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Planned Failure, The Plight of Inner City Kids.

For decades, educators have been trying to bring inner city children up to par with their suburban counterparts and have failed miserably. School takeovers, grants, SmartBoards, computers, Head Start, and a host of cure-all programs have done little to balance the success of the haves and the have-nots. Unfortunately, this will continue for years to come unless there is a radical change in school philosophy.

To succeed in school, you must be able to read. Children are required to read printed materials that provide them with the information they need to pass tests. They need to read the tests so that they can understand how to respond to the questions. When children experience school failure, their inability to read is usually the culprit. Since reading ability determines who succeeds and who fails, it is easy to see why inner city children are doomed from day one. There are three basic reasons. First, they do not possess the background of experience that is essential to the reading process. When looking at the printed page, readers make connections with events that occurred in their lives. For example, a story about a farm would be more meaningful to a child who visited a farm than to one who never had this opportunity. It is easier for me to read education journals than Popular Mechanics because of my teaching background and my lack of experience with machinery. While middle and upper class children are traveling to various cultural and geographic places of interest, inner city kids are spending their free time within neighborhood boundaries. By the time Suburban Sam enters first grade, he is light years ahead of Inner City Ike in the experience department.

Second, learning to read also takes a great amount of concentration. Children who have social, emotional, and/or health issues often find learning difficult. How much attention can you give to the teacher if you are hungry or if you have a toothache? How can a child focus if he is afraid to go home after school? Life in the inner city is filled with land mines which are generally unknown to those in tree lined communities.

Finally, there is a culture that promotes reading which is more likely to be found in middle and upper class families. These parents subscribe to newspapers and magazines. They take their children to bookstores. They are seen reading and enjoying books, thus setting reading role models. Should their children have trouble learning to read, tutors can be hired.

Very little attention has been given to these concerns until lately. Although many inner city schools are now providing educational experiences outside the school as well as serving free breakfast and lunch, they are climbing a hill while the suburbanites are perched on Mt. Everest.

For everyone to be playing on a level field, reading ability must be taken out of the school success equation. Schools need to come to grips with the idea that not everyone is going to become a neurosurgeon or a rocket scientist. There is no reason for all children to be reading on grade level. Most magazines and newspapers are written on a fifth grade level. As we move through the twenty-first century, the print medium is being replaced by audio/video devices. Most jobs do not require employees to read beyond a fifth grade level. So why do we still adhere to a twentieth century curriculum where reading ability trumps everything else?

Children march to their own inner drumbeat. When you watch preschoolers play, you can easily see how their interests differ. Some are more curious than others. Some have less attention span than others. Some like to play with puzzles, while others prefer to use crayons. These differences illustrate how children react to the world around them. By the time they enter school, they are already leaning in certain directions. Experienced first grade teachers can identify the artists, the readers, the writers, and those who are creative and imaginative, after the first week of school. Yet, regardless of interest and ability, everyone “drinks out of the same glass.” While teachers can delay instruction in certain areas, they are pressured by the system to make sure that reading skills are taught regardless of the readiness of the children.

One of the false premises behind Head Start and other preschool programs is that earlier is better. Current thinking suggests that if children can be taught to read at age three or four, then they would be on grade level when they enter first grade and beyond. While this may benefit some children, it is a disaster for many inner city kids who do not have the necessary tools to succeed. To them, Head Start means more years of frustration as they try to master a process that is far beyond their capabilities. Preschool reading activities should be limited to story telling and allowing those children who demonstrate reading ability to do so. There should be no formal reading instruction.

As children enter first grade, reading instruction should be available to those children whose readiness skills indicate that they will meet with reading success. This is a critical stage in the educational career of all children. Failure is not an option. Once children realize that their peers are passing them by, it becomes a desperate struggle to catch up, which of course, they hardly ever do. This scenario needs to be removed and fast. If we truly believe in individual differences, then learning should not be a race to a finish line. All children need to progress in reading at their own pace without school and/or parental pressure to meet some unrealistic goal.

