Q
0 based on careful appraisal of soil, slope, and climatic con- ,
ditions include erosion control and are compatible _with Q

watershed management



Agriculture

0 Plant cover affe'cts water through growth and, transpi-

Domestic livestock tend to concentrate in specific areas when grazing. Conc~ntrated grazing impacts plant cover .
and soil. Grass cover.can be improved by removing som~

ration. Shade and mulch formed by plant litter reduce

Q

0 evaporation of soil moisture. Plant roots can take up avail-

able soil moisture to a greater depth than evaporation:

O

of the annual growth, but forage productivity can be greatly reduced if overgrazing occurs. Improperly timed grazing. grazing too many animals, or grazing for too long a time can change vegetatio~ over a periodof years to species of

An example is accelerated brush encroachmen~ partic-

ularly juniper, on central and eastern Oregon uplands.

0

Increased juniper stands have, in part, decreased surruner Q

streamflows. Juniper competes more successfully than

0

lower value. Overuse o~ rangelands by native grazing _

other vegetation for available moisture. This reduces

animals can also seriously

ground cover and may

damage plant cover. Excessive trampling by

,, ,..;
.'.I."'!, _:},\ /:::'.:::-: .: /::~ .-:: ;';.

LAKE cause increased runoff and
MERCED less infiltration to ground-

grazing animals can ~on- )A:,s~ o(su.:ilight glistens

water storage. In addition,

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tribute to soil compaction, accelerated runoff, and ero- sion probiems. Trampling can also help scatter seeds_ and incorporate them into the soil for regeneration.

'<?tj tiie wavy ~ater, a mallard

juniper roots can tap

groundwater storage.

0

Juniper's high transpira-

0

tion rate leaves less water Q

for 'stream runoff as s-

O

ummer progresses.

O

Management'of livestock and grazing wildlife . species can enhance.watershed values, but is limited by the carrying capacities of the land and the forage species it will support Management must consider timing. density, and duration of animal use to capitalize on the positive aspects of grazing. Generally, recovery does not occur if vegetation is thinned to less than 70 percent of the natural cover. Without management practices -such as reseeding, degradation will continue.
Crop production usually involves removal of the original plant cover and tilling the soil for seedbed preparation. Crop cover is usually seasonal and less dense than natural. cover. This provides less protection for_ the soil. Erosion by both wind

Fire

0

, .. :.-::, Fire is one of the most

0

widespread and destruc- .0

tive agents affecting plant 0

cover. Under certain con- .

ditions, fire can nearly

Q

0 remove ~o~er and or$ani~

litter, and, in extreme

C

-C cases, sterilize and change

the chemistry of the sur-

_face soil. Burning converts C

organic materials in plant C

. cover, litter, and topsoil to gases and soluble, readily

C

C leached ashes that can make.acid soils alkaline. Damage to
soil varies, but it may take s~veral seasons -for soil -condi- .

'tions to rehml tonormal.

. C

C Without a protecti\'.e canopy and litter, the soil surface

C is rapidly puddled and sealed by the first rains. Infiltration

is grea~y reduced, making rnoff and erosion_ more rapid
Debris-laden floods often occur within fire-denuded water-

C

?f sheds during only slightly abnormal rain.fall. Most the

C

C water falling on a burned landscape i,s lost by rapid runoff.

Water 'that infiltrates is probably lost by evaporation, .

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Streams from burned watersheds at first carry a heavy

load of salts dissolved from ashes, floating debris, and ero-

sion sediments. Water quality may soon return to normal,

except for sediment-laden high Hows. Water levels fluctu-

ate and become less dependable. These conditions may

continue for several years ~ntil the plant cover becomes

re-established on the watershed.



Fire can be beneficial to a watershed when it is care-

fully managed. It can reduce available fuel and prevent

more destructive fires. Fire thins understory seedlings that

compete with larger trees for available moisture. Open for-

est types such as ponderosa pine are maintained by fire.

:Beavers
The effects of beavers on a watershed can be both positive and negative. Their actions change watershed hydrology as well as damage cover. A beaver dam changes energy flow in its immediate area by turning part of a stream environment into a pond or swamp. If high beaver popu-
lations coincide with heavy livestock use, the results can be devastating to streams. On the other hand, their dams can be beneficial as sediment traps and fish habitat Water held behind a beaver dam is released more slowly over a longer period of time.

Mining

Mining requires opening the earth to remove mineral
resources. It is done by stripping off the surface soil

and rock layers or by drilling tunnels into the earth to

reach minerals.





With either method, quantities of waste material are

left on the surrounding land. This waste material is sub-

ject to erosion, adding to the sediment load of streams

draining the mined area. Surface changes include altered

topography and drainage. Drainage from mined areas may contain toxic rp.ineral salts harmful to the aquatic

habitat To prevent degradation of the watershed, waste

material disposal must be controlled.

Development

Urban development involves:



Clearing. leveling and filling land surfaces Constructing buildings with impermeable roofs Paving roads and sidewalks with impervious
materials Installing sewage disposal systems Such development greatly changes infiltration

and runoff. reduces recharge to underground water

" r,.. ,_.
a~d in~se~ runoff to produce rapidly fluctuating streamflows.
High-quality water is described as cool, clear, clean, colorless, odorless, tasteless, oxygenated, free of floating and suspended materials, and carrying only limited amounts of dissolved materials. As quality is degraded, water becomes less and less t1seful for most purposes. Urbanization decreases water quality.
Point source pollutants enter waterways from a specific point Common point source pollutants are discharges from factories and municipal sewage treatment plants. This pollution is relatively easy to collect and treat
Non-point source pollution, on the other hand, is really a new name for an old problem-runoff and sedimentation. Non-point source pollution runs off or seeps from broad land areas as a direct result of land use. It comes from a variety of sources such as agriculture, urban construction, residential developments, timber harves~ roadsides, and parking lots. Sedimen~ fertilizers, toxic materials, and animal wastes are major non-point source pollu'tants. The diffuse source of these pollutants makes them more difficult to quantify and control than point source pollutants.
Non-point pollution causes more than half the water pollution problems in Oregon. The impact of non-point source pollutants on water quality is variable. Some are potential health hazards or harmful to fish and other aquatic organisms. Streams do have an absorption and disposal capacity for limited amounts of pollutants, but these limits are too often exceeded.
Urban air pollution, especially photochemical smog caused by internal combustion gasoline engine emissions and industrial smokes, has contributed to acid rain. This has had a subsequent effect on vegetation, streams, and lakes within watersheds, especially on the east coast and in Canada. The problem continues to grow, however, and the Pacific Northwest is not immune to the effects of acid rain.
Communication and transportation developments include roads, railroads, airports, power lines and ..pipelines. All of these may involve disturbance of plant cover, soil, and topography. Road and highway networks, with their impermeable paving and rapid drainage systems may radically change the runoff characteristics of their immediate area. They also require changing the natural topography and drainage, and moving huge amounts of soil and rock Often these networks are responsible for extensive sediment production and may become the source of other water pollutants.

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Railroads and airports have similar effects. Power lines for other resources and uses. When the non-renewable

0

0 and pipelines require open paths through the watershed soil resource is protected and maintained in good condi-

and access roads for construction and maintenance:
Impoundments. :
Flood control dams, lined stream channels, dikes and levees to restrict the. spread of floodwaters, and channel bed

0 tion, the dependent renewable resources, wildlife habita~

and recreational opportunities can be supported.

0

0 Timber, forage, minerals, food, and wildlife represent
important considerations. Problems arise when develop-

0 ment and use of these resources conflict with the primary

stabilization techniques are all installations that modify.

0 objective of regulating water yield and maintaining water

channel capacity as well as the rate and volume of stream- quality and watershed integrity. These must be considered

flow. All are the consequence of human efforts to modify . as part of watershed manag~_men~ and their use and

water yields to better meet seasonal needs.

development must be integrated with management that

0 0

Many dams are built and operated to be multipurpose. produces and protects water supplies.

0

They can do the following:

Ownership is the principal institutional control of

0

Control floods Store water for irrigation or other consumptive use

watersheds. A private individual or public management agency may be free to apply whatever measures believed

0

necessary or desirable on their own land They may

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Regulat~ flow for navigatio!'l

regulate access and prevent use and development of.

0

Provide power generation

associated resources.

0

Effects on streamflow and aquatic habitat are similar regardless of purpose. Impoundments, if shallow, allow water to warm, and, if deep, preserve cooler water. As

Many watersheds are in public or state ownership. , Unless segregated and protected by specific legislation or

0

0 agreemen~ most are used and .developed to take advantage

stream.flow peaks are reduced and low flows increased,

0 of all resources available for the general public benefit It is.

streamflow generally becomes more regular from season to in these multiple-use watersheds that management may"

0

season and year to year regardless of climatic variations. In many cases, reservoirs have added water-based
recreation and new fisheries, although their construction

face the most serious conflicts and challenges. Here it becomes necessary to attain a balanced use and develop-

0

0 ment to provide maximum benefits with the least disrup-

may have destroyed stream habitat used by

tion of the water resource.

0

wild fish. A watershed under good manage-,

Legislation and govern-

C

ment-where water storage occurs in the soils and riparian areas-lessens the need for reservoirs, particularly small

ment edicts also provide controls that can aid water

C

resource management

C

headwater impoundments.

These laws may include:

C

Water is often seasonally diverted from impoundments and streams for irrigation in agricultural areas. This reduces streamflows during the warm growing sea, son. Some water is returned to the stream by drainage from the irrigated fields. These return flows are warmed ahd may contain soil salts, fertilizers, and pesticides leached from the fields.

Land use planning .

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Zoning

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C Permitted and prohibit~

C ed land uses or types of
develop1:1ent

Restrictions on water

C

use

C

Limitations on water

C

d~velopment

C

MANAGEMENT. OBJECTIVES
The objective of managing a watershed is to maintain a useful vegetative cover and soil characteristics beneficial to regulation of a quality water yield. The usefulness and productivity of the land will be enhanced

Pollution control

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i} Watershed users need to be aware that private -;_ actions have public conse-

C C

] quenc~s on water quality

C

! and quantity.

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:SUMMARY
Rivers, hillsides, mountaintops, and flood-formed bot tom-lands are all part of one system All are integrated with each other. Hillside shape controls the energy expenditure rate of water flow. All biotic elements in the watershed interact with and modify the energy flow
through the system So it follows that the shape of the watershed is a function of what lives there. The combi nation of climatic conditions, soil types, topography, vegetative cover, and drainage system define the partic ular character of each watershed
In an unaltered state, a watershed is in a state of equilibrium This equilibrium may or may not be the most suitable for the overall quality and contribution of the watershed to the entire picture.
e Rivers do not stop at state lines. The effects of natural and human processes in a watershed are focused at its outlet wherever it may be, even if it crosses another state or country's borders. Each watershed is a part of a larger watershed whose downstream portion may suffer from upstream influences.

ACTIVITIES

A first step in understanding watersheds is to explore your own local watershed. Since everyone lives within one, outline the boundaries of your watershed. Check with your local library for topographic maps if you can not determine the boundaries visually.

a. On a map, trace the lines along the high points that separate your creek or river from the next

b. Map the land use in your watershed (e.g~ streets,



forests, farms, yards, etc.)
c. List all possible places rain goes in your watershed.
d. Go outside the school building. What happens to the rain when it falls on the school roof? Does any of it get to a stream or river? How?
e. Are you ever anywhere that is not in a watershed?
f. Collect newspaper clippings on watershed management problems in your area.
g. In small groups have students design their own watershed. Each design should include the location, climate, uses of, abuses to, human impact on, and group perceptions of what a watershed should and should not be. After preparing visuals to depict their watershed, groups present their design to the class. (Contributed by Mary Roberts, 1989)

BIBLIOGRAPHY

Borton. Wendy et al. Gran Wata; Strtams.' and Fish: A Holistic Vinv of Watmhtds. Seattle: Municipality of Metropolitan Seattle. no date available.

Brown. George W. Forrstry and Wattr Quality. 2nd ed.. Corvallis: Oregon State University Bookstores. Inc.. 1985.

Carry. Robert. "Watershed Form and Progress-The Elegant Balance."
Co-E110lution Quarltriy. Winter 76177. pp. 15-17.

Dunne. Thomas and Luna B. Leopold. Wattr in Environmtntal Planning. San Francisco: W.H. Freeman&. Co. 1978.

Environmental Education Project. "Understanding Watersheds." Gwring: Environmrntal Education in tht Padfic Norlh111tst. Spring. 1983. pp. 8-10.
Horton. R.E. erosional Development of Streams and Their Drainage
Basins: Hydrophysical Approach to Quantitative Morphology:
Gtofogicaf Socitty ofAmtrica Bullttin, Vol. 56. 1945, pp. 275-370

Kentucky Natural Resources and Environmental Protection Cabinet, A Fitfd Guidt to Kmtuclry Rivm and Strtams. Water Watch. Division of Water. May 1985.

MacKenzie Environmental Education Center. Strtam lnvtstigations, Poynette. Wisconsin: Wisconsin Department of Natural Resources. no date available.

Rude. Kathleen. "Watersheds:The World's Biggest Bathtubs," Ducks Unlimittd. September/October, 1985, pp. 62-63.

State of Oregon Water Resources Board. "Mid-Coast Drainage Basin Map." Salem. OR 1964.

State of Oregon Water Resources Board. "Umatilla Drainage Basin Map." Salem. OR 1962.

State of Oregon Water Resources Departmenl John Day Rivtr Basin Rtporl,
Salem. Oregon. 1986.

Strahler. AN. "Quantitative Geomorphology of Drainage Basins and Channel Networks." Section 4-2 in ed. Vente Chow. Handbook of Applitd Hydrology, New York: McGraw Hill, 1964.
Sullivan. Peter L What is Happtning to Our lX'attr? Washington: National
Wildlife Federation. 1979.

Toews, D.AA.. and MJ Brownlee.A Handbook for Fish Habitat Prottdion on Forni Lands in British Columbia, Government of Canada Department of Fisheries and Oceans. Vancouver. B.C. 1981.

U.S. Department of Agriculture, Soil and Wattr Conservation Adivitiafor Scouts.

PA-978. Washington, D.C.: U.S. Government Printing Office, 1_977.

U.S. Department of Agriculture, Wattr Intakt by Soi PA-925, Washington,

D.C.: U.S. Government Printing Office. 1963.



U.S. Department of Agriculture, Forest Seivice. Forests and Tht Natural Wattr Cydt. FS-99, Washington. D.C. 1970.

U.S. Department of Agriculture, Forest Seivice, forn/J and Wattr, FS-48. Washington. D.C. 1968.

U.S. Department of Agriculture, Forest Service, "Water Investigation," lnvatigating Your Environmmt Strits. Washington. D.C. 1978.
U.S. Department of Agriculture. Forest Service, Your Wattr Supply and FOrtSts. PA-305, Washington, D.C. 1972.
Waishall, Peter. "Streaming Wisdom."Co-f110lulion Quarltriy. Winter 76177. pp. 5-7. 8-10.

Wisconsin Department of Public Instruction. Local Watmhtd Probltm Studits. Vicki K. Vine. Project Director and Charles Brauer. Editor. 1981.
Young. Carolyn et al Orrgon Environmmtal Alias. Oregon Department of
Environmental Quality, 1988.

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0

0

From Discovering Your Life Place: A First Bioregional Workbook

0

.

.

0

Finding

Your

Bioregion

0 0

O

0

0 by Peter Berg, Planet Dru'm Foundation 0

A EFFEcrtvE ~AY to begin acquiring a s~nse of . yo~ own bioregion is by ~king a simple map that shows some of the basic natural characteris-

tics where you live. The map-making process will be an

absorbing exploration, but it is also personally empowering

because it describes an immediate area for practicing rein-

habitation and becoming native to your life~place. Since this

map is your own personal view, it shows a territory that has

never been drawn with these particular features before.

All you need is a fairly large piece of blank paper

and several pens or pencils that can produce at least

six colors.

Put an X in the middle of the piece of pap~r. This

repre,sents the. actual dwelling place where you live.

Depending on the scale that you choose for this map, it

can be as large as a city or as small as your house or

apartment building.



_ ~~_._,
~,.,,, ~~ ................:..-.=--.,.,..,..

In the upper right-hand c_omer of the paper write

the letter 'N" to represent the north direction. If you don't

know which direction is north try to remember where the

sun rises (east) and then visualize what lies 90 degrees or

a quarter tum of your head to the left from there. You can

also find north by remembe,ring which way the sun sets

(west) and shifting your mental picture 90 degrees to the

right of that direction.



Knowing compass points is important for determin-

0

0

0 Compass points are also necessary for building up a

depend~ble store of information about your life-place.

0

Using the letter 'N" to orient you, draw a few arrows on O 0 the side of the paper that matches the direction from
which wind and rain usually come. This may actually be

a different place depending on the time of the year, or

0

there may be several places at any season. {Hint: If you

0

haven't thought about this before and don't know this

0

direction, try to remember which doorstep gets wettest in .

a storm, which window sill inside the house gets damp,

0

or which windows rattle when the wind blows.)

