How might James structure his 45-minute lesson to include elements of visual, auditory, and kinesthetic learning? Chapter Two Case Study Scenarios
Each of the following scenarios presents a situation based on a real world teaching situation that you may encounter during your career as an educator. Please respond fully to four of the eight scenarios listed. Responses must be written in APA format, include critical thought, and address all aspects of the chosen scenarios. Students should include direct reference to the week’s chapter as well as relevant personal and professional experiences where appropriate. Your finished paper must include a title page and reference page and should be 4-5 pages not counting includingthe title page and ref. page. James is a first year English teacher in a low-income high school outside of a major metropolitan area. His students are of diverse backgrounds and equally diverse learning styles. As part of his opening unit, he is preparing to teach his class about the tools that authors use to make their writing more engaging. He decides to focus on symbolism, metaphor, and simile. He has already developed a vocabulary handout that defines each word and includes examples, but when he does an initial check for understanding he finds that most of his students are lost. Specifically, he finds that his students are having a hard time understanding what a comparison is. This makes the concepts of simile and metaphor impossible to comprehend. James decides to design a 45 minute lesson that clarifies for students what comparing is. How might James structure his 45-minute lesson to include elements of visual, auditory, and kinesthetic learning? What methods can James use to check for comprehension once the lesson is complete? How might he follow up in ensuing class periods as a continued check of comprehension and to remediate students who may still not understand? Sean teaches an art class in a public elementary school near Chicago. Many of his students come from difficult circumstances and he has worked hard to make his lessons engaging and accessible for a diverse group of learners. Still, he finds it is difficult sometimes to contain the boundless energy of 2nd and 3rd graders. Recently, he has been frustrated with off-task behavior such as talking, moving around the room, and horseplay. This is particularly a concern since his classroom has expensive and breakable art supplies. A colleague suggests to Sean that he try channeling the energy by including aspects of kinesthetic learning in his room. He decides to plan kinesthetic movement into his next unit which is focused on clay sculpting. Specifically, he wants students to be able to correctly sculpt a small human figure in the act of running. Describe a three lesson sequence that would allow Sean to include kinesthetic, visual, and auditory learning in his sculpting unit. How can he structure the kinesthetic elements of his lesson in a way that makes his expectations and guidelines for the exercise clear? Beyond the kinesthetic movement associated with sculpting, how might Sean use the energy and movement of his students to aid in student learning during the unit?
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