There are a lot of discussions underway about what school will or should look like when face-to-face sessions resume. Sadly, the images of teachers barking commands from meters away at children in cells bolted to the floor six feet apart are as pedagogically toxic as they are medically perilous.

Ann Wang/Reuters – Lovingly borrowed from https://nationalpost.com/opinion/post-covid-19-classrooms-what-if-keeping-your-distance-becomes-the-new-school-normal

It is amazing how school leaders and districts can always seem to find rainy day money to invest in terrible ideas without a second wasted on considering the consequences of such actions. I realize that you are in a hurry to reopen schools, but are you investing for the future or reacting out of panic?

I remember several years back when virtual reality was being hyped by educator members of the Shiny Object Club flitting from one new scheme to another. Folks desperate to justify whatever they thought VR is would ask, “What do you think about virtual reality in schools?” My answer would always be, “Isn’t that redundant?

Surprisingly to some, the online world may provide greater opportunities for intimacy, collaboration, conversation, and learning-by-doing. It is the mechanical stuff long overvalued by school – reading quietly, answering questions, worksheets, quizzes, tests, studying – that are much better suited for the virtual world.

You know who I rarely, if ever, see featured in the articles, books, podcasts, pronouncements, panel discussions or prognostications of the futurists “helping” schools prepare for the “new normal?” Music, art, or drama teachers. Why must the future be so colorless and dystopian?

The simple truth is that band was the only thing we did not have at home that justified my kids going to school. Schools tend to undervalue the things to which they actually add value.

When pressed to defend investment in art, music, drama programs (a justification only ever sought after for things kids enjoy), the affirmative arguments often evoke the words of Dickensian shopkeepers. Students in art and music classes do better on standardized tests or get into better colleges or crush the lesser kids. Even those with nobler objectives argue that art, music, and drama programs motivate kids to stay in school and give them purpose. While certainly true, those reasons are also in service of the system. How about investing in performing arts programs with qualified teachers within the curricular day because what students experience in those classes are the things that make us human, nurture democracy, and sustain civilization? To quote the late NEA Jazz Master Jimmy Heath, “What was good, is good.”

This is not small stakes. I write this as fiery protests burn in cities across the United States in the wake of the latest racist police officer killing of an African American. It is a safe bet that kids in the high school jazz band or production of “Fiddler on the Roof” are not out looting a shoe store. They may even vote to support school budgets when they become adults.

Today’s feed

I have been battling for public investments in performing arts education for thirty-eight years (a tale for another article), but today I saw something so deeply moving on Facebook, that its importance motivated this article.

One of the world’s finest vocalists, Kurt Elling, shared a video of a high school choir from Boulder, Colorado performing an adapted version of his arrangement of Paul Simon’s American Tune. Despite their social isolation, a work of high-quality art was produced on iPhones by students who learned to sing together in school. The special poignancy of the performance is heightened by today’s milieu. Even if these young people did not learn to sing in school, this is where they learned to sing songs by Paul Simon like Kurt Elling and to be part of something bigger than themselves. It also happens to sound great.

Excalibur (2019-20) Fairview High School Boulder, CO Janice Vlachos, director

A cursory Google search revealed that Fairview high school does not just have a choir, it is blessed with nine of them! It has at least three orchestras and a jazz band as well. They employ multiple art teachers as well. Their community undoubtedly values the arts as an integral part of the educational experience and invests accordingly while other schools share YouTube videos of how there’s music in math (Look, they’re counting!) or math in art (Can you see the triangles?). What this school choir has created is so much more profound than the viral videos of one kid jamming in their room, no matter how talented that kid happens to be.

The music education professionals in this school community have pulled off something impossibly hard as arts teachers are often called upon to do. The result is everything that justifies the future viability of public education.

This investment in kids learning to do something well together, including the cost of arrangers and editors to produce this video, sends students the message that they are loved and much is expected of them. Doesn’t every student deserve that?