0

0

0

C Next draw in the body of water that is nearest t~ the
X that marks the spot where you live. it may be a creek,

river, lake, pond, or even a marsh or swamp. In so'me

C

cases it could be the shore of an ~cean. This is the time

C

C when the scale of.your map will become evident If you.

are fairly familiar with a large area arourid the place you marked X you may'want to show a very large body of

C

C water such as a major river, a very large lake, or an ocean

bay. I( you aren't comfortable with a scale as big as that

G

C start with a creek or pond that you know is nearby. If you

C can, show how it connects to a river or marsh. Most of the
land in cities has been covered over with streets or build-

C ings, so if you are a city dweller ~hciw the nearest riv~r. or

ing major characteristics of the place where you live. For a lake or creek in a nearby park Clue: The direction that

C

example: you'll want to know which direction gets. the

rain runs in the street .gutters may point to a body of

C

most sunlight and is therefore warmer because plants and water. Use a particular color such as blue for this so that animals respond to this phenomenon in many different the water system stands out clearly, and other colors for.

C

ways. The warmest direction is also essential information each of the parts of the map that follow.

C

for positioning a new house so that it can absorb the most =-.,_,._,......_......._

C

heat during short winter days when the arc of the sun can become extremely low on the horizon depending on how far you are from the equator.

,=.-""'"-~=""-,""',~:-'
The water body you drew is surrounded by high. ground that causes rain or spring water to flow into it by

C C

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the force of gravity. This elevated land might be hills if the
scale of your map is small or a mountain range if the
scale is very large. High ground sheds water, so the term watershed is used to describe all of the land that sur-
rounds a particular body of water.
Draw in the hills or mountains that create the water-
shed where you live. Oue: Watersheds can be huge such
as that for the Mississippi River with the Rockies on one side and the Appalachian/Allegheny Mountains on the
other, or as small as the rise of ground that separates two
creeks and the low hills around a pond in a park Use a
different color than the previous one showing water.
The next element to include in this map is soil. Use your memory of visits to different parts of the bioregion to draw in different types of soil such as sand, clay or black
topsoil. Usually the highest ground is rockier than lower
places because the lighter soil blows or washes away. If you remember seeing exposed rocks on hilltops, draw
them in. The light soil that blew or washed away settles
in valleys or other low places that are usually near bodies
of water. Think of where this type of soil probably lies and draw it in. Clue: Farmers prefer nutrient-rich topsoil,
so it can probably be found wherever you've seen fields and farm houses. Is there also sandy soil where you live? How about hard red clay? Use a new color (or colors) to draw these in. Add any other geological characteristics
such as lava beds, granite cliffs, coral rock, caves, or salt
beds that are unique to your bioregion.
Next draw in some examples of plants and animals that are native to the place where you live. Native means
that these are wild animals rather than domestic ones like dogs and cats or horses and cows. It also means plants that are indigenous rather than most of the ones that are grown for food or were brought from other places for
some other reason. For example, oak trees are native to
North American bioregions but apple trees aren't Hint: Types of animals range from.insects to fish.and from.birds to mammals. Plants include grasses, herbs, and s_hrubs as well as trees. So far there haven't been any signs of human beings in this map. There are usually so many of them in all of
the places where people live that most of them wouldn't

'.

.

fit In order to focus your map in the present situation.

draw in just two aspects of the human relationship to

whatever other features you've drawn. The first one is a

visual representation of the worst things people are doing.

Hint: It could be a source of wastes that threatens to pol-

lute all of the water. It could also be bad farming practices

that are eroding soil, mining that is creating hazardous

dumps. or dams that block the passage of fish in a river.

Now show the best thing people are doing lo try to harmonize with the natural elements in the map. Hint: These may be organic produce or permaculture farms that maintain good soil, or recycling projects that reduce wastes. Some other beneficial activities could be renewable energy projects. efforts to restore forests or rivers. and other attempts to improve the balance between human needs and those of natural systems. Of course, this will be a matter of your personal opinion at this particular tiine but that's an important aspect of knowing how you perceive the place where you live.
.....~, --=,.-..,.,.-,,,,,.,~.,-....-:-.-.,~_.._

This map is a view of your bioregion, and it is also a

kind of flag for the place. It's a record of what you know

and don't know at this moment, and it can be added to or

redrawn as more information is gained. You've shown

your home. base in terms of the natural elements that

ultimately support life there, These elements need to be

restored where they have been damaged and preserved

where they are still intact Some of them should be seen

as sources for supplying basic human needs of food,

water, energy. and materials as long as this is done in

ways that are sustainable for humans and other life. Your

map shows a territory that needs support and defense.

You many want to join together with other people who

live in your bioregion to start finding out more about it

and deve1oping ways to live there that will be

ecologically appropriate in terms of the unique quali es

of that place.



.1
Dedicated to Carl 0. Sauer whose i,if,j<i-ucio~"ry~~g_ffjview
MAN IN NATURE served to enhance his nu~us contrib.utions
to the study ofgeography andiefared this effort.
4d~:~~.._~-~~
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~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ------- - - - - - ~ - - - - - - - - - - ~ ~

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Teachil1g Poetry and Art

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.o

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"If you, who are valley streams and looming mountains,

0

can't throw som~ light on the nature of ridges and rivers,

0

0

who canr

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-Gary Snyder

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From 'We Wash Our Bowls in this Wate~"

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~~~--- _..._

: :

My Philosophy of Teaching

: Poetry in the
Classroom - - - - - - ~ by Sheryl Noethe
From Poetry Everywhere


EVER SINCE FIITH GRADE, writing has been my better world, a refuge and solace where imagination is king. This is the opportunity we as teachers of poetry have before us in the classroom. We can offer this sustenance, this self-creation, to children, making their lives richer and happier and giving them more alternatives. Writing is a grip on existence, an empowermen~ and a way to listen to the inner truth of the self. The poet enters a dialogue with all previous poets, singers, and writers. You keep great company.
When I read a poem to the class I read it as though it were the most important and only poem in the world. I use the opportunity to hook the students up to the heart of the poet I use the poem as a force to pull our imaginations into the associative world of words and ideas. I read the poem aloud and make it real for them. Inadvertently, something rare happens when we begin to anticipate hearing a poem; we settle into a dreamy concentration, to sit back and hear the poem in a sort of reverie. Ask the class to daydream and let their minds fill with the images that the poet gives them. Put the world on HOLD for a while and pay attention to your inner life by letting the poem inside.
Eventually, you will find a different poem for everyone. If you persist in selecting and then learning wonderful poems to read aloud to the class, you will find that different students will respond to different poems, finally connecting with an idea or a phrase that touches them, and they will appreciate that singular thing that poetry does so well. "Ahr' the mind says, "wonderfulr Besides the inherent miracle of the poem, imagine teaching a subject where no one can fail, where the student will achieve some success and then crave more! Turn a child's identity into a respected position-a writer-and have him or her know there is no#iing like success. Your job as a teacher is to tell every student what is right about his or her work This calls for wi~ compassion, and a huge frame of reference! Relationships develop with the exchange of history and imagination. Trust and empathy are aroused when you hear someone else's w~>rds echo your own feelings, in surprising ways and common ways, and you cannot stay strangers. When you point out to your students where they are at their best in their work-the funniest or the most imaginative or the truest to their vision-you give them success and they in return give you their trust They write in the only way beautiful things are created-from the heart, without censorship or fear. That's when you get the poetry.
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From Poetry Everywhere

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Tips

9n

Leading

Poetry Sessions

0 0

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by jack Collom

0 0

0

IN WRffiNG THESE TIPS, we have opted to take nothing for granted and to be as detailed as possible. We. realize that some of our adv:ice may repea~ or

Our hint categories are organized around the actual

. classroom "hour":



I. Preparation

0 0 0

depart from, basic teacherly skills and wisd~m you _have

2. Man_ner of presentation and general tips

0

all known tho;oughly and practiced throughout your teaching careers. We feel the contradictions are appropri-

J. The session itself
a. Lead-in

0

ate, since the learning process in a poetry-or other art-

b. Writing time

0

workshop is quite ,different than that in, say, chemistry or

c. Reading the results aloud

0

grammar. And the r~petitions are the price of care. We.

4. Aftel"\-vards

0

simply hope that anyone setting out to use our suggestions will find.our inclus'iveness useful.
In our experience as visiting poets, these suggestions all work and are all

5. Remarks on the poetry of it

0

1. PREPARATION

0

Planning can be thorough or no~

0

important to successful sessions. But . there's plenty of room for individual styles to modify or even to go against_ some of the following ideas.
The tips that we feel are especially important are marked with asterisks, but we don't mean to be dictatorial. For. example, we ~y. "Never tire of pounding home_ to yo~.ir class the happy use
of details, as opposed to generalities~
This do~s not mean that language

-~ THE FALLS
Wate'r wriggles in the . song of spjrit that-falls
into a beautiful waterfall
.,that Wis by a's~~d
' th~ ~seed becomes a
and tree of money and some
. -p~ple came _with the ..
.,:/;~~{tr::!,;ey bought ~ :.

according to the teacher's style. It

0

0 usually works best when the main

points to be made, examples to

give, and timing of the session

0

have been carefully worked out

0

beforehand, but some poets and

0

teachers do well "winging it" All

0

teachers should be alert to unexpected and serendipitous veerings

0

off from the plan.

0

You might try making up poems

0

should sound like a seed catalogue when it's poetry time. It's just that it's

I

:,.' <: ;a(:n:}d:~~WC?irteh

,
the'

i o
tree

in


the

'
store



yourself according to the exercise you've chosen-if possible, just

0 0

good to get kids writing intimately of what they know-and this certainly . includes their wildest dreams and thei~ imagination of the moment as well as

:siid'.lf!th:ttz:![_
. ;.m ,<>~e. .o _e, papers, .

before the session. This may pro-

0

vide you with good example

0 poems, and certainly helps get you

into" the writing.

C

the color of their pet dogs' eyes. Dream . :.~~~n9;:?.'S, 4es~ ., .

Props are sometimes help~l, but

C

is made of detail too. If the-students work in an atmosphere of easeful energy, they're likely to "be themselves" in their poems, in ways that ~ill surprise

anc~ ~,e saw ~beryl .
~dlie wrot~ apoem
. calted The Falls. .
-Ed Bowers, 2nd grade

aren't necessary. Writing to music can be good also. Sometimes with younger students, decor-such as hanging up streamers-can make

C C C

even them.

for a special "poetry time" mood

C

C

-46-

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C



Try different ways at different times (for example, com- It's helpful to admit your own errors, blankouts, and igno-

bine two exercises, or try an entirely new wannup). Let

rance. This helps create an open mood in the classroom.

the students know why you are taking a new tack

Presentation of sample material on overhead projectors

You can use pre-writing (days before the poetry session) can help students' visual comprehension (but the reading

and various warrnup activities at the beginning of the

voice should always "carry" the work).

session to immerse students in a given subject A
caution: there can be too much brain-storming, leading the kids to regurgitate info and use the same chalkboard
vocabulary.

When you know a kid, you can criticize his or her poem if you include encouragement (and if it's one-on-one, not public). "This part is full of great energy, but down here it just kind of falls apart-you need an image.

Simply reading good books to students is a good prepara- Sometimes a little edge of sarcasm or sharpness in a

tion for writing.

general sea of kindness and warmth will help the

2. MANNER OF PRESENTATION AND GENERAL TIPS

students realize "We're really trying to do something here. It's not goof-off time.
At any time, you can, if inspired,

simply read or recite a good poem to

the class-and that poem needn't

have an obvious connection to what

you're doing.

* Maintain cheer and confidence if a student reacts negatively. Try to avoid confrontations; often the best approach is to ignore that student for the moment and concentrate on the rest of the class.
Your positive attitude and the peer
influence of the majority's participation will probably bring the recalcitrant student along.

Don't overexplain.
Avoid abstractions. When you speak in concrete terms, it helps bring out bet-
ter poems. However, stressing detail;" "imagination~ and "originality" repeatedly will tend to unify these words with their examples in the poems. * Read poetry aloud with energy, expressiveness, and
rhythm (this can be the variable rhythm of everyday
speech). For example, read or tell the Greek myths as if
they happened this morning.

If your students seem to have trouble getting going, tell them to flap their elbows and just start scribbling. Urge spontaneity in different ways. "Work it out on paper, don't try to think it all up in your head first 1t can be messy, shows you're thinking; this is a worksheet We11 make them pretty later. Perhaps suggest that they can copy topics &om other kids, if their own treatment is original.

Never tire of pounding home the happy use of details,

as opposed to generalities.

.

.

A brisk pace is good, energizing. as long as you're will-

ing to be flexible and slow down when the situation

needs it

Make a conscious choice as to whether to read with
pauses at the ends of lines (which tends to emphasize
the breath, the connection of poetry to the body) or not
(which can emphasize the flow of sound and ideas).

Don't worry. Decide thoughtfully what you're going to do, then let 'er rip. Relax and concentrate. Have fun. Freely intersperse humor and seriousness.
Be open to children's visions-they really have them.

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, - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- --

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3. THE SESSION ITSELF
A. Lead-in
A good division of time is one-third lead-in; one-third writing time, one-third reading their pieces aloud (with you or them as readers), with quick comments.

.

.

0

* If they want to use titles, have the~ write them after

0

their poems are done. A title ca_n be a word or phrase

cj

from a poem, or be something related to the poem's sub-

ject, or be anything at all-even something seemingly

0

unrelated, or pl~yfully wacko. Titles work as parts of

0

Except in special cases, let them know right away what

poems, and students should consider how a title idea

0

your plans are for the whole session. A little smalltalk (such as about their names, if you're
new to them) may loosen things up and help direct their

affects the reader's take on the poem. Titles give a: perspective to every word in a poem.
It helps the flow of their w_r:iting if they start writing just

0 0

attention toward the everyday. A familiar, factual base is after the sample poems ate read.

.

0

good for poetry.



Let your students know it's

0

The warmup ne~d not be tightly orga-

okay to close their eyes and

0

nized-an "off-task" ice-breaker or poemread-aloud may fire up imagination, which can then be pointed toward the day's exercise.
Read many ex~ri'iples aioud (and then

At the swamp I caught a frog It had tiger legs.

think, visualize, let the poem swim in.

0

B. Wn'ting time .
* Let students talk quietly while

0 0

they're writing. If any of them

0

simply tell students not to copy). Point out the "poetic goodies in the example poems, especially when they channel the students' attention in the direction

seem to be too off-task you
-:Oint Dalrymple, 1st grade . might advise them to "get that ,

0 0

verbal energy down on paper before it blows away."

0

you want To focus attention on
language, you can ask students for

While they write, you can

0

0 walk around the classroom and

their favorite words in what they've just heard.
Get them involved orally by means of questions (based on, or related to,

help them with their questions.

0

0 Sometimes toss in added hints qr
nudges to the dass at large-

sometimes just quietly let them

0

examples) and by working out sample

write.

0

poems or lead-in information on the board with them.
Say 1f you get stuck on one thing. go to another." Even advise them to do the beginning last or to scribble any old

0 Early or _midway in the writing

0 time, you can ask anyone who's _

0 just written something good if ,.
you may read it to the clas~, and

do so. This often inspires and

0

thing just to get goirig (and scratch it out later if it doesn't work for them). Tell kids not to erase things-they may_want them later.
* Have them sou~d out difficult words and not worry ab~ut it Tell them not to avoid a word because they're afraid of misspelling it

encourages the oth~ir kids.

0

iot 0 * If you're not too busy,'write with. them something on

0 the board. Perhaps rea~ funny sample lines to the class as
they occur to yo~. If they're doing collaborations, join in.

'

'

When it's time to collect the pieces (~ybe twelve to fif-

0

teen minut~s along in the writing time), t~ll them they

0

Sometimes you might want to give them a WO~ sound, or idea on the board (or on t3pe) and ask them to medi. tate on it before beginning to write.
Often it's counterpr9ductive to let them use the names of other students. in. their writings. If necessary. simply advise them not t~. ~nless they're positive no embarrass-

can keep writing a few minutes, but if they've finished

C

they can hold their poems in the air (or bring them up)

C

for collection.

C

* Stre~s the idea that they should reread their work before

C handing it in.' We all sometimes omit words inadvertent-_

C ly. And an instant revision is likely to be good since one '

ment would result Allow no cheap shots.

is still in the flow and feeling of the p~em.

C

-48-

C

C



You can start reading the kids' work aloud (and tell the 4. AmRWARDS

class to be quiet and attentive) when all but a few papers are in. (No harm if a few are still working).

* Typing up student poems preserves and honors them and makes them available to others. We strongly recom-

C Reading their works aloud

mend typing up a selection. Kids love to see their work "in print"

Again, read the poems expressively and rhythmically (if you read them).
If the kids don't want their names read aloud, respect

When typing up, correct spelling routinely (unless it has some special charm) but take grammar on a caseby-case basis. Poetry is always creating its own voice,

this, but in time try to lead them out of their shyness-as _ so correctness is relative. In regard to punctuation,

long as it doesn't deter them from writin~ freely. . .

suggest-but don't insist- that it be consistent within a

Younger students sometimes like the option of raising

given poem

hands or standing after their

: :::~:.:i:::~:i:~:~:~ poemsare read

~'.~!',t\Y(
'i~tiiJ!4Si'. i :i

;~tu!:;o::!:::~:n~!e J~~!'[J~.~~ \.' ' .

virtues of the poems may get . (Sitllii. "'''h1{'tneban1cofWallace Lake .. -

lost in poor renditions. If the

Often it's hard to tell whether a student piece is written with linebreaks or not If there's time you can check with the author. Otherwise, look each piece over before typing and decide the apparent intent,

students do read, urge pizazz.

then type accordingly.

