Turning Transformative Principles Into Practice: Strategies for English-Dominant Teachers in a Multilingual Context Part Two

BIG BOOKS can be created in multiple ways with students and families. No ONE perfect way exists; rather there are many meaningful ways. In this section, we will look at various processes of authoring and publishing books in the classroom and community. The principles of the Faltis Framework are inherent within the various ways of generating authentic literacy.

We have chosen to use the words, BIG BOOKS, because in our own experience the books that teachers, students, and families create together often are written and illustrated on large pieces of paper for small and whole group reading activities. We have observed many teachers who capture the language of the children first on the chalkboard. Second, they transfer this story to a large piece of paper so that all students in the room can see the book. Third, teachers ask students to copy the story from the chalkboard to their own paper so they can read at home with their families.

Dawn is a young teacher with six years of experience in various dual language models of education at the elementary level. She and the students make books almost daily. First, Dawn generates a dialogue with the students about content which they are preparing to learn. She does this to focus the students on the ideas and language; and, she does it to assess and to build on the prior knowledge of the group. Second, as the students talk, Dawn writes their ideas on the chalk board. Third, the students and Dawn choose which sentences will go into the book-of-the-day. Fourth, the students copy the new story onto their individual paper, as Dawn quickly copies the story on to large tag board. She uses markers to decorate and/or illustrate the individual pages and quickly staples or uses ribbons to bind the book together. She finds that she can make a book-of-the-day in about the same time that it takes the students to write the same story on smaller sheets of paper at their desks. When finished, she sits and reads the story with the students as she holds up the BIG BOOK for all to see. In the afternoon the students take their smaller copies home to read with families. The next day, the larger book-of-the-day will always be hanging on a wooden clothes drying rack for students to read together on the floor during free reading time.

• Do they have to be big?
• In what language do we write them?
• Why do we do what we do?

In what language do we write the books? It depends on the specific objective of your lesson. If your objective is to generate literacy and knowledge, we suggest that you create the books in the dominant language of the students. However, if your objective is to teach English to non-native speakers of English, it is effective to create the books in English. In this chapter Dawn and Verónica often created their books in Spanish; Sharon and Fernando often created their books in English. The students in Joan's classes created their books in English, Spanish, Hmong, Cambodian, Lao, and Vietnamese.

Why do we do what we do? Never an easy question. We build BIG BOOKS in class to create processes which enhance the theoretical principles of two-way communication, social integration, a knowledge of language acquisition, and parental involvement. We want classrooms which bring in the voice of students and families. Our goal is to ground our human and pedagogical interactions around curriculum which, not only generates literacy, but also reflects the families' knowledges, literacies, and cultures.

In the following section of this chapter, we will share three separate portraits that integrate these principles into holistic literacy practices. It is our hope that other teachers will take these activities and adopt and adapt them to fit their own classrooms.

Sometimes, it seems that the good things in life find us when we are least expecting them. This is exactly what happened in this case with Joan and a group of teacher credential candidates. Fernando, a former migrant student, now is the coordinator of a program on campus, in which he works with migrant students throughout their undergraduate years. Fernando works at one end of a classroom building, while Joan works in the Department of Teacher Education at the other end of the building. Fernando and Joan knew each other, but only as colleagues who greeted one another politely and professionally as they passed in the hallway. Although they work at the same university, and even in the same building, they had never before worked together on any specific project or process.

Many of the students who work with Fernando during the undergraduate years are the very same students who eventually enter the teacher credential program and take reading/language arts classes from Joan. Thus, Fernando and Joan teach and learn with the very same students- only at different times in their collegiate experience. Last year Fernando and the undergraduate students were busy collecting oral histories and making BIG BOOKS with students and families in their communities. Joan was busy at the other end of the hallway doing that very thing with the credential students. Perhaps it was inevitable that their paths were going to cross.

Finally, one night in the reading/language arts credential class, Verónica, a former migrant student, presented a BIG BOOK to her classmates. She described in detail how her own oral history and resulting book was a combined product of her experiences in the undergraduate program with Fernando and in the credential program with Joan.