Note: Having the audacity to point out that arts programs are under appreciated or underfunded immediately provokes school librarians and teachers of other subjects to exclaim their deprivation.  The race to be the most aggrieved by so many educators is disempowering and counter-productive. We must unite to create and advocate for a modern liberal arts education for every child.


Official video of Kurt Elling’s recording of American Tune

The following is the post on Kurt Elling’s Facebook page. It tells the backstory of remarkable high school video (above).

EXCALIBUR’s deeply moving performance of American Tune is emblematic of these times under lockdown. These talented Fairview High School Choirs students from Boulder, CO – isolated from each other – sang into their phones and the finished result is amazing!

Choir director JANICE VLACHOS had commissioned KERRY MARSH to arrange KURT ELLING’s version of American Tune for Excalibur to perform this school year.

JANICE VLACHOS reflected, “The lyrics hit so deep on this one and it was a comfort all year long to us knowing that there have been times the world has felt in turmoil and that we’ve been in this place before. The words ‘it’s alright, it’s alright’, have been soothing to all of us. We sang this song multiple times throughout the year and we were planning on singing it at the last concert, and then coronavirus hit.

“We walked out of school on March 12th and never returned. We were heartbroken on so many levels – the global consequences of the virus and in our own small world of not being able to singing together. We were also saddened to realize we didn’t have a great recording of American Tune. So we recorded it on our phones, and Kerry Marsh mastered it for us beautifully. I often find myself thinking of the lyrics as I’m searching for solace during this time.

Arranger KERRY MARSH notes, “I feel that this is one of the most important arrangements I’ve written thus far in my musical career, frankly. Based on the transcendent recorded version by Kurt Elling, and arranged during the most uncertain time in at least my own lifetime, this prescient Paul Simon composition connects with our modern times in a way that a typical ‘chart description’ is not fit to articulate. Its meaning, as it may relate to the current gaping political divide in the U.S. (mirrored in many countries worldwide, certainly) or certainly the 2020 Coronavirus pandemic, will be best communicated by each group that performs it.

“These young musicians (and their director) are absolutely amazing. It was humbling to work on this, and [my partner] Julia Dollison and I shed buckets of tears throughout the process. Really proud of what they’ve accomplished with this and everything else, and confident that this currently messed up world is in very capable hands when these folks take charge.

“As a part of the celebration of their releasing this, I’ve just made this chart available at KerryMarsh.com. Kurt Elling’s version (arranged by Christian Elsässer) was an incredible source of inspiration to work from. Paul Simon’s composition has proved timeless…would that it weren’t so, actually. But these students, in their interpretation of his lyric, provide great hope.

Fairview HS Orchestra director DAVID RUTHERFORD adds this behind-the-scenes perspective:

“Your experience is this: For 7 minutes you watch all their beautiful faces, all together, side-by-side, shining at you with all the love of singing they’re known for. Your heart overflows with the beauty of the music piped through your earbuds. And you smile and say, ‘Beautiful!’

“But think about the experience for each student in the creation of the video. Alone, listening to a click track and accompaniment. No blend. No harmony. Multiple takes because of all the silly imperfections one begins to focus on in a myopic environment like that. Am I in tune? Was I early? How is this vowel? Where is this cutoff? The insecurities never end.

“Then each video is sent off to the producer and engineer, who take all 26 videos and painstakingly line up the sound, which takes literally weeks to do in front of a computer screen. After hundreds of hours, finally, all the consonants are together, the imperfections in pitch have been tweaked out, the entrances and the cutoffs are perfect, and the quality of sound from an iPhone microphone has been processed to become nearly studio quality. Finally the video, after another week, presents those beautiful faces artfully for maximum effect when you watch and listen.

“Again for the students, there was no shared experience here. There was no ensemble. Look at each one of those faces and think about it from their perspective as they sing – the space past that black border is tragically empty.