Tell them to read so the

Sometimes, even if paper-

termite eggs embedded in the

width seems to have dictat-

: ::;:~:~:~~~:::: of

.;!\

~t ij ; ~~i ed the shape, the poem will "feel right," and you should type the poem up they way

: .01::;:o:~: to criticize stu-
dent work when its first read;
respond with cheer to each kid's piece. Discrimination can be exercised by selective
intensity of praise. They'll note this and learn from il

[) the student wrote it If a poem or piece is off-task
?/. but good (interesting), take it
: J~Iiii'.;' It helps students care for
;\ their work if you have them keep it in special folders to .-. which they have free access.

Never give false praise. Be as

";: Then you can have the stu-

e concrete as you can in each
bit of praise. Repeat good

____ ._c.~:;~'.~2D}~~;f~{m:~;:;

dents bring out, reread, and illustrate their words.

words or phrases they've written. You can often praise * In any case, student poems should be kept and can

rhythm or energy or spirit or originality when it's hard then be typed up, put on bulletin boards, published

to find anything else to praise. But don't let your com-

schoolwide, sent to pen pals, individually published

ments get so long as to impede the flow of their work

by the students themselves, and distributed in the

A hearty "All right!" will often suffice:

.

. community. . ---

.

When students read collaborative poems aloud, try

having them do choral readings-divide the class in var-

ious ways (blue eyes, brown, even or odd rows). Have

them read in different voices-scared, baby, laryngitic, as

The Principal, etc.



-49-

5. REMARKS ON TI-IE POETRY OF IT
* Give your students a sense of options when they write. Make it clear to thein that they are the authors of their poems, the ones who will make decisions concerning tone, voice, rhythm, etc. Arid remember, in ma~y cases kids will invent their own variations on the exercises and poetic forms you giv~ them

* 'When you choose adult poems to read in clas~. as much as possible try not to tensor shocking i~gery. harshness, negativity, weirdness," low-class language,: and so forth.

* Encourage students tci feel free to invent their own syntax at any point to discover their own ways of handling words. That is, they should be' able to decide, "Do I write standard here, or could' it be effective to 'make ' up'r You might point out how certain exam- pie poems you like . use offbeat syntax.

Asl'm thinking,

more and more

ocean Whil~ sitting _her~

on the

floor.

I'm wondering whatC" .

. Initially, it's best to'. welcome all content and all attitudes (except "dirty" words not allowed in school), no matter how gruesome or radical or sad or mundane.

Th_ a11 ea ~w

* Any idea is all right in a first draft-or in a journal or in free
writing-or, in fact, in a
finished poem

In many cases, you can advise students to write like they talk to base their writings on natural speech patterns. You can demonstrate in many concrete ways how real speech" is rich in rhythm, metaphor, etc. Pick an example off the classroom wall, or out of their mouths. (Repeating a common sentence several times can show surprising syncopation.)

0

0

0

0 Point out that speaking of e~otions by name is.abstract

and risks cliche and su'perficiality. ,Make it concrete

0

0 ("Write ten things you fear"). The darity of good ~bstract
writing begins with a mental acuity grounded in

the concrete.

0

0 Tell your students that their poems don't all have to be

0 "important" or about a Big Idea. Real significance is every-

where and, in_ poetry. often arrives on its own.

0

* Encourage experimenl Praise it when it comes.

0

I'd jump from the cloud with all of my heart,

Emphasize Ian. guage. It's their

0

0 working material;

For a leap from a cloud . is a serious art
My landing goal is a river or stream, And I land in a river in San Joaquin.

it's a. living thing,

0

full of surprises.

0

\Vhen the .focus is, on language, all

0

the personal- will

0

After raging rapids,

shine through..

0

and quite a few fish,
way . Hind my in~ a ~trea~ ',
.and find quite a _ni~~{(/:'.:: .:

0 * Approve playful-

ness-as a way of

0

0 learning and explor-
ing. Students benefit

immensely when 0

... tthe,biids:'a:nd'the'' els

0 . encouraged to play

with language.

0

0 * Speak of the mechanics of poetry 0 as naturally as you'd

speak of fixing a

0

broken shoelace

0

(though with a greater sense of

0

options!). "You've

0

rhymed up here

0

0 . but not down here. C That makes this
word stand out but.
0 , do you really want

it tor

C

C Always go for the ,

poem That is, the charms of the language should.not be
subverted by a larger philosophic urge. If patriotism, say,

C

is the subject, insist that it be expressed,conci"etely or

C

lyrically-not in the same old generalizations. Good

C

poetry does not consist of generalizations.

C

C

-so-

C

C

.;., . ,--
. \. ' .,,. ~t, _,

. BclsiC Creativity -~~~~~3":!~~:~~h~-~:~~-~:~::t$+~~~;~~&~~~_j'.1t~..".l~L~:.'r:;",":;;E_;;,t.~ by Hannah Hinchman

E CHERISH the myth that kids are unfettered classrooms devote time to drawing from life. A book like

creative souls. In reality, even in the earliest

Drawing on the Right Side of the Brain (enthralling reading even

W grades, they are already burdened by intimida- if you don't consider yourself an artist) will help you lead

tion and uncertainty when it comes to the mystery of art.

students towards realizing that they can draw what they see.

Too many students, too early. lose the vital confidence in

And so can you.

. .

their own eyes and hands that would allow their creativity

The link between the eye and the hand is really so

to blossom Instead, they resort to repetitive or formulaic pic- simple-think of the hand as a kind of seismograph, record-

ture-making. or learn to copy whatever looks "accomplished" ing the movements of the eye in the act of observing. Once

from another studenl Without skillful deflection from an

a child experiences that link, whole worlds open up.

alert teacher, many of them will get mired there, until they

Many children, especially at certain ages, don't want to

bore themselves out of any continuing interest in art.

draw things around them. They'd rather bring inner pictures,

I consider creativity-that nebulous and highly charged

dramas, events, and situations out onto the page. Respect

word-to refer to several basic instincts or urges, common to this, but keep in mind that drawing from life develops a

everyone. The trick is in figuring out ways to keep students visual vocabulary-of shapes, spaces, textures, expressions,

in constant touch with those fundamentals, to keep their

gestures-that will add potency to the inner vision.

desires aflame, but hooked to tangible skills all along. Here

And drawing from life helps the student get past "sym-

are some of my observations about how creativity works in bol drawing. the stultifying stick with the ball on top that

art, and ways you can keep it working.

means "tree," done the same way every time (occasionally

Remember the simple joy of *stuff."' The urge to play with smaller balls for apples, as a variation). Slowly, actual

with materials comes before the desire to make specific

observation is replaced by a set of symbols that stand for

images or shapes. Just the tactile, visceral act of moving

something. and a creative door closes. Many students get

brush, pen, pastel over different kinds of paper holds a satis- sucked into that eddy and never get oul

faction all its own. Shaping and molding a yielding sub-

Help students accept that art requires patience. It

stance is pure fascination. Pay attention to the tools, and find doesn't spring complete and perfect from the mind to the

out everything they can do. Find out what they want to do. page. Creating something has much more to do with false

Some of the most common tools, like wax crayons, can be starts and scary moments, when the marks you've made so far

frustrating to a child who craves dense, brillian~ dazzling col- look like nothing recognizable. That's when you need to say.

ors. Point her towards pastels, oil pastels or Prismacolor pen-_ "hold on, things are going to get weird for awhile, it will come

cils if you can. If crayons are all you have, help her find

out okay in the end" A lot of fumbling. fixing. re-visioning. re-

ways of using them that begin to come close to her yearn- searching goes into the creation of anything of integrity. It can

ing. Try to help her find the right surface to use them on-it get frantic and desperate sometimes, but you can help reinter-

might not be construction paper. And there's a boy who has pret those feelings as excitement rather than fear. If your stu-

visions of intricate, complicated patterns, but he's using a fat dent is stuck with a certain approach, branch out laterally.

marker on newsprint! Introduce him to the glories of a sharp, bring in new materials. Or ask him to close his eyes for a

really sharp pencil (brought to perfection with an X-acto

moment to go back to what it was that originally moved him

knife and sandpaper), and then maybe a variety of fine-

Art can require a daunting amount of time and

tipped pens. Don't lose touch with the physical act of mak- patience. It's not simply a matter of making a picture, then

ing arl Remind students of that basic-pleasureand help -you're done.In art school we were pushed to take one idea

them explore and use il It's one of creation's primary fuels. through what seemed like endless permutations-bewilder-

Encourage the hand-eye link as early as you can.

ing and irritating to many of us. But tpat's one of the ways

Though "copying nature came to have a bad name in the

we learn what it is to create: it doesn't just happen. And the

era of abstract-dominated art, it's one of the most vital

urge to get it right should be honored and aided

episodes in developing creativity. For a student to discover

Yes, sometimes it appears as a spontaneous, fresh

that she can place a leaf, a nutshell, a bone on her desk, real- sketch ... but other times, we're required to dig. grope, and

ly look at i~ and translate its nature onto the page is almost wail And ask more of ourselves and our tools than we ever

alchemical in the excitement it generates. Surprisingly few thought they contained

-51-

0

0

RESOURCE fEOPLE

What's a WatmhedJ

0 National Consortium for Environmental

AND ORGANIZATIONS

Full-color brochure-Program Aid #420.

Education and_ Training (NCEET)

United States Department of Agriculture publishes a guide to Urban Environmental

0

Many slates, water districts and utilities

Natural Resources Conservation Service Education for teachers. To order call:

0

have developed curriculum materials, much of it free, and so~e of it of good quality. Contact local. state and federal agencies (like the U.S. Fish & Wildlife Service):to see what's available.
FREE CURRICULUM MATERIALS.,
Team Up to Gean Up Booklet from The Center for Global

630 Sansome, Room 749 San Francisco. CA 94111 Tel: 415795-2904_.
.ORGANIZATIONS WITH ENVIRONMENTAl EDLICATION PUBLICATIONS
California Dept of Fish & Game 1416 Ninth St

313-998-6726.

0

North American Association for

0

Environmental Education (NAAEE)

0 Publicati~ns and Member Services Office

PO B9x 409

0

Troy. 0845373 Tel/fax: 513-676-2514

0

The Orion Society

0

Env_ironmental Education featuring

Sacramento. CA 95814

136 E..64th St

0

classroom activities and community involvement related to the environment,

Tel: 916-653-6420 Fax. 916-6531856

New York, NY 10021 Publications an_d environmental

0

Highlights success stories from classrooms .Wildlife leaflets. guides. videos. and other educa.tion teaching tools as well as

0

around 'the world. ESPN...:Cable in the Oassroom Dept ESPN Plaza Brisol. CT 06010-8484 Tel: 203-585-2000 Fax: 203-585-2358 '

Ottenvise Teaching Guide ..

., .

publications. many free.
California Department of Water. Resources PO Box ,943836 Sacramento, CA 94236-0001Tel: 916-653-1097 Fax: 916-653-4684 ,

_teacher t~!lining institute_s.

0

Student Environmental Action Coalition (SEAC)

0

PO Box 1168

0

_Chapel Hil(NC 27514-1168 A student-run network tha_t advocates

0

working for the environment. Chapters

0

Guideprovided free lo teachers by the publishers of Otterwise. an environmental magazine for children 3:13_ Otterwise

Global Rivers Environmental Network (G.R.E.E.N.J 721 E. Hur.on St Ann Arbor, MI 48104

locat~d at high schools and colleges

0

C throughout the U.S. and other countries.
Three Circles Cerite~ publishes thejoumal

of Multicultural Environmental Education. Io

0

PO Box 1374Portland, ME 04104
Projed WIW Aquatic Educational Adiviry Guide

313-761-8142

order call: 415331-4540 or Email:

0

Project W.E.T. (Wat~r Education

circlecenter@igc.apc.org.

C

for Teachers) Conducts Watershed Education Institutes

OTHER ENVIRONMENTAl RESOURCES

C

240-page book provided free lo ~eachers. for educators. who. take Project WILD workshops, avail-

. Ri11trs Institute Study Guide

C

able free or at low-cost in all 50 states.

International Rivers Network

10 interdisciplinaiy lessons/activities;

C

Project WILD PO Box 18060 Boulder, CO 80308

1847 Berkeley Way . Berkeley, CA 94703 Tel: 510-848-1155

river trivia and excepts from, literature complement. hands-on activities.

C

fo; Ce~ter Giobal Education

C

Tel: 303-444---2390
The R.ivtnvork Book

Fax: 510-848-1008 Email: im@im.org
http//www.im.org

1536 Hewitt Ave.

C

St Paul, tv1N 55104-1284 Tel: 612-659.3105

C

National Park Service Rivers, Trails, and Conservation

Publishes R.ivtr of Words Teacher's Guide and Fax: 612-641-2489 World Rivm Review and other publications,

C

Assistance Program (RTCA)

clearinghouse of river information.

Ri11trsofLift

C

600 Harrison St. Suite 600 San Francisco, CA 94107 Tel: 415-744-3975 Fax: 415-744-3932

Kids for Saving the Earth PO Box 47247 . Plymouth, tv1N 22147 Begun by an 11-year old boy, newsletter

Interactive adventure learning project
C with links to schools, 1..miversities, research

scientists, policy experts, historians,

C

archeologiests and anthropologists, among others. Opportunities include data

C

Water Qufliry Sampling Equipmeiit Homemade Sampling Equip,rien_t Two booklets describe how to set tip your

with articles and illustrations submitted by ~SE clubs from around the world
Maryland Save Our _Streams

coltection, wildlife monitoring, workshops, . bulletin boards and more.
Center for Global Education

C C

own water quality monitoring system. Tennessee Valley Authority 311 Broad St

.258 Scotts Manor Drive
Glen Burnie, 1'vID 2061

1536 Hewitt Ave. St Paul, tv1N 55104-1284

C C

Chattanooga. TN 37402-2801

Tel: 301-969-0134 Has useful fr~e material.

Tel: 612-6593105 Fax: 612-641-2489

C

Tel: 615-751-7338

-52-

C

C

Tht Stream Sctnt: Watmhtds, Wildlife &. Ptoplt Oregon Dept of Fish and Wildlife
Office of Public Affairs
PO Box 59 Portland. OR 97207 Tel: 503-229-5400 x428
Discovering Your Life Place:
A Fim Biortgional Workbook by Peter Berg Planet Drum Books
PO Box 31251
San Francisco, CA 94141 Shasta Bioregion USA
Tel: 415-285-6556
Savt Our St"ams Isaac Walton League 1401 Wilson Blvd., Level B
Arlington, VA 22209
Tel: t-800-453-5463 Gean Water, Streams &. Fish Washington State Office of
Environmental Education
17011 Meridian Ave. N., Rm. 16 Seattle, WA 98122 Tel: 206-542-7671 ART RESOURCES Center for the Book
Library of Congress
Washington, DC 20540-8200 Tel: 202-707-5221
Fax: 202-707-9898
Kennedy Center for Alliance for Arts Education Network Kennedy Center
Washington, DC 20566-0001
Tel: 202-416-8845 Fax: 202-416-8802 Email: artsedge@kennedy.center.org
http//artsedge.kennedy-center.org
Nat'l Art Education Association 1916 Association Dr. Reston.VA 22091
Tel: 703-860-8000
Fax: 703-860-2960 National Assembly of Local Arts Agencies
927 15th Sl
Washington. DC 20005 Tel: 202-371-2830
Fax: 202-371-0424

National Writing Project 615 University Hall UC Berkeley Berkeley, CA 94720 Tel: 510-642-0963 Fax: 510-642-4545
Teachers and Writers Collaborative 5 Union Square West New York, NY 10003-3306 Tel: 212-691-6590 Fax: 212-675-0171
BIBLIOGRAPHY
This bibliography was compiled with the hdp of Otristian McEwen and Guo/ Murphey.
ESSAYS, ETC.
A Natural History oftht Senses, Diane Ackerman
(Vintage Books. New York 1990). Filled with amazing details about all five senses that kids (and grownups tool will love.
Sistm of tht Earth, Edited by Lorraine Anderson (Vintage Books. New York. 1991 ). Poems. essays. stories. and journal entries by a wonderfully wide range of women writers. from Willa Cather to Joy Harjo. from J:mily Dickinson to Adrienne Rich.
Tht Norton Book ofNature Writing: Edited by John
finch and John Elder (W.W. Norton. New York and London. 1990). Superb range. probably the best of all the many nature anthologies available.
Thr Gtography of Oiildhood, \Vhy Cnildrt11 Nttd Wild Places, Gary Paul Nabham and Stephen Trimble (Beacon Press, Boston, 1994). Two fathers and naturalists collaborate to make sense of their children's relationship with the outside world
F,nd~Homt, Writing on Nature and Culture Jram Orion
Magazine Edited by Peter Sauer <Beacon Press, Boston, 1992). Includes excellent essays by Scott
Russell Sanders. John Elder and Gary Nabham
Oiildrt11's Spial Plaas, Exploring tht Rak of Fam. Dau and Bwh HCIUSr$ in Middk Oiildhood: David Sobel
(Zephyr Press. 1993). Helps grownups remember the role of "place in children's lives.
POEMS
Patt,y for tht &rth, A Coll:tion of Pomrs From Around tht World 1nat CJtbratr:s Nature: Edited by Sara Dunn
with Alan Scholefield (Fawcett Coiumbine. New York. 1991). A truly comprehensive collection. use... -fully divided aa:ording"to emotional response
Earth Prrr;m From Around thr World, Edited by Elizabeth Roberts and Elias Amidon (Harper, San Francisco, 1991). A book of readings for the turning year. It includes some unusual selections (Rumi. Native American chants. Neruda, Thich Nhat Hanh).
Watr:r Music, Jane Yolen and Jason Stemple (Boyds Mills Press. Honesdale. PA 1995). A lovely children's book of poems and photos about rivers.