"However, I don't think that either of them know that the other is doing the very same thing: using authentic voice from the community to capture oral histories and turn them into books," Verónica told the class and Joan. She was right.

Her book, which she had created with a group of 28 students in a small rural school, was a work-of-art. Verónica and her co-authors from the rural school had written and illustrated a large (18" X 24") book with each page laminated to last. She and the students had bound the final copy with strong stripping tape. Each student had one page for their mini-biography and another page for their illustrations of their story. Each page of the book was a vivid portrayal of the students' literacy and history. Each page was brilliant with color and culture. In addition, the class made a composite author's page to place at the end of the book. To create this final and favorite page, each student brought a picture and pasted it on the large heavy paper that they were using. Under each student picture, Verónica had typed a little tiny history telling about their lives. Verónica told how the students loved to read those pages: again, again, and again during free voluntary reading.

Joan was in Fernando's office the next morning as that night was one of the most powerful pedagogical experiences of the semester for Joan and all of the credential candidates in the room.

At rare intervals, the most significant factors in determining the future occur in infinitesimal quantities on unique occasions (Mumsford, 1956)

Since that day, the two of them have been working with a large group of migrant undergraduate students and credential candidates as they become authors and continue to write and publish their own stories, the stories from their families, and the surrounding community. Joan and Fernando continue to run up and down that hallway generating new ideas with the students as they affirm their own histories through authentic literacy.

The result of this collaborative process is that the university students have transformed themselves and many others in the local school and community into authors. These stories have been collected and shared in various formats as the authors continue to find new ways of generating new knowledge and former histories through literacy development. These BIG BOOKS, which have been written in English, Spanish, Hmong, Cambodian, Lao, and Vietnamese are still being used by the K-12 students in their classrooms throughout the Central Valley of California.

Sharon is English-dominant and teaches a combination class of kindergarten and first-grade to students who are Spanish-dominant and Russian-dominant; the students entered school speaking no English, and are mandated by, California Proposition 227, to speak and learn in English. The district mandates a specific parts-to-whole basal approach to literacy development. However in this district, teachers are also encouraged to make time for more holistic and creative ways to enhance literacy development. When Sharon first began this process of generating authentic literacy with students, she was nervous, insecure, and somewhat confused about how she "should" do it. Finally, she decided to begin the process by working with the students' knowledge about the community.

Sharon's First BIG BOOK project: A Book about Places in the Community

Sharon wrote a short letter to the families explaining (a) what they were doing in class, and (b) why there were doing it. She explained that in class they would make a large book based on what the students knew about places in the community. The letter was written in English, Spanish, and Russian, the languages of the families. Sharon explained that she had taken pictures of specific places around the community that she thought her students might recognize: fast food places, a drugstore, a playground, and a discount store. She had photo copies made of the places and sent these pictures home with each letter. Each family was asked to write on one page about one of the places for the class. 80% of the students families returned their written stories to be included in the class book. The students who did not return a story from home, wrote their stories in the classroom.

After the families returned the stories to class, Sharon realized that this allowed her to learn a great deal about the language and literacy of each family. After recognizing this, she realized that a new question had emerged which she needed to answer: Should she edit the language from the families before making the book for the class? Every teacher who begins generating authentic literacy with students and families will eventually face this question. Sharon knew from her years in teaching that many have very strong feeling on both sides of the question. Some say: Yes, edit. Some say: No, maintain the authentic voice. Sharon understood both perspectives, but needed to find the right answer for the context of her classroom and community. Sharon wanted to retain the authentic voice of each child and each family, but she didn't want to expose any grammatical or spelling errors for the scrutiny of all who might read the book. After reflecting on the multiple perspectives of the question, she found her answer while visiting with the students. She told the students about other authors who write books. Their language is edited before the final book is published. The students decided that if this is the way other authors do it, so would they. Sharon edited the language, compiled the stories onto the pages, and took the book to a copy store for binding. The book is now in the classroom. The students love it and read it again and again. When families come to pick up their children, they look with pride at their languages, their cultures, and their histories.