“So how can they sound so good? Because they remember what it was like to sing together, and they recreate that in their minds. This is a song they had sung all year long – I performed it with them on several occasions. They know how it feels to sing it as an ensemble, to blend their voices into one, and oh my goodness do they know how to connect with an audience. So they sang at an iPhone screen, remembering all this, pretending they were together singing for you….

“Excalibur, thank you for this reminder of just how valuable music is to all of us. The tears on my face are real.”


Veteran educator Dr. Gary Stager is co-author of Invent To Learn — Making, Tinkering, and Engineering in the Classroom, pubisher at Constructing Modern Knowledge Press, and the founder of the Constructing Modern Knowledge summer institute. He led professional development in the world’s first 1:1 laptop schools and designed one of the oldest online graduate school programs. Learn more about Gary.

There’s no shortage of articles, web sites, top 1,000 app lists instructing educators what to do during the pandemic and when school returns to “normal.” All of that “help” may be counter-productive. You deserve a break.

If you’re not feeling up to reading, cooking, playing an instrument, or coding right now, watch an episode of Encore! on Disney+ and you will be remember what school can and should mean to children. Keep a box of tissues nearby and your closest friend on speed dial first.

Here are some of the books that ground, focus, and inspire me. I hope you’ll find some beauty, peace, grace, or meaning from any of these recommendations.


Painting Chinese: A Lifelong Teacher Gains the Wisdom of Youth

The great Herb Kohl’s gorgeous meditation of a lifetime of learning and teaching.


Wonder Art Workshop: Creative Child-Led Experiences for Nurturing Imagination, Curiosity, and a Love of Learning

Skip the stuff about “brain research” and dig into the large assortment of beautiful and magical art experiments. Super fun and creative!


The Book of Learning and Forgetting

This book by the great psycholinguist Frank Smith may be my favorite exploration of learning. It was always a favorite text of my graduate students too.


Ordinary Resurrections: Children in the Years of Hope

While not Jonathan Kozol‘s most popular or best known books, this is my favorite of his many masterpieces. Ordinary Resurrections is poignant and poetic while giving voice to the most innocent and vulnerable members of our society. This book is timeless and life-changing.


Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music

Read quickly past the fanboy stuff about the remarkable conductor, Gustavo Dudamel, and learn about one the most profound pedagogical approaches on earth, El Sistema. You will be moved by the what’s possible when teachers believe in the capacity of each learner and refuse to acknowledge obstacles. In my humble opinion, this one of the best education books of the past decade. Author Tricia Tunstall also coauthored a notable follow-up, Playing for Their Lives: The Global El Sistema Movement for Social Change Through Music.


The Inner Principal: Reflections on Educational Leadership

I challenge you to name a more candid, open, or philosophical book ever written by a school administrator, especially one as accomplished as David Loader.


The Muses Go to School: Inspiring Stories About the Importance of Arts in Education

The likes of Whoopi Goldberg, Phillip-Seymour Hoffman, Rosie Perez, and Bill T. Jones share the testimony to the critical importance of public school arts education with response pieces by amazing educators including Deborah Meier, Lisa Delpit, Bill Ayers, Diane Ravitch, Maxine Greene, and yours truly (clearly a clerical error).


The Long Haul: An Autobiography

Myles Horton’s tales of founding and sustaining the Highlander Folk School, an Appalachian retreat where students included Martin Lutther King, Jr., Rosa Parks, Eleanor Roosevelt, and Pete Seeger. Oh yeah, We Shall Overcome was composed there too. This book not only tells the important story of an unknown piece of American history, but offers much wisdom and inspiration for all teachers.


Idea Makers: Personal Perspectives on the Lives & Ideas of Some Notable People

Notable scientist, mathematician, and computer scientist Stephen Wolfram book of insightful essays about great mathematicians, scientists, and technologists, many of who he knew personally.


The Children

Pulitizer Prize winner David Halbestram’s monumental history of the American civil rights movement and the remarkable role played by courageous young people. This book reminds all of us of each person’s power to change the world.