TEGINICAL
Tht P0t1,y Writing Handbook, Neil Baldwin <Scholastic Books. 1981). A modest and informative primer: a useful introduction to the teaching of poetry.
Pott,y Evrrywhtrt, Traching Pott,y Writing in School and in tht Community, Jack Collom and Sheryl Noethe (Teachers & Writers. 1994). One of the liveliest of the many teaching guides put out by T&W. Contains 60 writing exercises and more than 450 example poems (for excerpt see p. 25).
A Crow DOfSn't Nttd a Shadow, Wn"ting Pott,y from Nature:
Lorraine Ferra (Gibbs Smith. 1994). Lots of good writing e,cerciscs for kids. with student examples too. and some excellent illustrations. Genuinely fresh and inspiring.
Tht Pod,y Connection: An Antholo!D' of Contmipora,y PotmS U!ith Idtni to Stimulatt Oiildrt11'1 Writing: Kinereth Gensler and Nina Nyhart (Tea.chers & Writers Collaborative, 1978). A crisp. well-organized handbook with many imaginative examples.
Ren~ When Did You Get That Rtd?, Kenneth Koch
(Vintage Books. 1973) One of the classic handbooks for teaching great poetry in the classroom.
Traching Kids to Lovr tht &rth: Sharing a Smst of Wondtr: I 86 Outdoor Activitits for Part11t1 and Othrr Teochm, Marina Lachecki Herman. Joseph f. Passineau. Ann L Schimp( Paul Treuer (Pfeifer-Hamilton. 1991). A compendium of ideas. most geared to small groups of children in the outdoors. Excellent book lists and usable indoor teaching ideas, too.
Thr Act ofScima Writing: Dale Worsley and Bernadette Mayer (Teachers & Writers, 1989). This is geared primarily to the writing of essays. but includes a terrific bibliography and a wide variety of examples. Some poetry assignments. too.
RIPARIANENVIRONMENT
R.ivttlcttptr. George Ancona (Macmillan. New York
1990). This tells of the work of John Cronin. who keeps environmental watch on Hudson River. Text and photos illustrate his day-to-day activities. (Upper elementary and middle school)
When the Forrst Mtm the Sta: Jeannie Baker (Greenwillow Books. New York. 1987). A father and son think about the history of plant and animal life in the riparian environment in the Australian rainforest environment. one of the oldest in the world. and the real life threat it faces. (Primary)
Tnt World That Jadt. Built, Ruth Brown (Dutton Olildren's Books. New York 1991). The story is set in the English countryside. where a cat goes from the beautiful grounds of the house that Jack built to the polluted stream and valley where Jack's factory resides. (Primary)
A Rivtr Ran Wild: Lynne Olerry (A Gulliver Green Book Harcourt Brace Jovanovich, Publishers. New York 1992). Set in Massachusetts and New Hampshire, this is an environmental history of the Nashua River from its discovery by Indians to its death by industrial pollution and its subsequent revitalization. (Upper elementary)

-53-

Lds Explorr a River. Donald Crump (National Geographic, Washington, DC. 1988). Photo essay of the many aspects of a river.
Angd fa{{~ A South Amtrican Joumry: Martin and Tanis Jordan (Kingfisher. New York. t 995). A beautifully illustrated description of the rainforest riparian . environment of the Carrao River in the Venezuelan Highlands and the subsequent fall of the river (Angel Falls) from the mountain top. AuyantepuL (Upper elementary and middle school)
When tht Rivm Go Hom~ Tea Lewin (Macmillan, New York. t 992). Set in the Pantanal. a huge marsh in Brazil, this book !lescribes the life of the animals and plants as well as the work of the vaqueros (Bratilian cowboys). (Elementary)
Whm tht Ri= &gins: Thomas locker (A Puffin Pied Piper. Penguin Books, New York. 1984) A beautifully illustrated description of a journey of two boys with their grandfather over meadows and up foothills to where ihe river begins. This unnamed river is reminiscent of the Hudson River in New York. (Elementary)
Hudson Ril'tr and Advmturr from tht Mountains to tht St11: Peter Lourie (Boydes Mills/Caroline House. New York. 1992). Features photos of the 315-mile course of the Hudson from its source in a pond in the Adironccks to its mo_uth at the southern tip of Manhattan. (Upper elementary and middle school)
Sand Ri11m: Peter.Matthiessen (Bantam Press. New York, 1982). The true story and photographs of a safari irito the Selous Wildlife Reserve in Tanzania after that country gained its independence and became a socialist state. Good descriptions of an East African riparian environmenl as well as the complexities of h~man interactions. (High. school)
Tht Unfolding River. Sally MacEachern. Senior Editor (A Ouarto Book Running Press Book Publishers. . Philadelphia. PA. 1992). The book is a larse foldout of a generic river from source to sea. It is a beautih1IIY, illusirated guide to the life 9f a. river. the habitats through which it flows, and the . wildlife that depends on it (Upper elementary. middle school and high school)
A Day on tht Riva--. Reinhard lvlichel (Barron's Educational Series. Inc., Hong Kong. 1985). The . story is about the author's youth growing up at_ the mouth of the Danube in Lower Bavaria. It tells, in pictures and words, of the river i~ the early 1950s and endswith, its death at the present lime. (Upper elementa_ry and middle sqiooll
Tht Paddo&. a Story in Praist of tht Ear1h, Lilith Normari (Borzoi Book. Al&ed A Knop( New York 1993). A patch of ground in Australia. formed millions, of , years ago. endures constant changes. out~ting the ele~ents and the plants, animals and people that come and go around it (El~mentaryl .
RM,- Through tht ASfS: Philip Steele CEagle Books, Troll Associates. U.SA 1994). This book takes you on a time journey through a fictitious riparian environment in northern Europe. It examines how people living along the river develop and change their environment over time from the Stone Age into the future. (Upper elem!,ntary a_nd ,:niddle school)

Ldting Swift Rivtr Go: Jane Yolen {Little Brown and Company. Boston. 1992). This is the story of the damming of the Swift River in Massachusetts and the flooding of that riparian environment to create the Ouabbin Reservoir to supply Boston with water. (Elementary)
Proto:ting R.J_11m and St11s: Kamini Khanduri (Usborne Conservation Guides. Usborne Publishing. Ltd.. London. 1991 ). This book contains interesting facts from arou'nd the world about how we have destroyed and now must protect our water resources. (Elementary and middle school)

RIVERS AS ROADS

Exploring Ri11m: Derek Cullen and John Murray Robertson (Schoolhouse Press Inc.. Needham. MA 1988). The story of the exploration of some of the major rivers of North America. South America. Asia and Africa are included in this book. (Upper elementary and middle school)

Timmy O'Dowd and tht Big Ditch: Len Hills <Harcourt

Jovanovich and Brace, New York. 1988). Stories of

the glory days on the Old Erie Canal. (Uppe;.

elementary)



. '

Minn of tht Missirnppi: Ganey Holling Holling (Houghton Mifflin Company. Boston. 1951). The book documents the journey of a turtle through the riparian environment of the Mississippi River. starting in the North Woods of Minnesota and ending in the Gulf of Mexico in New Orleans. (Upper elementary and middle school)

Paddlt to th~ &n: Ganey Holling Holling (Houghton Mifflin Company, Boston. 1941 and 1969). The book documents the journey of a small canoe. carved by an Indian boy. that makes a journey from Lake Superior all the way to the Atlantic Ocean. <Upper elementary and middle school)

samd Ril'tr: Ted Lewin (Clarion Books, New York 1995). The most sacred city, Benares. on the Ganges River in India: is the highest destination of all Hindu pilgrims. This book documents in beau tiful watercolors the journey of boats and people on this sacred road (Elementary)
Biography of a Ril'ff': Tht Mississippi: Edith McCall
(Walker. New York, 1990). This book e.xplores every aspect of life on the Mississippi. from its history to commerce. It is a good introduction to
Adventum of Tom Sarvyo- or other Twain classics.
(Upper elementary and middle school)

On tht Go: Ann Morris CT.othrop. Lee and Shepard Books. New Yodc, 1990). A photo essay for young children of transportation around the world; many are river transportati9n photos: {Primary) __

The ,y Canal: Peter Spier (Doubleday, New Yode, 1970). An illustrated version of the song. The En't Canal (Elementary)
Yangtu. O.ina's Lonp Riva-: How Man Wong (Olina Books and Periodicals, San Francisco, 1989). The people, the environme~t and the journey on the Yangtze is documented in photographs and text {Middle school and high school)

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Ri11m in tht Drsm, William Mulholland and tht Inventing ofLos Angt/ts: Leslie Marsaret Davis <Harper Perennial Harper Collins Publishers. New York, 1994). The political and engineering struggle of creatinga "road" lo bring the water of the Owens River 250 miles to Los Angeles. {High school)
RIVER PEOPLE AND TiiEIR EFFECTS ON lHEIR ENVIRONMENT
RiVff8ods. Exploring the Wo,M's Grrat Ri<m: Richard Bangs and Olristian Kallen (Yoily Bolly Press Book. Sierra Gub Books. San Francisco. 1985). This is a phot~ essay and in-depth text about the peoples and terrains of rivers such as the Omo in Ethiopia. Bio Bio in Chile and the Euphrates in Turkey and Iraq. to name a few. (High school)
Childmr oftht Ri= Linda Crew (Bantam Doubleday Dell Books for Young Readers. New York. 1989). This is the story of a young sirl who flees the Khmer Rouge from her river home in Cambodia and her experiences tryins to fit in the high school on another river place in Oregon. (Upper elementary. middle school and high school)
BiNtr f..!tlon. Inside .,\mmca's Last Rural Chintst Town: Jeff Gillenkirk and James Motlow (Heyday Books, Berkeley. CA. 1987). The Sacramento.Delta was one of the few western sites where Chin~se im~igrants escaped violence against them by whites. The Chinese reclaimed the flood lands of Locke for agriculture. Many of these refusee farmers were from the Pearl River region of China. The book features black and white photos and interviews with residents of Locke who either immigrated there or were born there. (Middie sch'?!. high school)
Whm tht Ril'tr Runs. A Portrait ofa Refugee Family-. Nancy Price Graff CT.ittle Brown and Company. Boston, 1993). The book describes in words and photographs the experiences of a Cambodian family as they learn to adjust to a different way o_f, life living on the Charles River in Boston. (Upper elementary, middle school and high school)
The Motl.tr Ditch: Oliver Lafarge (Sun Stone press. Santa Fe. NM. 1983). The text is in English and Spanish and describes life along the "Mother irrigation ditch coming from the Rio Grande in New Mexico. (Upper e1ementary,'middle school and high school)
Sacred River. Ted Lewin (Garion Books. New York
1995). The. most sacred city, Benares, on the , Ganges River in India, is the highest destination of all Hindu pilgrims. This book documents, in beautiful watercolors. the journey of boats and people on this sacred road (Elementary)
Sand Ri11m: Peter Matthiessen (Bantam press. New York 1982). This book of text and photographs is,. the true story of a safari into the Selous Wildlife Reserve in Tanzania after that country gains its independence and becomes a socialist state. Good descriptions of an East African riparian environ mentas well as the complexities of human inter actions with each other. (High school)

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AIIIQ%0n Basin, Vanishing Cu/tum: Jan Reynolds

G-larcourt Brace and Company. New Yorlc. 1993).



The Yanomami live in the Amazon River basin,



the largest tropical riparian environment in the

world Dramatic photographs and a simple narra-



live invite readers to experience the daily life of a



vanishing culture. (Elementary)

DtafMa~t C.tt Sayrt', Photograplu ofa Riva- Ufa Maggie



Lee Sayre' (University Press of Mississipp~ Jackson,

MS. 1995). In 1930. Maggie Lee Sayre' began taking

pidures with a camera given lo her sister. Maggie

was bum dea( She began to use film to record her

life in a fishingfamily, on a houseboat along the

Ohio and Tennessee Rivers. The camera became a

way of communicating her identity and of engag

ing in a dialog with a hearing world. (Elementary.

midclle school and high school)

Vanishing Ptoplts. Yanomanu; Ptupk oftht A=: David M Schwartz <Lothrop. Lee and Shepard. New Yorlc.
1995). The Yanomami people live where Brazil
meets Venezuela. Gold miners are presently poi soning their river and destroying their way of life.
This book doaiments their daily ways in hopes that
ii will encourage people to preserve. not destroy, their way of- life. (Elementary and middle school)

"RMr Through th, Ages: Philip Steele <Eagle Books. Troll Associates. U.SA. 1994). This book takes you on a
time journey through a fictitious riparian environ-
ment in northern Europe. It examines how people living along the river develop and change their
environment over time&om the Stone Age into the future. (Upper elementary and middle school)

Whm arr you going Manyoni?: Catherine Stock
(Morrow Junior Books, New York. 1993). The book describes the long walk to school of a child in
Zimbabwe. During the course of the walk we
become acquainted with African life in a rural area along the Limpopo River. (Elementary)

"Nati11t Amtricans, Tnt Ptapft and tht l.nnd: Dana Walker (Frank Schaffer Publications, Carthage, IL, 1993.l
Interactive. cooperative lessons about conflict over
land between the US government and the Ouinaull Taos. Flathead. and Salish Indians.

"Yangt.:r. China's Longest Rillf:1". How Man Wong (China Books and Periodicals, San Francisco, 1989).
The people are explored in this book. as well as
the environment and the journey on the Yangtze. All of these are documented in photographs and
text (Middle school and high school)

RIVERS AS BORDERS Aaon tht Grtat Rim-: Irene Beltran Hernandez (Arte Publico Press. University of Houston. TX. 1989).
This is a novel documenting the trials-of a family
that crosses the Rio Grande illegally, with a coyote." to enter the United States at Eagle Pass,
Texas. (Middle school) E:,p/onng Rivm: Derek Cullen and John Murray
Robertson (Schoolhouse Press. Needham. PA
1988). The story of the exploration of some of the major rivers of North America. South America,
Asia and Africa arc included in this book. (Upper elemenllry and middle school)

"A Day on tht Ri~ Reinhard Michel (Ba~n-s Educational Series, Inc. Hong Kong. 1985). The story is about the author's youth growing up at the mouth of the Danube in lower Bavaria. It tells. in pictures and words. of the river in the early 1950s and ends with its death at the present lime. (Upper elementary and middle school)
"Nati11t Ammcans. TM Ptap/t and tht Land: Dana Walker (Frank Schaffer Publications. Carthage, IL. 1993).
Interactive, cooperative lessons about conflict over land between the US government and the Ouinault Taos, Flathead and Salish Indians.
mmds from the Othtr Sick Amigos dd Otro l.ado: Gloria Anzaldua (Children's Book Press. San Francisco. 1993). This book is in English and Spanish. A young boy has aossed illegally lo Texas from Mexico and receives help from a brave MexicanAmerican girl (Elementary)
RIVER AS A MITAPHOR
Para/It/ Myths: J. F. Bierlein (Ballentine Books. New
York. 1994). This book explores myths from around the world in depth. Among the many sections presented are an international collection of creation myths and a similar collection of flood myths. (High school)
HOii! tht Farmer TricluJ tht Evil Dtmon: Alice Lucas (Pacific Asia Press, A Greenshower Corp. Covina. CA 1994). This book is written in Hmong and English. It is a classic Cambodian storyteller tale about a clever rice farmer. (Elementary)
Tnlrs from tht Amazon: Marin Elbl and J. T. Winik
G-layes Publishing Llmilecl. Ontario, Canada, 1986). This book has three tales told by the indigenous people of the Amawn. (Elementary)
Ltgmds of Earlh, Air. Firr and Wnttr. Eric and Tessa Hadley (Cambridge University Press, New York and London, 1985). This is a collection of stories from around the world (Upper elementary)
Tht Ri11tr that Ga11t Gifts: Margo Humphrey (Children's Book Press, San Francisco, 1987). This is an AfroAmerican story about four children who make their own special gift to the beloved elder woman of the town. (Elementary)
The Riva- that Wm/ to the Slcy: Mary Medlicott
(Kingfisher, New Yorlc. 1995). Among the twelve tales of African storytellers in this book. some deal with rivers. (Upper elementary and midcllc school)
HOVI Wt Camt ro Int Fifth World: Harriet Rohmer (Children's Book Press, San Francisco, 1988), The
text is in English and Spanish and is a creation myth &om ancient Mexico. (Elementary)
HOii! Night Came: Joanna Troughton (Bedfriclv'Blackie, New York. 1986) This is a tale told by the Tupi Indians of Brazil The daughter of the great snake living in the river marries a mortal and night and day come into being. (Elementary)
HOii! tht Birds Oiangtd Thtir Feathm: Joanna Troughton (Bedfriclv'Blackie. New York. 1986). This is a tale told by the Arawak Indians of Guyana. A rainbow snake living in the river is captured and the birds. who are white. gain color. <Elementary)