The truth is that this book cost Sharon a lot of money, which raises other questions. Our perspective is that many, many teachers give to their classrooms in multiple ways all year, every year. If you are a teacher and have never done this, keep a running list of everything you buy with your own money to use in class for just one year. We guarantee that you will be shocked at how much you spend to support the teaching and learning in your own classroom. Our sense is that the public is very unaware of this national subsidy program which supports public education.

Sharon's Second BIG BOOK: 5 Pictures from Home

The second BIG BOOK project also involved photos as she had discovered that this was a good way to initiate the process. First, Sharon bought five disposable cameras to take to school. She wrote another letter to the families explaining that the class would be making their second BIG BOOK.

On Day One, she sent the five cameras home with five students and asked the families to take five pictures of people or things which were important to the child. In her letter, Sharon asked these five families to return the camera on Day Two. All five cameras were returned successfully and safely.

On Day Two, she sent these same 5 cameras home with 5 other students. This process continued for 4 days, as she has 20 students in her class. Within this 4 day period 100% of the students returned the cameras, as instructed, the following day. Many of Sharon's colleagues told her that the cameras would never be returned. However, Sharon believed in her students and their families; she had faith in the learners (Freeman's, 1998).

Sharon developed the pictures and pasted them in composite collages on large pieces of paper. Below and around the collages, Sharon wrote the student's sentences about their family. In this book each student did not have a separate page; rather, each student's family was represented as a part of the larger community. After the creation of the second Big BOOK, Sharon noticed more families walking their children to her class in the morning and afternoon. Soon families began to linger in the class before and after school to talk about the books and the pictures. Her goal now is to have the families read the BIG BOOKS with the student at the beginning and end of the school day. This is an explicit example of how schools must, and can, go beyond inviting parents to participate. Give the families an authentic reason to come to school with their kids and they will come. It must have been evident to those parents that Sharon valued what they valued since the literacy activities came from the families' pictures and ideas.

Sharon's Third BIG BOOK Project: The Daily News

Whereas, the first two BIG BOOK projects, were very much planned, organized, and implemented with Sharon's direct guidance, the third project happened spontaneously. Sharon had the pedagogical knowledge and wisdom to recognize the significance of the moment, and the pedagogical courage to follow the students' interest. Thus, the BIG BOOK project moved from teacher-centered to student-centered.

"I saw a dead cat on the way to school," Miguel said. With this one sentence, Sharon decided to make her third Big BOOK for the class by the creation of what the students eventually named, The Daily News. "Teacher, look at my pretty haircut," Rosa said as she came flying into the classroom. Her beautiful waist-long hair was now beautiful shoulder- length hair. Sharon commented on how nice it looked and realized that she had yet another opportunity for literacy development based on the lived-experience of students. Rosa was thrilled with her haircut and even more thrilled that Sharon quickly wrote Rosa has a pretty new haircut on paper and prepared the second page for The Daily News.

Since the spontaneous beginning of The Daily News, the students arrive and are eager to share with their teacher. Sharon writes their language in the book-one page per child per day. At the end of the day, she simply staples or tapes the pages together for the published book. Suddenly the students are authors. The students love telling the teacher their news and illustrating their individual page each day. The Daily News is available for them during free voluntary reading.

In summary, this is how Sharon creates BIG BOOKS:

1. Students talk in their emerging English, and Sharon writes what they say on a large piece of paper.
2. Students write (copy) the language from this page to an 8x11 paper to make their own copy of The Daily News. In this smaller, individual book, the students copy, not only their individual story (sentence), but also all of the stories of the day.
3. Students illustrate their own page in the BIG BOOK.
4. Sharon quickly binds the BIG BOOK and the individual smaller books with staples during the day so that The Daily News is written and published daily.
5. Students take their own book home to read with families.
6. Sharon and students together read The Daily News from the BIG BOOK each day with the class while the students look at the BIG BOOK or follow along in their smaller books.
7. Students come to school and have access to yesterday's The Daily News during free voluntary reading.