Books I love to read aloud with kids

Field Trip to the Moon (PK-2)

Harold and the Purple Crayon (PK-2)

Homer Price (2-5)

I still love this book and its sequel!


Apprentice with the world’s greatest musicians!

Ever dream of taking piano, bass, vibes, voice, drum, guitar, saxophone, or trumpet lessons from one of the world’s finest musicians? Care to understand jazz or Brazilian music? Wish you could develop your own voice with the help of one of the world’s most acclaimed vocalists?

Check out the complete Open Studio course catalog!

Perhaps you don’t play an instrument and just enjoy watching great artists explain their craft? That’s cool too.

Well, Open Studio is not only the gold standard by which all other online music education programs are measured, but it has cracked the code in teaching impossibly complex and intimate concepts online.

Check out the multitude of offerings at every conceivable skill level.

Speed up, slow-down, control multiple perspectives, guided practice sessions, office hours…


Summer is a great time for kids to read entire series of books.

Here are some great ones you won’t find in your school curriculum or approved by the Texas State Textbook Commission, a wholly-owned subsidiary of Pearson!

Horrible Histories (grades 4-9)

Collect them all! They’re gorey, bloody, irreverent, gross, and filled with historical facts shared in an entertaining fashion.


The Time Warp Trio series (grades 2-5)

Jon Scieszka’s zany time travel adventure in which three buddies explore great moments in history.


Guys Read series (grades 5-8)

Seven volume anthologies of high-interest short stories with each book featuring a different literary genre.


Books to keep kids active

Jane Bull is the author of countless colorful, clever, fabulous, and fun craft books published by DK. Highly recommended!

New York City Street Games

This out-of-print, but still available gem, teaches youts to play all da clasic sports your grandparents played on the streets of NYC. There is a great documentary, narrated by Ray Romano on the same subject.


Books for learning to program in Scratch

Here is an article I wrote featuring my favorite books to help kids learn Scratch programming.


Favorite cookbooks for little kids

Pretend Soup and Other Real Recipes: A Cookbook for Preschoolers and Up

Salad People and More Real Recipes: A New Cookbook for Preschoolers and Up

Fabulous books full of wordless recipes for healthy food

 

 

 

 


Honest Pretzels: And 64 Other Amazing Recipes for Cooks Ages 8 & Up

Little Helpers Toddler Cookbook: Healthy, Kid-Friendly Recipes to Cook Together

The Tickle Fingers Toddler Cookbook: Hands-on Fun in the Kitchen for 1 to 4s

Sesame Street Let’s Cook!

Cookie Monster’s Foodie Truck: A Sesame Street ® Celebration of Food


The Complete Cookbook for Young Chefs (#1 bestseller)

The Complete Baking Book for Young Chefs

 


Timeless videos I still love to watch with my grandkids

Here are some of my favorite videos to watch with the toddlers. They’re funny, kind, not scary, and stimulate imagination.

Pee-Wee’s Playhouse: The Complete Series

Never disappoints or fails to entertain. The show is pitch perfect for kids and adults to enjoy together. (a real bargain too)


The Little Rascals: The “Complete” Collection

The best available collection of the classic shorts that inspired generations to play, dream, and learn by making – long before there was a maker movement. Trust me. Kids still love these 80 year-old films.


Mister Rogers’ Neighborhood: It’s a Beautiful Day

30 classic episodes


If you love card games…

I don’t, but I have given countless sets as gifts to delighted kids and families.

Fluxx

An endless assortment of looney card games where the rules or the objective of a game change with every card!


A hole in the wall as science and public policy

By: Gary Stager
District Administration, May 2004
(archive)

A funny thing happened to me while in India (besides losing my luggage, teaching for three days on three hours sleep, and confronting an elephant in traffic). While speaking at a conference, I encountered another educator whose work blew my mind. Such an experience is a rarity at the dozen or so educational conferences I attend each year across America.