Tnt l.aug/iing Rim-. Elizabeth Haze Vega CRayve
Productions Inc. Windsor, Canada, 1995). The story of peace is incorporated with scored music and is intended lo be performed with Orff instruments. Instructions for making some of the instruments are included (Elementary)
Tnt Ltgmd of the Ri11tr U: M Jeanne Lee (Holt
Rinehart and Winston. New York. 1983). This ancient Chinese tale tells of a se.3 princess who wishes to lessen the hardships of the poor laborers employed in building the Great Wall of China. She seeks help from the Goddess of Mercy and the beauty of the_ River Li is the result. (Elementary
TECHNOLOGY RESOURCES
Amazon Trail (MECC Macintosh Disks). Students learn about plants. animals and the rainforest environment while trying to survive an expedition to find a Peruvian king.
Dtcision~ Dtcisions, Tht Environmmt. (fom Snyder. Macintosh, IBM Apple). Students interact with the computer to make decisions about the cleanup of a polluted pond The Mayor. with the advice of his advisors, an environmentalist a campaign manager. a scientist and an economist. must set priorities for the cleanup as the Mayor faces an upcoming election .
Stdlar Schools, Projtd Rivm. Projtd Rivm is a combined effort of the Stellar Schools initiative of STEM-Net and Cable Atlantic. along with the Friends and Lobbyists of the Waterford River and the Ouidi Vidi/Rennies River Development Foundation. It brings together the resources of all these groups lo provide the basis of classroom projects that will use the latest in communications technology to help classes appreciate riparian environments. 710. http//www.stemnet.n(ca/Projects/Stellar/stelriv.ht ml(Excile)
Optrnlion Wntmhtd. CD-ROM (Windows & Mac). A computer environmental adventurethal involves teams of players in a mission to solve environ mental problems. Players use collaborative decision making as they attempt to solve cases. National 4-H Council Supply Service c/o Crestar Bank PO Box 79126 Baltimore. 1vID 21279-0126 Tel: 301-961-2934 Fax: 301-9612937
SOME INTERESTING WEBSITES:
California Academy of Sciences htpJ/www.calacademy.org
Exploratorium http//www.exploratorium.edu/
John Muir Exhibit http//aldo.des.ucda vis.edu.John_Muir/John_ Muir_Ehibithtml
Radar Images of Earth http//www.jpl.nasa.gov/sircxsar.h tml
U.S. Geological Survey http//info.er.usgs.govI
(An indicates a book listed more than once because it fits in more than one category.)
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Now the rain is falling, freshly, in the intervals between sunlight,

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a Pacific squall started rio one knows where, drawn east as the drifts of warm air make .

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a channel;

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it moves on its way, like water or the mind,

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and spills this rain passing over. The Sierras will catch it as last snow flurries befor.e

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summer, observed only by the wakened marmots at ten. thousand feet,

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and we will come across it again as larkspur and penstemon sprouting along a creek

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Sonora

Pass

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i~e,

xt _,

August,

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where the snowmelt will have trickled into Dead Man's Creek and the creek spilled

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into ~he Stanislaus and the Stanislaus i~to the San Joaquin and the San Joaquin into

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the .slow salt marshes of the bay.

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That's not the end of it: the gray jays of the mountains eat larkspur seeds, which

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ca_rinot prqpagate otherwise.

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To simulate the process, you have to soak gathered seeds all night in the acids of coffee

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and then score them gently with a very sharp knife before you plant them in the

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You might use what was left of the coffee we drank in Lisa's kitchen visiting.

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the unstated theme was the blessedness of gathering arid the blessing of dispersal-

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it made you gladfor beauty like that, casual and intense, lasting as' long as the'

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~Robert Hass

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"Spring Rain"

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POETRY O< ART PROJECT



1847 BERKELEY WAY

ERKELEY, CALIFORNIA



94703 USA

TEL 510.!!.18.1155



FAX 510.848.1008

E-MAIL: row@irn.org
,EB: hrrp://www.,rn.org
RO'X' Ad11snry Bo,ud CtlAIR!\IAN GoRUON T. BLAH.4..M 111 Wt.NDELL BERRY
J,\.\lf.\ 8UCHAN.4N
Jou?-. COLE
o...... LE'I' H.,tt \1.'t.LCOl.'l ~fARGOLIN
PtTER \1ATTlll[\\ES
L\"Till.'iAilOSAL Rf\"ERS NTWORK
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River of Words: Developing a Sense of Place
Place, like nature, is particular--certain plants grow here, but not there. In order to fully apprehend the significance of a place, and of our relationship to it, we must gather a volume of knowledge and ongoing experience and observation. Below are some ways of assembling a portfolio of .. information about a site.
Geography: Distinctive physical, social, political setting of the site
Include maps to show physical location (local, state, country, world) Note nearby physical characteristics (bays, buttes, valleys, deltas, etc.) as well as parks, museums, other _points of interest Be familiar with surrounding communities: rural, urban, small towns and their social and economic components Know major cities within 50, 100, 200 miles Know and define the boundaries of your watershed List state and local capitals, county seats and other governmental districts Assemble maps and surveys of all kinds: topographic maps showing mountains, rivers, lakes, caves and canyons; vegetation maps; soil and geologic maps Know all the creeks, streams and tributaries in the region, underground as well Determine which waterways are free-flowing and which are dammed or channelized Acquire reports from a variety of surveys concerning the natural resources of the site Keep track of weather data and climatic information rainfall, flood and storm patterns, etc.
Ecology: Interrelationships of physical and biological aspects
Notes from walks, lectures, talks with experts in the fields of botany, geology, zoology, forestry Field notes from personal exploration of the site Lists and pictures of flora and fauna, noting which are rare, endangered or threatened Know which birds are migratory, which are resident Know where wildlife and birds rear their young
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Scientific reports, studies, readings from naturalists'

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. present



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Settlement patterns Economic development of the area, land use history

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,. Newspapers, local library and county records Environmental issues today that affect the site, including

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scientific opinions and local sentiment

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Books by local authors (past or present) in which the site

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plays a role



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, Poems, songs, movies or plays about the area

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Art that depicts the site or its denizens

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Folkways and crafts of the region (basketry, boat building,

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October. Rivers in the far north are also highly seasonal, with minimum flows during the frozen winter followed by huge floods during the summer melt.
The great milestones of human history took place by the banks of rivers. Fossilized remains of our earliest known hominid ancestor were found by Ethiopia's Awash River. Evidence of the momentous change from mostly nomadic hunting and gathering to sedentary farming first appears in the narrow river valleys of the mountains of the Near East at archaeological sites between nine and ten thousand years old. The first civilizations emerged.in the third millennium BC along the Euphrates, Tigris, Nile and Indus, and a little later along the Yellow. Much later another momentous turning point in human history occurred along the rivers and streams of northern England which powered the early industrial factories .
Rivers, and the rich variety of plants and animals which they sustain, provide huntergatherer societies with water for drinking and washing, and with food, drugs and medicines, dyes, fibres and wood. Farmers reap the same benefits as well as, where needed, irrigation for their crops. For pastoral societies, who graze their herds over wide areas of often parched plains and mountains, perennial vegetation along the banks of rivers provides life-sustaining food and fodder during dry seasons and droughts. Towns and cities use (and misuse) rivers to carry away their wastes. Rivers also serve as roadways for commerce, exploration and conquest. With the exception of a few maritime societies, 'all the great historic cultures,' writes technology historian Lewis Mumford, 'have thriven through the movement of men and institutions and inventions and goods along the n.atural highway of a great river.'
The role of rivers as the sustainers of life and fertility is reflected in the myths and beliefs of a multitude of cultures. In many parts of the world rivers are referred to as 'mothers': Narmadai, 'Mother Narmada'; the Volga is Mat' Rodnaya, 'Mother of the Land'. The Thai word for river, mae nan, translates literally as 'water mother'. Rivers have often been linked with divinities, especially female ones. In Ancient Egypt, the floods of the Nile were considered the tears of the godd~ss Isis. lrelru.i~.s River Boyne, which is overlooked by the island's most impressive prehistoric burial sites, was worshipped as a goddess by Celtic tribes .
The rivers of India are perhaps wrapped in more myths, epic tales and religious significance than those of any other nation. Environmentalist Vijay Paranjpye describes a
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sacred text which holds that.'all sins are washed a~ay by bathing thrice in the Saraswati,

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seven times in the Yarnuna, once in the Ganges, but the mere sight of the.Narmada is

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enough to absolve one of all sins!' Another ancient text describes the Narmada River as

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'giver of merriment', 'flavourful', 'of graceful attitude', and. 'one who radiates happiness'.

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Of the life sustained by rivers, salmon have perhaps been imbued with the most

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mythological significance. The 'Salmon of Knowledge', legend had it, swam in a pool near

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the source of the Boyne. Anyone who tasted the.fish would acquire understandingof

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everything in the world, past, present and future. Native Americans in the Pacific. ,

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Northwest believed salmon.to be superior beings who ascended rivers for the benefit of

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people, died, andthen returned to life in a great house under the ocean where they danced

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and feasted in human form. Some tribes welcomed the first salmon of the season,withthe

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ceremony due to a visiting chief.

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While rivers provided life, they also brought death. Settlement on the plains, which enabled

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people to take advantage of the rich alluvial soils, also exposed crops and villages to the

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risk of catastrophic-floods. Gilgamesh, the earliest surviving epic tale, tells of a great flood

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unleashed, by God to scourge the sinful in Mesopotamia. Myths and legends of huge floods .

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are common.to many cultures around the world, from the Old Testament Jews to the pagan

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No_rse and the indigenous people of the Americas.

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The damming of the world has brought a profound change to watersheds. Nothing alters a

river as totally as a dam. A reservoir is the antithesis of a river - the essence of a river is

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that it flows, the essence of a reservoir that it is still. A wild river is dynamic, forever

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-' changing - eroding its bed, depositing silt, seeking a new course, bursting its banks,

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drying
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up.
.

A

dam
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is

monumentally

static,

it

tries

to

bring a .

river

under

control,

to

regula.te

its seasonal pattern of floods and low flows. A darn traps sediments and nutrients, al.ters

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the river's temperature and chemistry, and upsets the geological processes of erosion.and

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depositi~n through which the river sculpts the surrounding land.

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Patrick McCully is International River Network's Campaigns Director. Silenced Rivers

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can be. o~dereajrom IRN by calliffg 310-848~1 I55 or through our website at

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http://www. irn. org

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ROW Form 1013 12/12196

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Tips for Writing Poems
by Robert Hass, River of Words Co-founder & United States Poet Laureate, 1995-1997
Two very famous teachers of haiku gave very different advice about writing poetry. Basho, who many think is the greatest ofhaiku poets, had this to say; "Learn about pines from the pine, and about bamboo from the bamboo." In other words, pay attention. And Busan, another ofthe great haiku poets, when someone asked him how to improve the spirit oftheir work, said "Read
Chinese poetry." In other words, if you want to write good poems, read good poems. It is an old debate: which comes first, art or experience? What if you have skill but no heart, or heart but not
skill to express it? Luckily, young writers don't have to choose. So here are a few tips:
1. Get something down on paper. Or as the Irish short story writer Frank O'Connor said, "You can't revise nothing." Waiting for inspiration is like waiting to be asked to dance. If inspiration comes, it comes. And it will come more often if you show you are interested.
2. Pay attention to what's around you. If you write nature poems, look at things. If you write poems about people, notice them. There are ways to practice noticing: teach yourself the name of some of the birds in your neighborhood, the trees; learn the names of the stars overhead. Listen to the wind. Look at the way light falls on your street at different times of day.
3. Pay attention to what you're feeling, A lot of poetry has to do not with knowing what you
feel, but discovering what you feel. Sometimes, if you notice what you're feeling, a phrase or an image for it will come to you out of nowhere. It will be a place to start and the result may surprise you. It's hard not to present to the world the feeling you think will please other people by having or seeming to have. Poetry ought to be the place where you don't have to do that.
4. Pay attention to your own mind, No thought is too weird for poetry. And everyone has weird
thoughts all the time. Some people are just good at not noticing that they have them. Noticing is what makes any kind of art fresh and interesting.
5. Say your poems out loud to yourself until you're pleased with how they sound Some
thoughts are quick, some thoughts are slow and deep. Some skip, some pace slowly. The . pleasure of poetry for people who write it a lot is mostly here, whether you write in rhyme with a definite beat, or write in the rhythm of natural speech. The poem isn't finished until it's pleasing to your ear.
6. Read lots of poebJ'. It will give you ideas about what poetry can do, techniques you can try.
And real feeling will 'put you in touch with real feeling. Someone else's originality will make you feel yours .
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TO ORDER RIVER OF WORDS MATERIALS, PLEASE FILL OUT THE FORM BELOW & RETURN WITH A CHECK, MONEY ORDER, CREDIT CARD NUMBER, OR PURCHASE

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ORDER TO: River of Words, P.O. Box 4000-J, B,,erkeley, CA 94704; fax 510-548-2095; or

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email info@riverofwords.org.

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# of Copies Item

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ROW Educator's Guide: $6.00

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ROWing Partners: $5.00

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1999 ROW Winning"Poems: $7.00.

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2000 ROW Winning Poems: $7.00

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2001 ROW Winning Poems: $10.00

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River of Words Artwork

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_-.postcard: $2.00, or __ poster: $15.00

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Artist's Name: -------'-- Title: _ _ _ _ _ _ Contest Year: _ _

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:please indicate size _ _ (sizes available: S-XXL, Children's L)

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SPIRATIONS
The Poetry of Science
Children around the world use art, writing, and a "River of Words" to discover their connection to place.

by CANDICE STOVER

Gather a few thousand children at the river, give them a new way to see what's in front of them, and you just might change how the next generation cares for the planet.
That conviction drives the current behind River of Words (ROW), an annual environmental poetry and art competition for children worldwide. Co-sponsored by a consortium of arts and environmental groups, the 1998 competition drew four thousand entries from forty-four states and eight countries and is spilling over into local channels of ROW committed to helping children discover, interpret, and care for their ecological addresses.
. Since that's an address most kidsand adults--don"t carry in their memory's hip pocket, learning how to locate it through science and express it through art and poetry is one way ROW combines this international con-

test with an innovative classroom curriculum. ROWs Teacher's Guide2,000 copies went out in 1998, though it's not required to enter-provides a ~what's Your Ecological Address?" quiz, plus tips on how to find your bioregion, run poetry writing sessions, and create a watershed in your hand. None of the guide's individual and field activities is grade-specific; instead, theyre designed to piggyback onto existing curricula to help teachers and students of all ages "Discover the geography of your own place." ROW also offers occasional teacher-traini_ng workshops around the country. The contest and the curriculum can be used either together or separately. and any child in the world can enter the contest, with or without a teacher's support.
Behind the curriculum stands an invitation to get kids out of the classroom and down to the river--or. if not

the river, to the puddle in the schoolyard, the creek clogged with shopping carts. or the cracked bed where the water once ran. ROWs sponsorswhich include International Rivers Network (IRN), a Berkeley-based nonprofit that links human rights and environmental protection in promoting sound river management, The Library of Congress Center for the Book, and former U.S. Poet Laureate Robert .Hass-believe getting kids closer to the worlds in the watershed gets us all closer to ecological survival. As Hass says in the guide's introduction: "The idea of River of Words is to ask our children to educate themselves about the place where they live and to unleash their imaginations. We need both things-a living knowledge of the
Above: Untitled by Shane Correia, fourth grade, New York City.