Language. Language. Language.

This is a quotation taken directly from Sharon's journal after she had been doing BIG BOOKS with her class for 5 months. Sharon learned experientially what we have learned from our studies of Vygotsky's relationship of thinking and speaking (Putney, Green, Dixon, Duran, & Yeager, in press; Vygotsky, 1978; Vygotsky, 1986; Wink, 1997; Wink, Putney, & Bravo-Lawrence, 1994; Wink, Putney, & Bravo-Lawrence, 1995). We have learned that thinking and speaking are in a reciprocal and dynamic relationship with each other and with our experiences. Each language experience we engage in builds more thinking, more thinking builds more language, especially when the school concepts we are learning are related directly to our own home learning. By bringing the students' own experience directly into the classroom, Sharon was first valuing what the students in her classroom already knew. Beyond that she was valuing what they wanted to come to know and share as a class, and she built upon that at every chance she had.

The culture of the classroom has changed.

Sharon's journal also indicates that the students enter the classroom with a perspective which assumes that: in-this-room-we-are-authors; we-read-we-write-we-publish. So we can see that as the students learned more from Sharon's teaching, so was Sharon learning from her teaching, and from the students' learning (Floriani, 1997; Putney & Floriani, in press).

And how was this learning from teaching a transformative act in Sharon's classroom?

• Previously, the reading program was teacher-centered; now the literacy development is student-centered.
• Previously, Sharon had to "teach" the isolated sounds; now, the students author their own books.
• Previously, the students approached reading time with a sense of apprehension-remember, the students are asked to read in a language they do not yet know; now the students have a pride in and ownership of their literacy.
• Previously, the students lost interest in the mandated drill of individual sounds; now, the students love their stories.

Importance of illustrating as communication

One of the unexpected consequences of this project for Sharon is that it reminds her of the importance of art. When books are made, students always do an illustration. As the students in the classroom are 5 and 6 years old, and do not yet speak English, Sharon is always alert to other forms of communication: art, in this case. She has relearned that the illustrations in the BIG BOOK project provide insights into the world of the children.

She learned from Miguel's illustration that his mom had to go to Mexico because her mom was sick. Miguel is very sad and expressed this through his art. Sharon also learned that Miguel and his family moved to a new house. Miguel was happy about this and drew a picture of where his bed was in the new house. Sharon learned that when Hector fell from the play bars and broke his arm, he made a new friend.

Changes in the perspectives of some families

As Sharon reflected back to the beginning of the school year, she also saw changes in the ways some of the families acted toward her and toward others in the classroom. As the following vignette shows, much can happen in a relatively short amount of time when you demonstrate the value of all students in your classroom.

"I don't want my girls in class with "those Mexicans," the Russian-dominant father said to Sharon on the first day of school. Much has changed since then for Sharon, the students, and their families. It has only been five months since beginning this process of developing literacy based on the students' lives, but Sharon worked diligently to build bridges to the community by building books with her students. Fast forward from the first day of school remarks of a concerned father to his child's progress five months later.

"I want a pencil," Anna, a Russian-dominant 6-year-old said to Sharon.

"What?" Sharon responded with surprise.

"I want a pencil," Anna said again in a complete sentence.

"Of course, Anna," Sharon replied with absolute joy.

This was the first spontaneous, complete sentence that Anna had uttered in English. Sharon and Anna both knew what an important and significant moment this was. Sharon started to pat Anna on the shoulder. In an instant, Anna fell against Sharon, and they hugged. They smiled and celebrated the moment.

When Anna's Dad came, Sharon told him about Anna's emerging English language.

"Yes, and Anna and her sister are going to Russian language school at our church on Friday nights," he told Sharon.

