e &A NZoo. E5 SI Rs3 2001 veto International Environment'11 Poetry and Art Proiect for K-12 Students = ~J i i \ifi Wi Georgi'11S 2001 Te'1cher's Gui~e 1;:N\: I KO"l \1t N f A I ,n, , . , ., "a1 aoJu.f ~=--~~~ ,w~wV ~~~-.;~~-; 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 . I 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 -1- 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 .- . 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 --3- 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 -4- . 0 0 0 group. Individual work should still be marked as a group entry if iJ was completed 0 through participation in a class assignment or group project. 0 River of Words will mail group entrants' "Watershed Explorer Certificates" in one 0 package to one address (school or scout leader's home, for example) for distribution. 0 If you are entering the contest on your own, (i.e., you did not do your work through 0 participation in a class assignment or group project) then you are entering as an 0 individual. You will receive your "Watershed Explorer Certificate" at your home address. 0 If you have any questions about your standing (whether group or individual) please 0 contact us at info@riverofwords.org. 0 0 How should I_ prepare my entry? 0 Written poems should be no longer than 32 lines in length, and should be typed or neatly 0 printed in ink (pencil does not photocopy!). Please staple your poem to your entry form 0 such that each piece faces out Remember, each poem you submit requires its own entry form! 0 0 ASL poems should be recorded on VHS videotape; each poem should be no longer than 3 0 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 0 your poem. This summary should be typed or printed neatly in ink, and stapled to your 0 entry form. Remember, each poem you submit requires its own entry form! 0 Artwork should be no larger than 11" x 17" and should not be framed, matted, laminated 0 or folded. If using charcoal or pastels, please remember to "fix" your artwork before 0 tape sending. Please afix your entry form to the back of your artwork, using either or 0 glue. Do not use staples, paperclips, or any glues that could seep through and damage 0 your artwork! Remember, each piece of art that you submit requires its own entry form! 0 0 How should I attach my entry fonn to my work? 0 For written poetry entries, please staple the: entry form to your poem so that each piece 0 faces out (in other words, after they are stapled together, your poem should show on one_ 0 side and when you flip it over, the front of the entry form should show on the other side). 0 For videotaped poems (performed in ASL), please include all entry forms of students 0 who appear on the tape in the same package. If other entries (written poetry or artwork) 0 are being sent to River of Words in the same package, please place all the ASL entry 0 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. 0 0 0 0 0 -5- 0 0 0 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: -6- . 0 0 o 0 4 Grand Prizes in Poetry, one in each of four age categories: 0 0 Category I: (Kindergarten -Grade 2) Category II: (Grade 3 - Grade 6) 0 Category Ill: (Grade 7 - Gra_de 9) 0 Category IV: (Grade IO-Grade 12) 0 0 4 Grand Prizes in Art., one in each of four age categories (same as above). 0 International: 0 0 One Grand Prize winner, in art or poetry, any age category. 0 Regional: 0 0 Shasta Bioregion Award Winner (Northern California, one winner only, in art or poetry, any age category). 0 0 Anacostia Watershed Award Winner (Washington, D.C. area, one winner only, in art or 0 poetry, any age category). 0 Finalists: About 50 finalists total, in art and poetry combined- the exact number of 0 finalists seiected each year varies depending on the number and quality of submissions. 0 0 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. 0 0 The 8 national grand prize winners, one international winner, and the Teacher of the Year 0 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, 0 go on a canoe trip and visit many historical sites. 0 0 Regional winners and finalists receive prizes of books and art supplies. 0 *River of Words reserves the right to not award a Grand Prize winner in any of the above 0 categories if no entry merits such designation. 0 0 Are entries acknowledged? 0 C Yes; everyone who enters will' receive a personalized Watershed Explorer Certificate, C suitable for framing. A list of winners is sent to those who enclose a self-addressed, stamped envelope with 55 postage with their entries. C C C C -7- C C C 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 -8- . 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. 0 ,0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 -9- 0 0 0 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 -10- 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. ' 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 -11- 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 C C C C C C C C C 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 -12- 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: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ -13- 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 C 0 C C C C C C C C C C C 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 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ___;_ __ -14- Fielc! Trips to Support: Rivet of Wotc!s "Sea Turtles' Enemies" Jacob McCall - National Merit Winner Lewis Elementary School - Kennesaw -15- 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 -17- 0 0 0 0 McDuffie Environmental Education Center, Dearing 0 River of Words For K-8th grade students 0 The program will highlight this biologically diverse and technologically-rich site : Students will go on watershed 0 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 0 entries for the contest. Cost: McDuffie, Lincoln, Warren, Jefferson, Burke and Emanuel county students are FREE. 0 As space permits, other students - $3.00/student. 