HOPE NovE~IBERIDECE~IBER 1998

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ASPIRATIONS

Water World by seventh grader Laura Badovinac
of Marietta, Georgia.
land and a live imagination of it and our place in it-if we are going to preserve it. Good science and a vital art and, in .the long run, wisdom."
Call this com~~nation of art and science "The Key to the River," and see it in Jennifer Brisson's painting by the same name, which won the thineen-year-old from Clarkton,.Nonh Carolina, a grand prize. During ROWs third. annual awards ceremony at the Library of Congress last May, someone asked Brisson what the number twelve on her geniallooking turtle's key meant. The transparency of her answer fits . ROWs philosophy, linking fact and imagination without a jiggle or a hitch: "I had a key with the nu'mber twelve on it."
Pamela Michael, ROWs whirlwind director, recalls early brainstorming sessions at IRN when a children's poetry competition encouraging that link and the name "River of Words" didn't exist. "We were looking for some hoopla around IRN's tenth anniversary [in 1996)," Michael says. "I woke up with the acronym for ROW in my head a~d knew we were on the right track." She met with Hass, who has a keen intere~t in literacy and the .environme!}t, and then a confiuenc~ of writers, activists, educators, and community partner~ who made ROW a reality. "ROW is centrally administe~ed by us," Michael says, "but it's the teachers and park rangers and librarians and kids who make it happen.~
Grace Grafton's classroom at lakes~ore Ele~entary School in San Francisco is one place ifs happening. On a sunny .Wednesday mqrning, Grafton is passing out slices of lemons, carrots, and apples, urging nineteen first and second graders to sniff and taste, reminding them to "go slow for poetry" as they play with word patterns that could lead to poems. A teacher with California Poets in the Schools for twenty years, Grafton was one of the first teachers to respond to ROWs invitation for help in designing and sup-

porting.its curriculum; this year, ROW named her Teacher of the Year.
Grafton is passionate about the power of place and voice in the classroom; for her, ROW lets teachers take. an environmental science question like, "Where. does the rain go?," and use it to push boundaries and discoveries in language.
I
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"I ask kids what rain feels like

on their skin, because it's

important," Grafton says. "The

five senses are their avenues

into life."

So when Daniel Woo

scrunches his face into a

lemon-pucker, then calls out.

"Watch the lemon tingle into a

Titan_~c!," and another student

at the same table says, "No, it's

like a shooting star; there's a

solar system in my stomach!,"

Grafton knows the process she

calls "appreciating the actual

as the mystical" has begun.

"Sometimes, I have to trick

them into recognizing that

poetry can be a power tool,"

she says. "But, really, what is

science without love? Without

a community of humanity in

nature, what's the poim?"i

One way that ROW extends ,that

,

I

community is by encouraging the

development of local ROWs through-

out the country. Just two years old.

Georgia's program has become a model

for outreach and impact. Petey Giroux,

coordinator for the state's Project WET

(Water Education for Teachers), says a

tape of Hass reading at an environmen-

tal conference was her inspiration. "His

passion and feeling for children and

.understanding of the big picture of

what we need to do to heal the Earth

made this a perfect program to incorpo-

rate into our study of watersheds;"

Giroux began.by sending flyers to every

school in the state; today, Georgia's

ROW distributes regionally specific

resource packets and packs up a thirty-

foot blue satin "river" to exhibit stu-

dent work at schools, conferences,

libraries, and environmental centers.

Over 8,000 students Yiewed the 1997

Georgia River of Words, which

included one national ROW grand

prize w.inner and two finalists. "The

power of the arts works," she says.

"When !111 the senses are engaged, chil-

'' M. dren remember." y training in river engineer-

.

ing was soulless," says one

of IRN's founders, hydro-

logical engineer Philip B. Williams,

noting the limits of coming up through

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NCl\'EMBERIDECEMBER 1998 HOPE

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IWANTTO BE by Noah Frank
I want to be a dogfish and catch a leaping catfish with whiskers as long as a stream. And I want to be the rain trinkling down on the world telling it it's springtime.
(Winner.grades K-2)

Above: ~y to the River by Jennifer Brisson, grade eight, Clarkton, North Carolina. Right: Holding the River by fifth grader Emily Glatter, of Barrington. Rhode Island.

an educational system that values neither sniffing a lemon nor putting your feet in the puddle-much less using science to convey how you felt about either in a poem, or picture. "The straight flumes of the hydraulics labs we trained in are a metaphor for the simplest mindset: straighten the river, build a dam, exploit the resources. Today, the danger is in thinking the computer model is the river. It's not. How can you work with your five senses from just the neck up? Engineering school gives you craft, yes. But a river is an intricate, delicate, living system. Without art and poetry, how can you pretend to practice restoring it? That's metaphor, and that's where ROW comes in."
Across the river from this engineer praising ROW for bringing poetry to science, former poet laureate Hass lauds this project he helped launch for using science to deepen the teaching of literature and remind people we live in a place. "The job of the environmental movement," Hass says. "is translation. and translation is what ROW can teach. On the one hand, there is this almost religious idea of a river in American culture; on the other hand, there are actual rivers-canalized, abused, polluted, much used and much denied. If we say we love and respect the land but don't follow through. that's our generation's broken treaty. The connection

ROW insists on between imagination and the natural world is crucial."
ROW is also a project he learns from. The practicalities of administering an international competition for children raise their own quirky ripples; this translator of Basho. Buson, and Issa now encounters haiku through children in Missouri and metaphor from the Florida Panhandle Watersheds. Reading .the poems submitted to ROW with a nationwide panel of judges and a group from California Poets in the Schools (the International Children's Art Museum in San Francisco oversees art entries). Hass says what they're looking for is "freshness of language, local specificity, the quality of being alive to the place. Just looking at their work educates me about all of this."
Equally critical, says director Michael, is ROWs commitment to cultivating "the power of keen observa-

lion. You need these observation skills

in science and ecology; you need them

in poetry and art. ROW helps kids use these skills. We want kids to go beyond

stewardship into kinship with where

we come from and where we are. We

want them to learn how to look, listen,

and feel connected to a place."

That place might be a village on the

Ganges, a pane of water reflecting the

moon, the perfect fin of a fish-all in

prize-winning entries this year. It might

lead a child to cross the bog on "hurri-

cane-fallen trees," drawn by the sound of a real Sweetwater Creek, or inspire

the invented word "trinkling," also from a child's poem, to slip the music of rain in your ear.

Talking rivers and their survival,

ROW knows, you go to children as the

source. Then. you listen.

6.

Candice Stover is an award-winning pod and teacher who lives in Mount Desert, Maine.

HOPE NOVEMBER/DECEMBER 1998

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'
Activities to Support Rivet of Wot(\s
. "A Dtink in the Fotest" Michelle Jotc:!an - National Finalist Avonc:!ale High School -Avonc:!ale Estates
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River of Words Curriculum Supplement

What's Your Ecological Address?

What follows is an adaptation of a quiz on basic perception of place that was originally published in Co-Evolution Quarterly, now known as Whole Earth Review. The quiz is culture-bound, favoring those children who live in the country over city dwellers, but even questions difficult for urban kids to answer (like naming edible plants in their region, for example) provide interesting possibilities for discussion and research (what kind of edible plants used to grow in_my area?).

1. Where does your tap water come from?

2. Where does your garbage go?

3. How many days till the moon is full?

4. When was the last time a fire burned your area?

5. What were the primary subsistence techniques of the cultui:-e(s) that lived in your area long ago?

6. Name five edible plants in your region.

7. From what direction do winter storms generally come in your region?

8. How long is the growing season where you live?

9. On what day of the year are the shadows the shortest where you live?

10. Name five resident and five migratory birds in your area.

11. What is the land use history of where you live?

. 12. What species have-become extinct in your area?

13. What kind of soil are you standing _on? (It's down t_here somewhere, no matter where you're standing.)

14. From where you're reading this, point north.

15.

What

river

basin

(watershed) are

'

. .

y

o
.

u .

living

in?

16. What creek runs closest to your school? (Remember, it might be underground.)

Quiz compiled by: Leonard Charles, fim Dodge, Pamela Michael, Lynn Millman, Victoria
Stockley

ROW Form 101112/12/96

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from Silenced Rivers: The Ecology and Politics of Large Dams

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by Patrick McCully

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A SHORT HISTORY OF RIVERS

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To 'write history without putting any water in it is to /~ave out ala,:ge partof the

story. Human experience ha_s not been so dry as that.

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.. Donald Worster

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. Rivers of Empire, 1985

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All land is part of a watershed or river basin and all is shape,d, by the water which flows

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over it and through it. Indeed, rivers are such an integral part ofthe land that in many

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places it would be as appropriate to talk of riverscaP,es as it. would be of landscapes. A river

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is much more than water flowing to the sea. Its ever-shifting bed and banks and the

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groundwater below, are all integral parts of the river. Even the meado~s. forests, marshes

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and backwaters of its floodplain can be seen as part of a river - and the river as part of.

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them. A river carries downhill not just water, but just as importantly. sediments, dissolved

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minerals, and the nutrient-rich detritus of plants. and animals, both d~ad and aliv~.

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A watershed starts at mountain peaks. and hilltops. Snowmelt and rainfall wash over and

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through the high ground into rivulets which drain into fast-flowing mountain streams. As

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the streams descend, tributaries and groundwaters add to their volume and they become

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rivers. As .they)eave the mountains, ~vers slow and start to meander and braid, seeking the

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path of least resistance across widening valleys, whose alluvial floor was laid down by

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millennia of sediment-laden floods. Eventually the river will flow into a lake or ocean.

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Where

the

river

is

muddy

and

the

land

flat,

the

s.ediment.s

laid '

down

by

the.

river

may
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form

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a delta, splitting the river into a bird-foot of distributaries which discharge into the sea. The

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river's estuary, the place where its sweetwaters mix with the ocean's salt,is oneof the

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most

biologically

.

.

productive

par.ts

of

the
.

river

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and

of

the ~

ocean.

Mo. st

of

the

worl.d's

fish

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catch comes frorri species which are dependent for at least part of thefr life cycle on a

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nutrient-rich estuarine habitat.

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The diversity of a river lies not only in the various types of country i.t flows through but

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also in the changing seasons and the differences between wet and dry years. Seasonal and

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annual variations in the amounrof water, sediment and nutrients drained by a watershed

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can be massive, especially in dry areas where most of a year's rain may fall in just a few

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individual storms. On average 85 per cent of the annual dischar~e of the Limpopo_ .in

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southern Africa flows from January through March; only one per cent from August through

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CREATING A WATERSHED IN YOUR HAND
SUMMARY:
Students use crumpled paper to create a miniature watershed model that demonstrates the basic geography of a watershed, how water flows through this system, and the impact people can have on the quality of our water.
GRADES: K-12
TIME: 10 to 30 minutes MATERIALS: 8 1/2'' x 11" paper; one sheet for each student
3 different colors of water soluble markers several spray bottles of water
SE"ITING: classroom
BACKGROUND:
A watershed is a geographic area in which water, sediments and dissolved minerals all drain into a common body of water like a stream, creek, reservoir or bay. A watershed includes all the plants, animals and people who live in it, as well as the non-living components like rocks and soil. We are all part of a watershed, and everything we do can affect the surface and ground water that runs through this system. When you create your miniature watersheds, be sure to use water soluble markers-as the markers 'bleed' they demonstrate how rain moving through the watershed affects soil erosion and urban runoff.
ACTIVITY:
1. To create the watershed, crumple a piece of paper up into a tight ball. Gently open up the paper, but don't flatten it out completely. The highest points on the paper now represent mountain tops, and the lowest wrinkles represent valleys.
2. Choose one color of water soluble marker and use it to mark the highest points on the map. These points are the mountain ridge lines.
3. Choose a second color and mark the places where different bodies of water might be: creeks,. ri~ers, lakes, etc.
4. With a third color mark four to five places to represent human settlements: housing tracts, factories, shopping centers, office buildings, schools, etc.
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From The Kids in Creeks Manual, San Francisco Estuary Institute, 510-231-9539

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5. Use the spray bottles to lightly spray the finished maps. This spray represents

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rain falling into the watershed. Discuss any observations about how water travels through the system.

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DISCUSSION:

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What changes do you observe in-the maps?

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Where does most of the 'rain' fall? What path does the water follow? _

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lNhere does erosion occur? What happens to the human settlements - are any

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buildings in the way of a raging river or crumbling hillside? How does the flow of water through the watershed affect our choice of building sites?

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How does this map demonstrate the idea of watershed?

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Look at a topographic map of the neighborhood to see if you can locate and mark the ridge lines, creeks and rivers that make up your school's watershed. Try to determine how a heavy rainfall and run-off might impact your

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neighborhood. (See the "Mapping Your Watershed" activity.)

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Create an imaginary watershed. Map out the landscape, the creeks and rivers,

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and where you mightplace houses and schools. .





Discuss issues of land use and water quality. Play a simulation game that will

illustrate different viewpoints on howwe use water. (A good example is the

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activity, "Guilty or Innocent?'~ in Ranger Rick's' Nature Scope: _Pollution

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--Problems and Solutions.)



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MAPPING YOUR WATERSHED: USING A TOPOGRAPHIC MAP

SUMMARY:

Students use a topographic map to define the boundaries of the watershed around their

school.



GRADES: 3-12

TIME: 1 hour

MATERIALS:

topographic map which includes your school site a road map of the area around your school clear sheet of plastic the size of your map (mylar or
acetate is available at art and office supply stores) dry erase markers and eraser or tissues other topographic maps for comparison and for learning
about reading maps (optional)

SETilNG: classroom

BACKGROUND:
A topographic map has lines to help you determine the height of mountains, hills, and valleys. These lines connect points on the map that are at the same altitude. By connecting the high points and ridges on a map you can locate the boundaries of your watershed. Locating your school on a topographic map can make it easier for students to understand how they fit into a watershed, where their stream or creek gets its water and how their actions can have an impact on the flow of water, for better or for worse. This activity is a good follow-up to the activity "Creating a Watershed in Your Hand."
ACTIVITY:
1. Have stdents study different topographic maps to become familiar with the markings on the maps and what they can tell us. How do these maps help us to determine the highest and lowest points?
2. Cover the topographic map with plastic and tack or tape it up on the wall. (Covering the map with plastic.will allow-you to reuse the map for.other classes, or for other activities. If you use dry erase markers you will be able to reuse the plastic covering as well.) Locate your school and mark it with a dry erase pen. You might need to use a street map to help you locate your school, house, etc.
3. Find bodies of water (creeks, streams, reservoirs, marshes, bays, etc.) and mark them in blue.
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From The Kids in Creeks Manual, San Francisco Estuary Institute, 510-231-9539

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4. locate the highest and lowest points around your scnool. Use the contour lines and

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numbers on the map to help you determine where these points are located. Mark the

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highest points with a large 'X.'

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on 5. 'Starting at the 'X' marks, draw arrows the map to show the direction runoff will

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flow. Water always flows downhill, and it usually takes the easiest path. You may

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find that wat_er has carved out areas of theland. Try to find the places where the

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runoff will meet up with another body of water.

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6. A watershed is an area of land that catches and drains water into a particular creek,

0

stream or river. If y~u look at the:way water flows from the high points to the low

0

points on your map,.you may find many small watershed areas. To define the

0

boundary of your school's watershed, use the 'X'. markings on the map and draw a

0

line through the marks to connec:t all the highest points around your school. Try to locate any creeks inside this line. The area inside the line is your watershed because

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rain falling ins~de the line will drain down to the body of water near your school.

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7. Once your map is complete, have students take it outside to see if they can observe

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any of the landmarks they found on the map. How would they describe their watershed? What kinds of plants and animals live in it? What kinds of physical and

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man-made features do ~ey see? Can ~ey see the highest point of land...any bodies

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of water? What other things do they see that might affect the flow of water through

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the watershed? (hills, buildings, power lines, ditches and culverts, etc.) You might want.to add some of these features to your map.

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DISCUSSION:

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. What are the natural-features of the landscape that determine and affect your

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watershed? What are some human-made features that might have an impact on

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the watershed?





How does what you do at school' affect water quality beyond the edge of your

m~?

.

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What materials might water pick up as it flows through your watershed? (dirt,

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leaves, fertilizers, litter, oil, etc.) Where will these materials eventually be

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deposited?



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Where does your school's (or home's) waste water go?Locate your waste water treatment plant (or septic tank) on the map if possible and mark its location.

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Does anyone at school keep track of how much.water the school uses? What could

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you do ats~ooI--to conserve water al'.ld improve water quality?

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Are you ever:in a place that is not in a watershed?

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EXTENSIONS: Contact your City's storm water representative and ask them to come in to show you how the storm drain system works, and to help you locate this system on your map.
Create a photo display or video illustrating your watershed. Follow the .path of
water through your watershed on a walking or driving trip, from one of the highest points in the watershed down to where runoff would meet up with a larger body of water, and take pictures of the landscape, evidence of runoff, physical features that impact flow, etc.
Do some research on land use and management issues in your community that
might affect rain and runoff in your watershed. Look for articles in the local newspaper and interview city officials, farmers and gardeners, park rangers, etc. Study the Native Americans that once inhabited your area. Where in the watershed did they live? How did their actions affect the quality of water?
. _____,
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LESSON FROM NATIONAL PROJECT WET (K-12) CURRICULUM
-----...

Rainy-Day Hike

,
.~;
i~~o~pifui~~
;. '~-:1,--:,,:.t~t.~

What do a puddle on your playground and a nearby lake or stream have in common?

collection site. Watersheds are separated from each other by land forms (ridge lines or mountain divides). Water falling on each side of the divide drains into different watersheds and collection sites.

Surface runoff flows over a school's

grounds on its way to the collection site

(e.g., a river); therefore, schoolyards are

part of a watershed. (Puddles are the

Objectives
Students will: identify the watershed in which their
school is located. explain the role the schoolyard plays
in the watershed.

collection sites of mini-watersheds: land surrounding puddles are the minidrainage basins that empty into the puddle.) When the puddles overflow or the soil becomes saturated, water is released .