Schools need to remove grade level reading from their vocabulary, and focus on interest level instead. As adults, no one forces us to go to the library or participate in a sport. We follow our interests because they lead to happiness and success. Why should it be different for children? For them to succeed in school, they need to enjoy the experience, rather than be continually frustrated by arbitrary decisions made by strangers. This means that schools should provide opportunities for children to pursue their strengths and go as far as their talents will take them. Talented artists should achieve the same status as talented readers. They should not be pressured to read any more than the readers should be pressured to enhance their artistic skills. At the end of the day, no one will fail due to poor reading skills, as there will be other roads that lead to success.

Educators need to come to the realization that by adhering to an outdated philosophy, they are causing children to fail. If a teacher gives a child a textbook that is too difficult and the child fails, who is responsible – the teacher or the child? Educators must stop placing obstacles along the learning path. If everything one needs to know can be learned from a book, then why have schools? Good teachers have always known the answer. They use multi-level texts, trade books, demonstrations, visuals, and a variety of creative strategies that make learning enjoyable and rewarding to children. However, they are constantly being thwarted by administrators and board members who cannot see farther test results. Toward the end of my teaching career, I have seen many a good teacher “throw in the towel” because they could not continue to maintain their innovative, creative style due to the amount of time devoted to teaching to the test. It is no secret that success leads to success and failure leads to failure. By deemphasizing reading and testing, we would be removing the main reasons why inner city kids are failing. They would now be compared to everyone else in a variety of areas, which will allow them to have more opportunities to succeed.

This idea in no way diminishes the talents of those who can read. You will still have the same number of children reading on or above grade level. However, it takes the pressure off children who, for many reasons, cannot grasp reading instruction during their initial school years. As long as reading ability and school success are intertwined, inner city kids will always be behind the eight ball. It is time to change the format and give these kids a realistic chance to move through the system without wearing the reading failure label.


 

Bob Blumenthal – retired educator


 


 

 

 

 

 

 

 

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Sri Aurobindo Update.

Dear Friends,
 
It has been long since you have not heard from us. We apologize for not providing you with updates on a timely basis.
 
Well. It has almost been 2 months since the first major earthquake but tremors are still experienced on a regular basis. Guess that's the nature of earthquake and we have to learn to live with it!!!
 
But, we are glad to share some positive updates to you.  
 
Boys who were displaced from their dormitory are now residing in these lovely temporary shelters build of corrugated sheets, which are installed just besides the school.
 
The Ashram has welcomed more than 20 new children from different parts of Nepal after the earthquake. These children are starting to love it here and their smile gives us the biggest satisfaction.
 
We are also constructing a temporary replacement shade for the damaged building just below the Hanuman Temple. We are directly involved in the manual labor to make this happen as early as possible. We will soon proceed with the retrofitting of the severely damaged boys dorm complex building once this temporary shade is complete.  We will also need your kind cooperation and help to rebuild the damaged infrastructure starting after the monsoon in approximately 3 months as it would be much easier to transport materials.
 
The construction of the school building halted due to the earthquake has resumed, which in the long run will also serve as a replacement of the old school building that has undergone substantial damage.
 
On the occasion of World Yoga Day we successfully organized 7-day Yoga campaigns at more than a dozen of schools to help the children overcome this trauma of the earthquake instilled deep inside. The Ashram also organized a program entitled Yoga Dialogue on 21st June, in which different scholars shed lights on the True meaning of Yoga and also had our students demonstrating Yogasanas and cultural programs.
 
Although a new water storage tank is an immediate need, the problem with water supply has also been solved, as we have been able to repair the pipelines and the tanks.  All thanks to your kind help.
 
We also have been able to start using our kitchen after cleaning the debris. We now cook and dine inside the kitchen-dining room complex, which is quite a convenience, compared to cooking and dining outside.
 
With the coming of the paddy season, some of the elder students also have gone to Terai Ashram (our second branch) for paddy season where they will help in planting paddy.
 
Children going to higher schools and colleges in Kathmandu are going to their respective institutions for their studies after the educational institutions were closed for almost a month due to the earthquake.
 