0 Contact: 706-595~2755, ext. 4614, 706-595-2031, ext. 4614 0 Newman Wetlands Center, Hampton 0 River of Words & Nature Journaling 0 For 6th-12th grade students 0 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 0 Authority property and participate in observation exercises of the wildlife and plant communities in these 0 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. 0 Contact: 770-603-5606 0 Oatland Island Education Center, Savcmnah River of Words 0 0 For Ist-8th grade students 0 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, 0 unleash their imaginations in a wetlands poetry writing session. The Ist & 2nd grade field trip is 2 hours in length .0 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 . 0 minimum of I5 students or $45. 0 Contact: 912-898-3980. 0 Oxbow Meadows Environmental Learning Center, Columbu~ 0 River of Words 0 For 2nd-6th grade students . Students will learn about watersheds, visit and explore a pond and marsh environment, and learn about the 0 animal and plant life unique to their ecological address in the Chattahoochee River Valley. A portion of the 0 program also includes a culminating activity where students will create artWork for submission to the River of Words contest. 0 Cost: $6.09/student, 25 students minimum. 0 Contact: 706-687-4090 0 Sandy Creek Nature Center, Athens 0 River of Words C For 2nd-8th grade students 0 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 C 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. C Adults chaperones welcome and are free. Minimum $40 fee. C Contact: 706-613-3615, ext. 23 I C C C -18- C . I Nqtionql Rivet of Wot~s Teqchets' Gui~e "Lunch Time" Shclnnon O'Keefe - Grclnd Prize Winner Lewis Elernentclty School - Kennesclw -19- - - : . . ~ - q .b,.a:49' f'ti Ls&- C ,'.e::;: t F l ~ OF ORDs ~ National Environmental Poetry & Poster Contest for Students , . -~ ~ -~- ~ V : : ~ -~ . ~ TEACHER'S GUIDE - -2!- :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 0 0 0 0 0 I've known rivers: 0 0 I've known rivers ancient as the world and older than the flow of human blood 0 in human veins. 0 0 My soul has grown deep like the rivers. 0 0 I bathed in the Euphrates when dawns were young. 0 I built my hut near the Congo and it lulled me to'sleep. 0 I looked upon the Nile and raised the pyramids above it . 0 I heard the .singing of the Mississippi when Abe Uncoln went down to New 0 Orleans, and I've seen its muddy bosom turn all golden in the sunset. 1 0 0 o I've known rivers: 0 Ancien~ dusky rivers. 0 0 My soul has grown deep like th~ rivers. 0 0 -Langston H~ghes 0 "The Negro Speaks of Rivers" 0 0 0 0 0 \,. ,,-,. ,a 0 o A:it.'" Q 1'i -- ,,,11 \rn , g " .. /.,,., ~'~~, 0 ,, 1t\\li .-,)~.,',; 0 ~ -2'.l 0 0 0 - ,..,_. ~ -/ ~ ;.- .'lo~o,~ ,-~ -~....,..-~ ..~ -~~~. ~ ;: -~-... /~ ..... ")2~/~~ ~ --------- ./ --......._ ...: -' "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 -24- 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 0 0 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 ~ . the world we huinans create. 0 Rivers have piayed a central role in the art and culture of mahy ?ocieties and remai~ 0 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 0 more about their importance than mere economic and scientific equations Fish kills; 0 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 0 to play a key role in nurturing ecologically sound perceptions and policies. 0 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- 0 sellers, libraries and poetry and art,; groups in your area, so. that the comf!lunity as a . 0 whole gets involved and committed 0 information services, write to: We all need rivers, and right now they very much need us. River of Words is an C .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 -C C -26- C Owen Lammers Executive Director. International Rfrm Network C C 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 -27- 0 0 THE ORION SOCIETY 0 0 -;~- ".,._~.u.. 0 Introdu C t . 1 0 n 0 0 0 NY WATERSHED-BASED APPROACH to .environmental education will be significantly 0 0 influenced by the particular bioregion in which a school is located. Thus, there is less 0 of a need for curricular "guides or other prescriptive material than there is for certain 0 broad principles, and for examples of curricula that have worked for a variety of teachers. 0 The Orion Society's Stories in the Land Program. directed by renowned environment~! educa- 0 tor John Elder, PhD., has developed one set of principles that has proven helpful to many tea'chers. 0 These are: 0 1. Attentiveness to the local environment, rather than a study of global problems or political 0 controversies, is the most productive way to start. 0 0 2. This should be an inclusive approach to the landscape and community, registering the 0 natural history and the human history alike. 0 3. An interdisciplinary curriculum, in which the arts and literature are integral as well as the 0 natural sciences, both engages. and instructs students. 0 4. Time spent exploring and studying out of doors complements work in the classroom. 