Often, materials carried by water to the

Materials Maps of the local community, showing
streams, lakes, and topography Drawing paper 2 sets of copies of the Legend Waterproof outerwear

school grounds (e.g., litter, twigs, leaves, oil) are left behind. Surface water leaving the school groun?s may carry materials to the collection site of the watershed. These materials include soil, leaves, and twigs; litter; oil and gasoline from parking lots; and fertilizer from lawns.

Clipboards or sturdy cardboard with rubber band to secure paper (Tape 2 pieces of cardboard to form a book; students can close map inside cardboard to keep it dry.)
Plastic wrap
Pendls

As water flows from the school grounds, it combines with runoff from other land areas within the drainage basin. Materials from these other places are added to the water. While some substances decompose, settle out, or are filtered by soil, other matter continues to travel long

distances downstream. Organic materials

Making Connections

carried by the water nourish aquatic life.

Students may be familiar with the idea of Some substances are toxic, however, and

a watershed, but unaware that they live can endanger organisms consuming or

and attend school within one. Observing living in the water.

water flowing through and collecting on their school grounds provides students with direct experience in their watershed.

Contaminants whose entry point into the watershed is difficult to locate are classified as nonpoint source pollutants.

Background
Puddles, streams, and lakes all have something in common. They collect water that has drained from watersheds. Watersheds are like funnels; they are drainage basins where surface water runs off and drains into a common

Along with residential areas, agricultural fields, and paved parking lots, school grounds can contribute nonpoint source pollutants. The schoolyard contributes point source pollution when the so_urce of the pollutant can be traced back to a specific location on the school grounds (e.g., sewer, ditch, pipe).

.The Watercourse and Council for Environmental Education (CEE) .

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Procedure T Wann Up

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map each area. Orient students to

group predict the direction water

which direction is north so all maps , will flow through their section.

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Show students a map of the community and identify local rivers or lakes. Ask the class-if they think a connection exists between their schoolyard and these bodies of water. Tell the class they will take a fair-weather and a rainy-day hike, to study what happens to the water that falls on and flows over their school property.
Although plans for a rainy-day hike

face the same direction.
2. Remind groups to include the following: school buii4ings, parking lots, designated playgrounds, natural areas (trees, grass, flower gardens), with emphasis on water features like streams, temporary and permanent ponds, and constructed water features like bird baths and fountains.

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be stored? Are there ponds or low spots?

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6. Have students survey the

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0 ground area of theirsection for'pos-

sible sources of point and nonpoint

contamination (oil stains on park-

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0 ing lots, trash, tainted soil near.the

school dumpster). What materials

could be on the roof of the school

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will generate student excitement, the wait for a wet day may prove discouraging. The lack ofrain offers the opportunity to discuss with

3. After students have completed their initial mapping, if there is a. school building in their area, have them consider the following ques-

0 building that could be washed off
during a rain (bird and rodent drop-
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als, leaves, twigs, etc.)?

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students the idea that people do not control the rain or other aspects of

tions. Can they ,determine where the 7. J\ssemble the map sections

water that falls on the roofs goes?

from the groups and post in the

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the weather. Remind students that

Does it flow off the roof into gutters classroom. Have themsummarize

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.even if people cannot "control" the . weather, the)'. can often predict it.

that lead to waterspouts or does it fall directly onto the ground? Have

their predictions. How do the predictions of individual groups

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Have students listen to, watch, or

students place .an "X". on the build- relate to each other? Where do

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read weather reports. When israin predicted? Students can mark the

ings to indicate the loc:ation of waterspouts.

students think water flows onto the . school grounds? Where will it flow

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calendar with the date and continue 4. Make two copies of student

off the school grounds?

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"preparations" for the hike.
T. The Activity
Part I 1. In planning for the rainy day,

maps, one for the fair-weather hike where students make predictions of water flow and one for the rainy- . day hike when students check their predictions.

Part II 1. On a rainy day, have students dress properly; take them outside and begin a simple tour of the , school grounds. Have students

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C have students create a map of the

5. For the fair-weather hike, give . identify patterns of water flow:

school grounds. Dividethegrounds each group a copy of their mapped Discuss what influences the direction

into sections and assign groups to section and the Legend. Have each water moves. Have students:

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Rainy-Day Hike Project WET Curn:::!um and Activity Guide

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90 Angle

note slopes, depressions, cracks in the sidewalk, erosion trails, rocks, buildings, gardens, trees, etc.
compare how fast or slow water flows in different places.
identify ways water affects the surface of the school grounds (e.g., watering plants, eroding soil, piling up litter, washing away litter) .
note water flowing from the roofs of buildings and waterspouts.
2. Divide the class into their original groups and give each group a copy of their unmarked map section and the Legend. Have students indicate the following on their maps: direction and patterns of flowing water; natural and unnatural materials being carried onto and off their study area; and areas of standing water. Remind students to use pencils-ink runs. They can cover their note pads with plastic wrap or cardboard when they are not writing.
3. When students have completed their investigations, assemble the map sections and post. Arrows of adjacent map sections should line up. If they don't, discuss reasons for discrepancies .
,.. Wrap Up and Act.ion
Have students summarize the general pattern of surface water as it flows across the school property. They should identify areas where the

flow of water is slowed by landforms and vegetation, collects in depressions, and flows off school property. Have them compare the completed map on the rainy-day hike to the map indicating their predictions. How accurate were their predictions?
Referring to a community map, discuss the school's location within a watershed. Trace the likely course of runoff from the school grounds into a local lake or river.
City engineers or planners have information on storm drainage systems, or can identify destinations of storm water runoff from streets and parking lots.
Have the class list uses of water in local lakes or rivers (e.g., drinking water, animal habitat, irrigation, swimming, fishing, etc.). Do any activities occurring on your school grounds affect, positively or negatively, the water moving across it?
Some school property plans incorporate surface water treatment systems, such as detention ponds, to reduce materials carried by runoff. Ask the principal for a copy of the school site plan. Does the plan show the surface water management system for the school?
If students believe their school grounds contribute to erosion or to point or nonpoint source pollution, they may want to develop a plan to

improve the area. They can plant trees or a garden, encourage parking lot patrons to keep their cars in tune, promote wise use of fertilizers and pesticides, etc.
Assessment Have students: predict the movement of water
and possible contaminants across their school grounds (Part I, steps 5 through 7). identify the school's location within a watershed or in relation to a body of water (Wrap Up). list ways the school grounds positively affect water passing through the watershed (Wrap Up). locate sources of point and nonpoint source pollution on the school grounds (Wrap Up).
Extensions To increase the detail of their study area maps, students may include measurements of slope. Slopes can be classified as level, gentle, moderate, or steep. How does steepness of slope affect rates of water flow, erosion, and sediment load? To measure slope, one student stands at the top of the study area (top of the slope) and another student, holding a meter stick, stands at the bottom. The run or distance between the two students is measured. The student at the top holds one end of a string at his ground level and the other end is

The Watercourse and Council for Environmental Education (CEE).

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extended to the student at the bottom Resources:

Notes T

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of the slope. A level is needed to

Doppelt, Bob. 1993. Entering the

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ensure the string is held straight. The Watershed: A New Approach to Save point at which the string intersects America's River Ecosystems. Washing-

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,the meter stick held by the second

ton, D.C.: Island Press.

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student is the rise. Slope gradient is calculated by dividing the rise by the

(t Dorros, Arthur. 1991. Follow the

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run.

Water From Brook to Ocean. New

York, N.Y.: Harper Collins.

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-ris- e = slope grad"1ent run (ex~ressed as a percentage) .

(t Holling, Clancy. 1941. Paddle to
the Sea. Boston, Mass.: Houghton

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On a community map, have students Mifflin Company.

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use pins to locate the school and their homes. Do students share the same

(t Locker, Thomas. Where the River

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watershed address as the school?

~egins.New York, ~.Y.: Dial Books.

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They can observe surface runoff to see where the water goes. Topo-

Miller, G. Tyler; Jr. 1990. Resource Conservation and Management.

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graphic maps may help locate ridge Belmont, Calif.: Wadsworth Publish-

lines within the community.

ing Company.

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@K-2 Option

Project WILD. 1992. Activities "Puddle Wonders," "Where Does

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Have students work in small groups to investigate sites offlowing water on the school grounds. They should

Water Run Off After School?" and "Watershed." Aquatic Project WILD. Bethesda, Md.: Western Regional

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observe what is in the water. Caution Environmental Education Council. them not to touch the water, espe-

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cially if the water.is running off a

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parking lot. Children can search the area for natural materials with-which

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to construct tiny boats. Have boat

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races to see how far and where the
boats travel. Students can draw

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pictures describing what the tiny

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boat might encounter if it flowed off the school grounds. Discuss reasons

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why the school grounds must be

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kept clean.

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Rainy-Day Hike Project WET Curriculum and Activity Guide

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Legend

arrows indicate direction of

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water flowing onto and away

from study area

a leaf indicates natural materials, such as leaves, soil, and twigs, that might have been carried onto study area from another location
e, _____ ~ a puddle shows where water
; . _ - - ~ collects in the study area

a crumpled ball of paper indicates unnatural materials, such as litter, oil, and chemicals, that might have been carried onto the study area from another location

a flower shows things that help slow the flow of water

a shaded leaf indicates natural materials that are being or could be carried away from the study area

a shaded, crumpled ball of paper indicates unnatural materials that are being or could be carried away from the study area

The Watercourse and Council for Environmental Education (CEE).

SURF AND SAND

A FUN PROJECT WET ACTIVITY DEMONSTRATING% SURFACE WATER ON PLANET EARTH ..

MATERIALS NEEDED: EARTH BALL
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ASK STUDENTS WHAT PERCENT OF THE EARTH IS COVERED'C WITH WATER. (USGS STATISTICS ARE ABOUT 78%) YOU WILL SEE STATISTICS FROM 70-80% AND THAT IS ALMOST ALWAYS WHAT THIS ACTIVITY WILL DEMONSTRATE.

THROW THE EARTH BALL OUT AND HAVE A STUDENT CATCH IT. TELL THEM THEY ARE TO COUNT THE NUMBER OF FINGERS TOUCHING OR PARTIALLY TOUCHING WATER. HAVE ANOTHER STUDENT RECORD THE TOTALS FOR SURF/WATER AND SAND/EARTH. THEN HAVE THAT STUDENT TOSS THE EARTHBALL TO ANOTHER STUDENT. THAT STUDENT COUNTS THE NUMBER OF FINGERS ON SURF AND SAND AND THE RECORDER PUTS.THE NUMBERS DOWN. THIS CONTINUES UNTIL TEN STUDENTS HAVE HAD AN OPPORTUNITY TO CATCH THE EARTHBALL. (GIVES YOU 100 FINGERS) YOU HAVE YOUR RECORDER OR THE CLASS ADD THE NUMBERS FOR SURF AND THE NUMBERS FOR SAND AND TOTAL THEM. IT WILL BE ,AMAZINGLY ACCURATEU

THIS IS A FUN INTRODUCTION TO A DISCUSSION ABOUT WATER.

QUESTIONS. - CALL PETEY GIROUX OR MONICA KILPATRICK

404~675-1638

404-675-1762

STATE COORDINATORS/PROJECT WET

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Lake Blackshear

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FLORIDA

GEORGIA RIVERS AND LAKES
Map Prodllced by GA EPD - Hazardous Was<e =gement Branch, 19
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GEORGIA LAKES AND STREAMS
QUESTIONS
1. WHAT RIVERS FORM THE STATE BORDER BETWEEN SOUTH CAROLINA AND GEORGIA?
2 . WHAT MAJOR RIVER RUNS THROUGH METROPOLITIAN ATLANTA?
3. NAME THREE MAJOR RIVERS SHARED BY GEORGIA AND FLORIDA .
4 . WHAT MAJOR LAKE IS NORTHWEST OF AUGUSTA?
5. THERE ARE TWO CHATTOOGA RIVERS IN GEORGIA. ONE IS
LOCATED IN THE NORTHEAST CORNER OF THE STATE FORMING THE STATE BORDER. WHERE IS THE OTHER?
6 . NAME THE FIVE RIVERS WHICH DRAIN DIRECTLY INTO THE ATLANTIC OCEAN?
7 . WHAT TWO LAKES ARE CONNECTED BY THE FLINT RIVER?
8 . HOW MANY OF THE MAJOR RIVERS AND LAKES IN GEORGIA END IN -EE?
9 . WHAT COUNTIES ARE IN THE OCHLOCKONEE RIVER BASIN?
10. WHAT RIVER BASIN IS COLUMBUS, GEORGIA IN?
11 . . THE TALLAPOOSA RIVER RUNS THROUGH WHICH COUNTIES IN GEORGIA?
12. UNSCRAMBLE: UMENOSE - THIS LAKE IS SHARED BY TWO STATES.'
13. THIS RIVER IS NAMED FOR A TYPE OF STONE USED BY THE NATIVE AMERICANS TO START FIRES. WHAT IS THIS RIVER?
..................................................................-....................................._......................................................................................................................................................................................
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j 14. WHAT RIVER ALMOST REACHES FROM THE NORTHEAST j

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CORNER OF GEORGIA TO THE SOUTHWEST CORNER?
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15. WHAT ARE TWO MAJOR RIVERS IN GEORGIA THAT FLOW

SOUTH TO NORTH? (HINT: STRANGELY, THEY ARE ON

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OPPOSITE ENDS OF THE STATE.)

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I. 17.

WHAT 1996 OLYMPIC EVENT WAS HELD AT SIDNEY LANIER LAKE?
WHAT MUDDY RIVER IN GEORGIA DO PEOPLE OFTEN RAFT

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DOWN?

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18. NAME ONE OF THE TWO MAJOR RIVERS WHICH HAVE A LARGE WATERFALL BY THE SAME NAME IN NORTH GEORGIA.

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19. WHAT LAKE IS DOWNSTREAM OF ATLANTA?

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20. HOW MANY RIVER BASINS ARE THERE IN GEORGIA?

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21. WHICH MAJOR GEORGIA RIVER HAS ITS HEADWATERS

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(START) IN THE HELEN, GEORGIA AREA?

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I::: GEORGIA LAKES AND STREAMS

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ANSWERS

1 . SAVANNAH RIVER & CHATT

2 . CHATTAHOOCHEE RI

3 . SUWANEE RIVER ST. MARY'S RIVER ALAPAHA RIVER WITHLACOOCHEE RI OCHLOCKONEE RIVE

4 . CLARKS HILL LAK

5 . IN THE NORTHWEST CORNER OF THE S ALABAMA .

6 . SAVANNAH RIVE ALTAMAHA RIVE SATILLA RIVER

OGEECHEE RIV ST. MARY'S RI

7 . BLACKSHEAR LAKE AND SEM

8 . SIXTEEN (THIS NUMBER MAY VARY I USED)_

9 . THOMAS COUNTY COLQUITT COUN GRADY COUNTY

MITCHELL COUNTY WORTH COUNTY

10. CHATTAHOOCHE

11 . HARALSON COUN PAULDING COUN CARROLL COUNTY
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12. SEMINOLE LAKE

13. FLINT RIVER
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CHATTAHOOCHEE RIVER

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15. ST. MARY'S RIVER AND TOCCOA RIVER

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17. CHATTAHOOCHEE, (CHATTOOGA)

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18. TOCCOA RIVER AND TALLULAH RIVER

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19. WEST POINT LAKE

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21. CHATTAHOOCHEE RIVER

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Can you find lhe iwn= o(thcsc 48 Georgia rivers, lakes and racrYOirs?

RIVERS:
Alapaha Alcovy AJwnw Apalachcc
Broad Canoochee Chattahoochee Chattooga Chanooga Conasauga Coos.awanec

Elijay Etowah Flint Ochloclconee Ocmulgee Oconee Ogcc:chee Ohoopcc Oostanaula Satilla

Savannah Soque South StMatys Suwannee Tallapoosa Tallulah
Toccoa
Tugaloo Withlacoochee Yellow

1.AKESAND RESERVOIRS:
AJlatoona Blackshear
Burton Carters
Chatuge Clatb Hill
HartwcU Jackson

Oconee Nonely Russell Seminole Sidney Lanier Sinclair Walter F George West Point
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Cm yw find~ names of these 4S Georgia rivers, J:w:s aid rcsa",'OUS?