We are trying to move on however the effects of the earthquake have been quite severe to our income generating sources. On a normal month we would sell milk and milk products worth 6000 USD each month but due to the earthquake it has gone down to 2000USD as most of our customers have left the city. We have seen major reduction in the sales of organic vegetables as well.  Our guesthouse is empty and seems so for a foreseeable future as all of our guests have cancelled their booking.
We have had to use your donations for buying food and other very necessary daily items due to the dwindling of our income.
 
Since the educational institutions have resumed, colleges and universities in Kathmandu where our children go for higher studies are demanding the fees, as their exams are also ongoing.
 
With the rainy season, the life, which was getting back to normalcy, has been pushed back. To bring commodities and raw materials for construction is a big task due to landslides in different places creating problems for transportation.
The cost of daily commodities and construction materials has gone up due to huge rise in demand, as it is even more complicated to get these materials.
 
Even during normal times, the Ashram struggles to meet its basic demands and you can imagine the situation now.  On the other hand, more and more children affected by the earthquake have come to us for shelter and protection. New children come to us now in a regular basis. We are sure that by the next month we will have total of 50 children who will have arrived since the earthquake.
 
Nevertheless, with your kind help, we are able maintain smiles, peace and happiness in the lives of all living here.  We know that this too shall pass and we will once again be able to devote our entire energy in serving the children and the community.
 
But for the time being we are trying our best to run the activities of the ashram to create new beds for new coming children.
 
Please find some photos attached along with.
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Alice in Central Park

It’s a warm spring evening in Central Park and a group of fifteen teens are gathered at the Alice in Wonderland statue, just up from the boating lake. For most of them, frolicking on the iconic statue is probably something they haven’t done in a while. But today the teens don’t hold back. They’re scaling the slippery toadstools, patting the White Rabbit’s ears, and vying to perch like Buddhas on the Mad Hatter’s top hat. They are their kid selves again.

 

The buoyant mood is because this crew of homeschooled teenagers, ranging in age for 11 to 18, is celebrating the fact that just under two weeks ago they did something quite remarkable. In an off-Broadway theater on 43rd Street, they staged a production of Alice’s Adventures of Wonderland in a sold out weekend run. The show was entirely teen directed, acted, and produced. Parents and other adult friends played an important supportive role, but for the most part everything – from the lighting to props, the stage managing to ticket sales, the choreography to the character development – was done by this group of New York teens.

 

It’s fitting that the cast and crew are now capering like seven year olds on the statue. “For me, Alice is not about madness, it’s about childhood and dreams,” says fifteen year old Leo Lion, as he looks on. Leo founded Firebird Youth Theater three years ago and has directed all three of the company’s shows, including Alice. “I wanted the show to capture the imagination of childhood, just like Lewis Carroll captured it in the book.”

 

With its simple yet whimsical props and costumes and its clever, playful staging, Firebird’s production of Alice did indeed capture the childhood wonder of Wonderland. When Alice (played with a delightful mix of innocence and fearlessness by twelve year old Leigh Stern) fell down the rabbit hole, her descent was staged sideways on, from the audience’s point of view. Alice sat on a stage box flailing her legs and arms, framed by a hula-hoop decked out in foliage, as she considered aloud whether she might “fall right through the earth.” A big disc painted with a hypnotic spiral spun behind her and two cast members paced up and down on either side, holding shelves with books and teacups. Altogether the scene skillfully suggested the dreamy, bizarre, and dizzying fall into Wonderland, but also the wondrous way that children, perhaps playing in a park, might stage the famous fall.

 

Alice has always been one of Leo’s favorite books and honoring the Lewis Carroll original was very important to him. Leo adapted the story with the company’s sixteen year old stage manager, Thomas Pflanz. They produced a script that stays very close to the book, not just in the characters and scenes but also in the language. According to Leo, “Disney derivatives of Alice, and even avant-garde stage versions, tend to overlook the beautiful writing, and especially the funny and clever dialogue.”

 

The props, sets, and costuming in the show were similarly loyal to the original. Leigh and her mother Irene Stern worked together to produce an Alice dress that was an almost replica of the dress drawn by John Tenniel in the original illustrations. The Mad Hatter’s tea party was also staged in a way that is deeply reminiscent of Tenniel’s drawing of the same scene, with the Mad Hatter, Dormouse, and March Hare sitting in a line beside the bemused and unimpressed Alice. And when eighteen year old Sydney Harris began creating the show-stopping Dodo puppet, she returned to the original book. “I wanted to capture the huge, rotund shape of Tenniel’s dodo bird.”