0 0 Teachers in cities and suburbs can pursue this model of environmental education just as 0 successfully as those in the country. Ralph Allen, an Orion Society Fellow teaching in a Philadelphia 0 high school, had this to say after his recent "Sense of Place" course: 1've had students tell me at the 0 outset of this uni~ 1 don't have a watershed'. And I've had the same students come back glowing with 0 stories of wonderful little streams they've discovered or of rediscovering favorite streams from their 0 childhoods, or of finding a whole pattern of streams buried beneath city streets and railroads." Young 0 people discover their place in a wider community, including a geological history, characteristic 0 weather patterns, flora and fauna, indigenous cultural traditions, and the more recent history of 0 migrations and commerce. From such a broadened perspective, a sense of environmental and ethical 0 . responsibility naturally arises. ~ . . ,/)' ;,~.,, C 0 The following brief reports convey the range of Orion Society Fellows' receii{~rricula. C We hope tha~ though yo~r teaching situation and region may differ dramatically):i6m theirs, these . . C teachers' stories may still be useful and inspiring as you formulate the best approach in your own . 0 watershed. Good luck! C C C C 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. -29- 0 0 -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 0 0 the-most time on was haiku because of its emphasis on the direct observation of 0 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 0 0 most of these poets place far more emphasis on capturing the essence of the moment than on creating poems which adhere to 0 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 0 creatures. After collecting maao-inverte- the opposite. They stress the syllables, 0 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. 0 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 0 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 0 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 0 immersed in reading and hearing poems, invented.Some of these methods include 0 the group generated a long list of the quali- blow painting, screen painting, spatter 0 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 C 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 C c es, and haiku poetry. By far, the style I spent their poems. C C ANN STRAUB C Ihird Grade Teacher, Bristol Elem~ntary Sch~ol C Bristol, Vennont C C 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 C of Lewis Creek. our local watershed As the children clouds rumbled across the Green Mountains drenching C explored the creek and the surrounding fields and wood- us as each child's poetic voice was heard Under drier C 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- C . children the playful descriptive dialogue that occurred as ored liss~e paper, paper bags, etc, streaked with \Vhi,te C they interacted with the environment They ~ere asked pine n~es dipped in black tempura paint tc;> create an C to consider "human verbs" (i.e., gossip, argue, knit) when environment resembling our Lewis Creek experience. -30- C C C ._: 1 . 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 -31- 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" 0 0 0 0 0 0 0 Q 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 C C C C C C C C C C C C C C C -32- C C C 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. -33- 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 0 0 Watersheds 0 O of the United States 0 0 0 0 17. Upper Colorado River 18. Platte/KansasRivers 19. Upper Missouri/Yellowstone R,vers 20: Main stem M1ssoun River 21. Lower MiSSOun River 0 0 22. Mississippi Headwaters/Tallgrass Prairie 23. Upper Mississippi River/Tallgrass Prairie 24. Great Lakes 0 25. Ozark Watersheds 26. Ohio River Valley 0 0 0 0 0 0 0 0 0 0 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 0 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 C 28. Tennessee River 29 Central Gulf Watersheds C 30. Florida Panhandle Watersheds 31 Altamaha/Suwanee Rivers C 32. Peninsular Florida 33. Savannah/Santee/Pee Dee Rivers. C 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 C C C PUERTO RICO C VIRGIN ISLANDS 35. Caribbean C C 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 -34- C: C ...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 -35- 0 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 0 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 . 0 a Solar energy drives this and other cycles in the watershed. The area of watershed affects the amount i~ater 0 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. 0 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 0 po_s~ibility for. rapid runoff 0 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~~-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. -45- 0 0 From Poetry Everywhere 0 0 Tips 9n Leading Poetry Sessions 0 0 0 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- C 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. -47- , - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- -- 0 0 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 while reading. "Song of the. 0 Chattahoochee... She then facilitated a discussion of our own watershed. 0 0 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 0 display in the hall and were bringing their individual work to me for "approval. While 0 Nikki was guiding students' artistic efforts, I was teaching lessons about our valued 0 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 0 the objectives set forth by our school system. Nikki and I were ecstatic. We even 0 got caught up in the buzz ourselves. 0 More excitement was soon to follow. One of our students was selected as a National 0 Finalist in Art. Additionally, four more of our students were selected as poetry 0 winners for Georgia! 0 0 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 0 ROW in Georgia and adding Georgia specific information and we thank the International 0 Rivers' Network for developing such a user friendly" and innovative resource guide. . 0 0 Brittany Charron Haynes Bridge Middle School 0 Fulton County 0 -97- 0 0