Dr. Sugata Mitra, a physicist from Indian think-tank NIIT, embodies the best features of a scientist, educator, tinkerer and dreamer. His social conscience led him to invent a novel approach to learning technology. The scientist in him designed controlled experiments to explain the remarkable phenomena he observed.

India is a populace nation with staggering poverty and majority illiteracy. Politics, religion and tradition conspire to create millions of poor people and slums unfit for the stray dogs who compete for food. Wealth and great poverty coexist side by side like two nations with diplomatic relations.One boy who uses the kiosk defined the Internet as, “That with which you can do anything.”

Mitra’s own campus was separated from the “other India” by a wall. He often sensed that the poor children watched his research community with the cell phones attached to their ears and funny bags hanging from their bodies disappear into a mysterious fortress.

“Hole in the wall”

Mitra inserted a PC monitor into the wall behind a pane of glass and alongside a touch screen. The computer had a high-speed Internet connection and was on nearly all of the time. No other intervention occurred. Before long, this “hole in the wall” attracted children from the community and a great educational experiment had begun.

A video camera trained on the children using the kiosk and computerized logs of what was done on the computer create a record of the children’s activities. Within a short period of time, children who speak one of India’s thousand languages other than English and who had never received any instruction in technology use were surfing the Web. More over, groups of children played online games and painted pictures with MS Paint. After being shown MP3 software, some children even managed to find music in Hindi to play.

The success of the first “Hole in the Wall” inspired Mitra to replicate the experience with kiosks across the economic, cultural and geographic diversity of India. Children in every case were able to demonstrate what we might call computer literacy without any curriculum, formal teaching or adult intervention. The “Hole in the Wall” children discovered and taught each other amazing things. Young children stand on the shoulders of others and direct the action. The hundreds of shortcuts often left on a kiosk computer offered evidence of such expertise. Mitra found that kiosk users managed to learn hundreds of English words and used their native language to describe computer functions. Most users were 6 to 12 years old. Adults did not make any attempt to use the kiosk.

Self-Service Education

Dr. Mitra describes his learning theory as minimally invasive education – a hypothesis that even in totally unfamiliar situations, children in groups will learn on their own with little or no input from others, provided the learning environment induces an adequate level of curiosity. Like in minimally invasive surgery there should be no more expert intervention than absolutely necessary.

This work proves that when provided with access to a computer in a social context, all children will become computer literate with or without a traditional teacher. Mitra’s careful experiments confirm the theories of Piaget and Vygotsky. Most of all, “The Hole in the Wall,” offers a glimmer of hope for concerned global citizens who do not know where to begin in increasing educational opportunity in the developing world. The “Hole in the Wall” project is a testament to the competency and capacity of children to construct their own knowledge in a community of practice. Internet access can connect children to each other and the 21st century.

Does your school really need that computer literacy class? Can your teachers celebrate the technological fluency of your students and build upon it in the design of richer tasks and more imaginative curricula? American schools are blessed with advantages most of the world cannot even ponder. The “Hole in the Wall” project demands that we do better by our students and do our part to change the world.

Gary Stager is editor-at-large and an adjunct professor at Pepperdine Univ.

“You can’t think about thinking without thinking about thinking about something” – Seymour Papert

I find potentially interesting education provocations everywhere. The remarkable generosity of the world’s finest musical artists performing online during this pandemic have kept me safe and sane. I aspire as an educator to possess their level of talent, wisdom, expertise, focus, humor, commitment, generosity, and love. It is these very virtues that has made jazz musicians such a source of knowledge, wonder, and comfort in my life. One other very special aspect of “the hang” with jazz musicians is the lack of generational barriers within their community of practice. Most people aspiring to be great at what they do welcome opportunities to mentor newbies who express passion for similar pursuits. What makes the performing arts so special is that, as in the Brazilian samba schools, everyone – young and old alike – “dances” together.