 

Sydney also composed the music for the show and was delighted to find that Carroll’s poems translated easily into song: “His poems have a distinct rhythm and they stick to it.” Sydney researched traditional music used in the 18th and 19th centuries for quadrille dancing and then produced The Lobster Quadrille: a highlight of the show that was sung and danced by PJ Lodin (15), as the desolate yet hilariously diva-like Mock Turtle, and Alioune Fall (15), as the cheeky cockney Griffin.

 

Research was a big part of the process not only for the scriptwriters and the creative team. The cast put time into researching their characters. PJ discovered that Mock Turtle soup was turtle soup made with beef when funds were short. For PJ, this connected to the way that “everything about the Mock Turtle and his stories is just a bit off.”

 

Other actors did research outside of the text too. My own eleven year old son Benny Rendell looked into stories and pictures of Prince Albert (alive during Carroll’s lifetime) to embellish his character: a dotty yet slightly sinister King of Hearts. Fourteen year old Emily Mondrus, who played a perfectly panicked White Rabbit, turned to Harpo Marx who she felt offered something rabbit-like that she could bring to her role.

 

Emily also discovered something about herself during the show. “I became a rabbit!” she recalls. “For the first time ever, I wasn’t conscious of being on the stage, I wasn’t thinking about what people would say about me. I was simply the White Rabbit.” Even though this wasn’t a professional or adult-led production, Emily achieved something that even the most seasoned actors hope for and work toward: being present and real in their fictional role.

 

I asked some of the cast and crew how Alice compared to other shows they’d done. Jeremiah Burch, who played a deliciously dormant Dormouse, has been in a number of TV shows, films, and professional productions. “Leo has been doing this a while now and he’s very professional, so we all respect him and he respects us.” It seems most of the cast and crew agreed that even though they were taking direction from a fifteen year old and being stage managed by a sixteen year old, it felt no different from more standard adult-led productions.

 

In fact, sometimes it was better. Leigh felt that the teen environment gave her room to really explore being Alice and she felt comfortable making suggestions and having her own voice heard. Fourteen year old Isabelle Pflanz, who played a fearsome Queen of Hearts and a hilarious semi-comatose frog, said that in Firebird productions “everyone gets much more of a say and we bond much more to the show.”

 

“Bonding” is a word that comes up again and again as I talk to the cast and crew while the spring sun begins to set over Central Park. Destiny Vega, a stagehand for the show who is eighteen years old, talks about the company becoming “one big family” over the course of the production: “We had our arguments, our laughter and our cries, but we bonded really tightly.” Destiny’s fellow stagehand, sixteen-year old Daniel Zuzworsky, enjoyed the camaraderie too and said the production allowed him to really connect with old and new friends alike.

 

Firebird’s resident comic PJ Lodin was the only one not to talk about the connections formed during the show. Indeed, he claimed that because the cast are a group of “freakish, undersocialized homeschoolers” who are fearful of going outside or making friends, the whole show was done using avatars while each cast member was plugged into a giant techno-vat in their own homes (PJ also claimed that director Leo gained the respect of his peers by wrestling to death a giant bear!).

 

Bears, avatars, and jokes aside, PJ raises a good point about stereotypes and expectations. Leo describes how he often faces “a healthy dose of underestimation” when he tells people what he and Firebird Youth Theater are doing together. “People say homeschoolers are afraid to do anything social, or that teens in general can’t get something done,” Sara Margolis (18) also points out. Sara is the oldest member of the ensemble, who played a number of characters and did some incredible acrobatics during the show’s imaginative croquet sequence. “But we did it,” she adds with a grin. “We put on a show, a really great off-Broadway show.”

 

The sun has gone and the teens are sitting on a wall overlooking the statue, which has now turned to shadows. They’ve moved on from talking about Alice. They’re discussing what will be next. No final decision is made by the time everyone leaves the park, but the cast and crew unanimously agrees: there will be another Firebird show soon.