RIVERS:

Alapaha Alcovy
Altamaha Apala.chcc Broad
Canoochcc Chattahoochee Chattooga Chattooga Conasauga
Coosawattce

Elijay Etowah Flint Ochlockoncc
O:mulgcc Oconee Ogcccbcc Oboopcc Oostanaula Sa.tilla

Savannah Soquc South StMaeys Suwannee Tallapoosa Tallulah Toccoa Tugaloo Withlacoochce . Yellow

LAKES.AND
RESERVOIRS:
Allaroona Blackshear Burton Carters Chatugc Clarics Hill Hirtwcll Jackson

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Oconee

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Seminole
Sidney Lanier

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Sinclair

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Walter F George

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Inspirational Stories from Georgia Teachets
"The Family ofSalamanc:\etS" Katie Young - National Finalist Alexanc:\ei- II Elementary School - Macon
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J.C. Booth Middle School Students Discover the Flint River Watershed
I teach enrichment (gifted) science to sixth, seventh, and eighth grade middle school students. As a first semester major project, my students must select and complete a project to be entered in a national science contest. Some of the projects the students have had to choose from were the NASA Student Involvement Program, Toshiba exploravision, and Craftsman Young Inventor. I am always seeking additional and diverse selections from which my students may choose so that , each might tap their interest and creativity strengths. River of Words was brought to my attention at the end of the 1999-2000 school year.
I offered River of Words as a project choice in the fall of 2000. Approximately 20% of my students chose to participate in the contest. The structure of this project included background
research into our watershed, a poetry entry related to their research, and an art entry related to
their research. Students of each grade level chose this option.
To get the project off the ground, we were fortunate enough to have Kristen Sanford of the Georgia Department of Natural Resources meet with students who had chosen this project. She related information and answered student's questions, as well as offered them her email as a contact should they have questions throughout the project. Her talk inspired students to seek all they could on the Flint River watershed and to devise both prose and pictures in a creative fashion. Their research took them to the internet for data and to the banks of the river for inspiration .
The project due date brought wonderful results. Students proudly presented their work to their classmates, told what they had learned about their watershed, read their poetry and presented their drawings or photographs. At each grade level, this.project option tapped creativity not offered by the other contests, which was ever so appropriate for the students who made this selection. Their enthusiasm was contagious and I was very pleased with the work submitted to the national contest.
In our first year effort, two of my students were state winners, one for poetry, one for both poetry and art. With their success and what was learned by all involved, this contest will be a mainstay of the choices from which my students will select their first semester major project.
Jennifer Ritter J.C. Booth Middle School Fayette County Schools
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Lewis Elementary School Project WET School of the Year 2000-2001

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We were thrilled when we received the news' that Travis Baker and Shannon O'Keefe were

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National Grand Prize Winners in the 2001 River of Words contest. These students in the 2nd grade at Lewis Elementary School in Cobb County were eager and ready when the ROW contest

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was presented to them.

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Here at Lewis Elementary~ the entire staff used "water" for it's year-long theme. Lewis

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Elementary School was the Project- WET School for the Year for 2000-2001'. Using the Project WET activities and Curriculum Guide, students K-5 were introduced to the many facets of water

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and were very prepared for the "Make a Splash with Project WET Water Festival_" that kicked

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off the school year in Septem~er.



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Some of the student's favorite activities we used to further prepare our students for the ROW

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poetry and art contest were:

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Reading The River Ran Wild by Lynn Cherry, the students found out how pollution effects their daily lives. This activity caused .the students to think about their own

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watershed and they decided to have a "clean-up" of.our school campus, which includes a

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stream. The importance of water in the lives of people long ago was discovered through our long
ago unit and field trip to the Tullie Smith House, and read the Atlanta History Center.

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, We also included the Project WEI activity, The Long Haul and read the Project WET

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story, The Bath.



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Our study of the Water Cycle taught students about water arid how it flows; Discovering and discussing the importance of water in the lives of animals and their

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habitats.

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Walking through the ROW "River'' display at school was ari additional motivation for students.
It was quite impressive. We feel the combination of the water festival and the ROW display

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inspired students to participate in the ROW contest who might not have entered otherwise.

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The 2nd grade teachers at Lewis Elementary School use a team-teaching approach using the

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strengths from each teacher. Students received emphasis on art, language, geography, and other areas that they could pull from during their ROW creations.

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As teachers, we learned a lot from the students who entered the ROW Art and Poetry Contest.

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Seeing the value of the River of Words Contest, in the future, we have decided to make it a class project having each students in our classroom create their very own poetry and art to reflect what

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they have learned about their watershed.

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Debbie Ellington - 2nd Grade Teacher of Travis Baker, National Grand Prize Winner-Poetry Stephanie Maynard - 2nd Grade Teacher of Shannon O'Keefe, National Grand Prize Winner -Art

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Cobb County Schools

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Photography and River of Words
Why are photographs so compelling? What makes photographs so important to our life experience?
A photograph provides visual proof and confirmation of our experiences. Photographs supply the evidence of what happened or what was seen. Happy occasions like weddings, birthdays and anniversaries are re-lived over and over again with photographs. Travel and vacations are also remembered through photographs. Did you really see the Eiffel Tower? Yes! Look at the photographs.
And when there is a crime, there are always photographs. -Photographs show exactly what the crime scene looked like, and they may be used as evidence or to provide proof in court.
I teach photography to 13 5 high school students. Throughout the school year, each of my students will complete about 20 photography assignments. I already know that the assignments in which my students will excel are those that mean something to them. Photograph Your Best Friend, Photograph Your Family, and Photograph Your Neighborhood- these are deeply personal assignments to my students - and each student will produce a different result to these assignments. Because these are individually, intrinsically meaningful assignments, each student will also do well.
Therefore, River of Words is a perfect photography assignment. Environmental protection and conservation is important to my students, their families, and friends . Photography is evidence; photography is proof; photography is an accurate record of a moment in time. And, for my students, the daily assault on our environment is deeply personal --it's a community-based issue. Our own community has problems with overdevelopment and runoff. Our lakes are silting up, and habitats are being lost. We have spills near our school that kill fish in our local streams.
The River of Words assignment asks students to show what is happening in our environment. Students may use both positive and negative images. Essentially, camera in hand, students are asked to look for evidence that the environment is in trouble or that it is improving.
We do not start our River of Words assignment by studying the environment, however. We begin by studying photographer W. Eugene Smith who did Work on mercury pollution in Minamata, Japan. My students are fascinated by his work.
Then, we talk about watershed problems and opportunities. We are looking for ideas and concerns. We identify descriptive words about pollution and environmental damage. We talk about other photographers' images of the environment. We paint word pictures of images that come to mind. Frequently, these images come from things students have seen on TV or in print. This reinforces the concept of photography as evidence. We discuss what comprises evidence, where evidence may be found, why it is important to
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photograph real evidence vs: staged, and how to photograph evidence - either positive or

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negative. Finally, students relate personal stories - involving themselves, their families,

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or their friends - in identifying and repairing environmental 'damage in their little corner

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of the world.



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A high interest level drives the River of Words assignment. Many fainilies get involved

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with their students in this opportunity. In our area, for instance, we have parents who are

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involved in trying to save a local lake from filling up with sediment from uncontrolled
an runoff. Other parents are active in neighborhood organiz.ations whose activities have

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environmental impact. This assignment frequently becomes more than the sum of its

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parts. Students work collaboratively, with each other, with their families, with their

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friends, with their neighborhoods, to use photograppy to record environmental images of conservation or damage or protection accurately and compellingly.

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When Smith used photography to document the mercury poisoning in Japan, his

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photographic images changes a little part of the world. My students who participate in

the River of Words _assignment photograph the enviroriinent, and in so doing, change a

little part of their world.

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Dave Smiley Chamblee High School Dekalb County

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GEORGIA ROW RECEIVES RECOGNmON THROUGH THE NATIONAL RIYER OF WORDS PROGRAM GEORGIA ART TEACHER, PAMELA SEGERS IS NATIONAL RIJ'ER OF WORDS TEACHER OF THE YEAR-2000
Georgia River of Words was honored at the Library of Congress in April, 2000 with a National Grand Prize Winner and with the National Teacher of the Year for River of Words. We asked
Ms. Segers to write about her experience -with River of Words and the following is what she
would like to share with other educators in Georgia.
When I first learned of the River of Words contest, it was from a student who had seen a poster advertisement and brought it in. This is important because if Angela Giles, last year's Grand Prize Winner, had not brought the opportunity to my attention, I would not have gone to Washington, D.C. to accept the award of National River of Words Teacher ofthe Year. It is also important because it indicates how eager my students at Avondale High School, and others across this great nation, are for these opportunities. They are thirsty for a chance to experience these aspects of life. One of these aspects is the idea of a river. Making people aware of our environment is an important issue in today's society.
By participating in this contest, students develop their creativity and gain a better awareness of their environment. More specifically, they learn the impact of water and how its presence, or in some cases, its absence, can directly and indirectly affect their lives. The River of Words gives students a way to express that awareness in a unique and creative way.
The students at Avondale High School were honored at the Library of Congress because they have truly worked bard at developing their creative abilities. Creativity is believed by many, a gift given to a chosen few. I believe creativity is indeed a divine gift, but one that has been given to us all. Anyone and everyone can be creative. Everyone can be more creative than he or she is currently. Everyone can because each of us possesses creative abilities that can be exercised and strengthened, just like our physical abilities.
Psychologists have discovered that creative ability is distributed more or less equally among all of us. The difference in creativity solely depends on how effectively each individual uses his or her inner resources. To be more creative, all you need to do is to flex and exercise your creative muscles. Children are widely recognized as being more creative _than adults. One reason for this is that muscles, physical or mental, atrophy with disuse. The child in us grows old and much of our natural creativity is ignored or repressed.
So, I challenge other teachers and students. Do not allow your creative muscles to be repressed. .The River of Words contest offers a wonderful opportunity for a creative workout. You will have to workout in order to improve your creativity and the only doors closed in your path are the ones you fail to open. You can be anything or do anything that you set your mind to do, although you won't be able to do it alone or without a good workout.
Pamela Segers Art Teacher Avondale High School Dekalb County
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Inspirational Story from Pamela ~eger's Student, 2001

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Water!

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Water was the mother of the first life on earth. No matter what you

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are, who you are, where you are, you always need water..Water is the

most important thing for living creatures.

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In my country, maybe because of the war, nobody cared about water.

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Everybody used water everyday, hilt no one appreciated it. The

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governors closed both of their eyes. One of the rivers is being spoiled by

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the mineral-searchers. T~e entire:river was fu~I of thick, brown water:-.

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All of the people that live in that area are using some chemicals to mix

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in the water in order to get clear (not clean) water for using. Most parts

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of the country, people use rivers, streams, and lakes as their garbage

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can. All the garbage is thrown into the. Water. Even myself, I did the same as them. We dido't know how important the water was.

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When l arrived in Atl~nta, my eyes were opened, my brain was

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washed. Everywhere I go, I meet clean water. Not only in my house, I

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can find clean water, but also in a tiny creek near my house. Everyday

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when I walk to school, and walk back, I always stop by the tiny creek

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and watch all the happy fish enjoy their home. and th_eir water.

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As I think of my friends that live in my country, I feel sorry for them. I can't predict when they could see and use clean water like iny family and I. I'm so glad that I have a chance to see suc.h be.autiful water.

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Avondale High School

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GEORGIA TEACHERS "ROW., WITH SUCCESS
For many, the year 2000 arrived amid much excitement and anticipation oftbe new millennium accompanied by hopes and dreams along with renewed aspirations for the future. N. an educator, I too pondered dreams of the future for the children under my tutelage. The opponunity to achieve one of those
dreams while making a significant impact for an enjoyable and succcs.gw learning experience with real life applications had its beginning in the autumn of 1998 when my then principal, Tony Mehon, banded me the Riller of Words (ROW) information. He was aware that as a speech and drama teacher I was always searching for ways to highlight the talents of students. Moreaver, Mr. Melton was c::ogni:7,8nt of my intrinsic respect and appreciation for the environment as I spent many hours on borseback in the Nonh Georgia MOW1tains. What a perfect avenue to facilitate a conscious awareness of a life giving force and its global
impact!
To embrace the ROW program would allow me to utilize my unique teaching position to include
sixth, seventh, and eighth grade students in poetry writing since my exploratory coune was taught on a six weeks rotational basis. N. I planned for this project I requested and received collegial support. Mike Poore, an eighth grade science teacher, generously loaned me watershed information, internet site addresses, and an
incredibly large map of watershed and environmental factors that impact water quality. Janet Newman, a sixth grade language ans teacher and subject 0001'dinalor, graciously answered a plethora of questions about
poetry styles and pro,ided me with supplemental poetry materials. The ROW Teacher's Gulde was perused as I forged ahead in sometimes "murky" waters." Oh, the drama that unfolded as the students and I
brainstormed, talked about watersheds, looked at maps, shared stories, played out skits, and learned together! In our classes, we incorporated creati\ity and imagination with facts as we navigated through personal awaking awareness of a valuable natural resource directly under individual influence. Success! Later, imagine the thrill of learning that two of my students were chosen as poetry winners for Georgia! .
My first experience with the ROW project was so fulfilling and notable that I believed it was time
to enlist other teachers and incorporate the process into an interdiscipfuwy format for the 1999-2000 school year. Along \\1th Mike Poore and Janet Newman, Jennifer Ross committed her seventh target science class
to the ROW project. The culminating experience for Jennifer's class would be a field trip to Tybee Island.
Before the trip, Jennifer utilized suggestions from the ROW Teacber's Guide along with analysis and problem solving acthities for the classroom taken from a Council for Environmental Education (CEE)
resource text. In addition, art teacher Pam Acitelli and I spoke with Jennifer's class regarding art and poetry
respectively. At the conclusion of the field trip, each student would decide on an art or poetry selection. Excitement filled the air as Jennifer's class returned from Tybee and worked on their individual projects.
Also, this class taught the basic ecological concepts to other science classes. Again, sua:ess for many
students \\ith the added bonus that one of Jennifer's students was selected as a National Merit honoree for her artwork!
After evaluating two years of incredible results, I decided the program should be expanded throughout the school. Furthermore, the Environmental Club would be invited to participate for the 20002001 school year. Every teacher I approached expressed excitement and an eagerness to participate in this most worthy endeavor, as did the Emiroomental Club sponsor. This year will begin with a commitment to ROW from language ans, science, and select target teachers representing the sixth, seventh, and eighth grades. Equally important, the Emironmental Club will pursue the educational and ecological objectives and strive for community involvement. Working together in this way will involve every student at our school. Achievement through team effort is the underlying foundation of a shared dream whereby children assume responsibility to proactively nurture and perpetuate the life giving force which must be RSpeCted and shared by all.
N, I reflect OD past ac:complishments and look ahead to the upcoming school year, I am again consumed with excitement and anticipation. For this I thank Georgia Project WET for providing the opportunity and the requisite learning tools oeocssary for building a firm foundation for our children's future. Likewise, please allow me to include my personal appreciation to Petey Giroux and Monica Kilpatrick, Georgia River of Words Coordinators, who ba\lC been emhusiastic and an integral rcsourcc as my colleagues and I strive to include every student in this partnership for a better tomorrow.
Reba Welch Pine Mountain Middle School Cobb County, Georgia
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Georgia Teachers "ROW" With Success

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As a second year teacher. I am always on the lookout for new and exciting ways to

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present material to my classes. As a result. I was very excited last year when the science coordinator for my county suggested '"River of Words. I requested a '"ROW"

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Teacher's 6uidc from Georgia Project WET and received it Jc:,st as my earth science .

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classes were bcgiMing to study the earth's fresh water supply. I was thrilled when I

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opened the resource book and .found several activities that were fun. easy to prepare.
inexpensive, educational and taught objectives included in my county's curriculum.

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I am fortunate to work with a team of gifted teachers who arc both creative and very

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sup~rtivc of one another. When I told our language arts teacher, Nikki Bolton, about the project. her eyes lit up. Nikki .was thinking along the same lines as me - '"River of

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Words" fit the curriculum, sounded interesting and provided an opportunity for an

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interdisciplinary unit!

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Together we got busy. The National ROW Teacher's 6uidc, provided through Georgia

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Project WET. was critical to our start. I introduced the topic of the earth's fresh

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water supply with the activity "Creating a Watershed in Your Hand." My classes spent

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time outside in different types of weather exploring our very own watershed and then

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mapping it using "Finding Your Biorcgion. Using our s,cnscs of sight, hearing, touch
and smell, we '.'sensed" our watershed. Iii language arts, Nikki used the information

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we gathered outside to aid the students' in a poem writing exercise. She guided the

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students in the development of collaborative poems and artwork where students gained

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insight from pictures of water. Being the creative soul that shcis, Nikki went one step further and played. water sounds from a CC> while reading. "Song of the.

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Chattahoochee... She then facilitated a discussion of our own watershed.

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You can imagine my delight when our students walked in bubbling over with excitement about their language arts efforts. They loved seeing their collaborative poems on

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display in the hall and were bringing their individual work to me for "approval. While

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Nikki was guiding students' artistic efforts, I was teaching lessons about our valued

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water resources. .A wonderful thing was happening in our school - our eighth grade students were developing an appreciation for their environment, having fun and learning

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the objectives set forth by our school system. Nikki and I were ecstatic. We even

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got caught up in the buzz ourselves.

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More excitement was soon to follow. One of our students was selected as a National

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Finalist in Art. Additionally, four more of our students were selected as poetry

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winners for Georgia!



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As I write this article, Nikki and I arc getting excited once again preparing to launch this year's "River of Words" project. We thank Georgia Project Wet for coordinating

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ROW in Georgia and adding Georgia specific information and we thank the International

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Rivers' Network for developing such a user friendly" and innovative resource guide. .

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Brittany Charron Haynes Bridge Middle School

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Fulton County

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