"Wonderful," Sharon replied. "Their continued study of Russian will make their acquisition of English easier and faster," Sharon continued. "And, while they are learning English, they can continue to learn IN Russian," Sharon told the Dad.

"See you mañana," the Dad said with a twinkle in his eye.

"Soon, you and Anna will be speaking three languages," Sharon called to the Dad as he and Anna left school. All three of them smiled. "And, this is the man that did not want his girls with those Mexican kids," Sharon thought to herself. However, that was before they all came to know each other better through the BIG BOOK project.

Another way of beginning the process of making BIG BOOKS is to start with a piece of literature. Begin with any good story that captures the hearts and minds of the listeners. In the following example, Fernando chose to begin the process with the story, Crow Boy by Taro Yashima, which was a winner of the prestigious Caldecott Honor Award. The reason he chose this story is because he has discovered that many students, teachers, and families will have a similar experience somewhere in their past experience: a story of rejection and, finally, victory over difficult conditions. Crow Boy is a story which triggers more stories. Also, this is a story that will capture 5-year-olds, 15-year-olds, and 55-year-olds. In the following example, Fernando was working with a large group of K-12 teachers. The majority of these teachers were English-dominant and were working with multilingual students. The teachers in this specific example are exactly the target audience for turning the theory of the Faltis Framework into classroom practice.

First, Fernando read the story aloud with the students. He asked that the teachers simply sit back and enjoy the story for its intrinsic value. He explained that there would be no comprehension test; no questions at the end of the story; no vocabulary or spelling tests based on the story. Fernando only wanted them to listen and enjoy the story.

Second, Fernando asked the large group of teachers to share with those sitting near them. His only question was: What do you think about this story? Initially, the room was quiet as many were still just musing and enjoying the story. Within five minutes, the room full of teachers was filled with meaningful conversation.

Third, Fernando asked the group to share any similar experiences any of them might have had. While the group was talking, Fernando quickly taped to the wall a large piece of paper divided into four sections. On this paper it was easy to see that Fernando written a short story and drawn pictures to accompany his own story.

In the quickly-drawn sketches, the teachers were easily able to see a young boy on his bike with his helmet and football equipment strapped to the handle bars and the back of the bike. The boy was biking up hill on a dirt road; the back tired of the bike kicked up dust and indicated the movement of the bike. The second picture showed a station wagon with wooden panels on its sides, passing the boy as dust and rocks flew in the boy's face. The third frame of the story showed a small boy standing on the football field watching practice; he was wearing his football gear and just waiting to get to practice with the other boys. The fourth picture showed the return trip home. The boy was riding downhill on his bike, which was again laden with heavy football equipment. The last frame of the story the wooden paneled station wagons were driving by him and kicking up dirt in his face. Fernando shared the story of what he remembered from his high school days when he tried out for the football team. For the entire season he road his hike to practice and was never included in the group.

Fourth, Fernando provided each participant with a small piece of paper which had a story board and asked the teachers to write and illustrate any "crow-boy" experience they ever had. Of course, many just sat and reflected for awhile; some were even resistant to writing. Fernando kept walking around the room and did not engage in conversation. Without words, his classroom practice was saying:

It is okay to think, to remember, to feel. And, then you will write and illustrate your own story. This is not a time to talk and visit.

Within 20 minutes everyone's heads were down, and the only sound was that of pencils moving across paper. This fourth step would be easy for a teacher to omit within the context of the class. However, do not do that. The reason that students will share and write is because the teacher models it first, just as Fernando did. His classroom practice demonstrated that he was not asking anyone to do anything that he had not already done.

Teachers often say they want the students to write. We ask: Do you write? Teachers often say they want the students to read. We ask: Do you read? Many powerful classroom practices are effective only to the degree that the teachers also do what is asked of the students.

Fifth, Fernando asked the teachers to share. It began slowly; we are often hesitant to be so vulnerable with our colleagues, just as students are with their classmates. Before long many had shared in the large group. The remainder of the teachers preferred to share in the smaller groups. When it ended, there were very few dry eyes in the room.

To promote transformative classroom practice, we advocate the engagement of teachers and students in meaningful interactive discourse while promoting social integration of all students in the classroom. Further, in combining second-language acquisition principles with content instruction in an interactive setting, the language skills of second-language learners are able to evolve while their knowledge base in the content areas develops. We saw Javier and Elena participating more in Mrs. Burke's classroom when Lucinda offered to work with them in their primary language to understand the math problems. Let us not forget how Palmer was able to begin to interact in meaningful ways beyond his autistic world because of the examples and the caring provided by his first grade colleagues.

We also encourage teachers to recognize the resources of their bilingual students and to draw on their cultural experiences to facilitate learning. One way to bring those cultural experiences into the classroom is to welcome and facilitate family involvement through the making of Big Books. Verónica made this visible in her Big Book adventure. Turning the transformative principles into classroom practice also involves a change from a teacher-directed recitation classroom to one that is more student-centered. We saw this kind of transformation in Sharon's class as she discovered the success of her students in producing The Daily News. By working with their topics for the news publication, she ensured their interest and genuine purpose, which also encouraged communication within the classroom, at home, and between families and the school.

This process of turning principles to practice is not an easy one, nor is it ever complete. The process is dynamic, reflexive, and reconstructive. Once you being to transform your teaching, you find your own ways to incorporate these principles and others into your practice. And the more you discuss it with colleagues who care, the more energized you become to try to do even more. We hope that these vignettes of classroom life have stirred you to begin your own take up of transformative principles, to grapple with them, to make them your own, and to turn them into transformative practice in your own educational spaces.

APPENDIX: ONE WAY to Bind BIG BOOKS

After pages are written and illustrated, it is time to bind the book. It is preferable that each author be sitting at a table because the binding process for BIG BOOKS requires a little room. If you are making smaller books, an individual desk will suffice.

Tape is needed for the binding. For very small books, cellophane tape will function. For books 8X11, cellophane tape is less efficient; masking tape will work better for this size. For larger books which can used with a small group, you will need at least masking tape strength, if not something stronger. Strapping tape is often used if the participants want to laminate each page prior to the binding process.

Before beginning with tape, it is helpful to practice the following 10 steps with post-its.

Begin with a 5-page book only.

1. Place the last page, face up, on the desk in front of you.
2. Tape to the left (vertical) side of the page; ½ of the long strip of tape will be on the edge of the page and the other ½ of the long strip of tape will be taped to the desk. Remember, half on; and half off.
3. Place the second-to-last page on top of last page, which is now taped to the desk. Place the tape exactly as directed in #2.
4. Repeat Step Two with all pages, including title page, and cover. All pages of your book are taped to each other and to the desk. You will be looking at the cover of your book.
5. Detach, carefully, all pages of the book from desk and turn over face down on desk with the sticky side of tape facing up.
6. Place ½ of another long piece of tape on top of sticky part of the tape (which is facing you) and the other ½ of the tape on the desk. The book is now facing you and is still taped to the desk.
7. Detach, carefully, the book from the desk. Fold the only remaining sticky part over to back of spine of book.
8. Take another long piece of tape and tape ½ vertically to the front of the book and the other ½ vertically to the back of the book.
9. Cut excess tape from top and bottom.
10. Share your story.

Note: The authors would like to thank Fernando Peña, the Coordinator of California Mini-Corps at California State University, Stanislaus who has been instrumental in implementing this project with many students and families in the Central Valley California. Templates for use in Big Book making are available from Fernando at 7433 Heathrow Way, Hughson, CA 95326;minicorp@toto.csustan.edu. We also thank Sharon Whitehead who has taught us the importance of using cameras to bring the students' lives into literacy development. We are indebted to Verónica Manzo for her collection and publication of oral histories which was fundamental in focusing our interest again on literacy development based on the lived experiences of students. We also thank Deborah Swaffer for her assistance in critical reading and editing.

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