So, in between concerts regularly scheduled concerts by Peter Martin, Chick Corea, and the Emmet Cohen Trio, I’ve watched great musicians discuss music they love at listening party fundraisers for Jazz House Kids (Friday nights) and Wynton Marsalis’  “Skain’s Domain,” (Monday night) where world-class artists spin yarns and take questions from the audience.

When I think about education, these are three ideals I cling to.

  1. The best thing we can do is to create as many opportunities as possible for young people to be in the company of interesting adults.
  2. Greatness is achieved through a laser-like focus on overcoming bugs that bother you. Once you approach overcoming that obstacle, a new challenge reveals itself. Such focus tends to make experts great teachers since such self-awareness is easy to articulate.
  3. If you wish for others to learn from you, your practice needs to be as transparent as possible.

Each of these principles are embodied in the Skain’s Domain Web livestreams (and archives). I highly recommend you watch the one below, even if you do not understand the subject matter, like jazz, or know who the participants are. There is still plenty to learn about learning and teaching.

This class is not a cocktail party!

Back in the 90s, my colleagues and I created online graduate school programs at Pepperdine University. One of my colleagues told students, “This is not a cocktail party! Your online interactions need to be pithy and deliberate.” To make matters worse, she revealed to students that she used a handheld clicker to count their personal interactions.

Upon hearing this, my first reaction was sadness followed by thought that apparently my colleague has never been invited to a good cocktail party. In fact, I set out to use a cocktail party as the metaphor for all of my teaching. I assume that we have gathered for a common purpose. If someone becomes insufferable you can grab another coconut shrimp and participants are surrounded by a plethora of potentially interesting conversations. Social interaction was key to knowledge construction, collaboration and creativity. Worst of all, “measuring/assessing/counting” human interaction had a predictable prophylactic impact on the social cohesion and productivity of the class.

So, here’s an activity for you to try…

  • Teachers from a school or department, perhaps even multiple schools, should meet online via a platform like Zoom. A diversity of experience, age, gender, friendships, perspectives, race, etc. are all welcome.
  • That Zoom session should be open to the public (or as broad a cross-section of your community as possible) and recorded in order to share the archive. Advertise the session in advance at a time your community may be available to “participate.”
  • The participating teachers should discuss any topics they wish, reminisce about their teaching experiences, plan their next units, chill, catch-up on each other’s lives, or a combination of all-of-the-above. If children are watching the online “faculty room,” be sure that the language and topics discussed are age appropriate.
  • After 30-45 minutes of the “audience” observing your social fishbowl, open the session up to questions from the peanut gallery. Break the fourth wall.

Voila! That’s it! Go ahead and change the world!

Let me know what you learn.


Veteran educator Dr. Gary Stager is co-author of Invent To Learn — Making, Tinkering, and Engineering in the Classroom and the founder of the Constructing Modern Knowledge summer institute. He led professional development in the world’s first 1:1 laptop schools and designed one of the oldest online graduate school programs. Learn more about Gary.

I’ve managed to do some some writing during the plague. Thanks for reading and stay safe.

  1. This is Our Moment! 
  2. Let COVID-19 Kill the Pencil
  3. Time for Optimism
  4. Scratch and the Negligent Homicide of Mathland

 

I hope that anyone reading this is healthy and sane during this period of uncertainty. Teachers and kids alike are grieving over the loss of freedom, social interactions, and normalcy. Many families, even those never before considered at-risk, are terrified of the potential for financial ruin or catastrophic health risks. Since I’m all about the love and spreading optimism, I humbly share a silver-lining for teachers and the kids that they serve.

The fact that you are being told to “teach online” in some vague version of “look busy” may mean that teachers are finally being trusted. Districts large and small are abandoning grading as they recognize that education (at home) is inequitable. I guess it’s better late than never to discover the obvious.

Parents and superintendents are vanquishing the needless infliction of nonsense known as homework. Standardized testing is being canceled, an actual miracle. Colleges have recognized that enrolling students next Fall is more important than SAT or ACT scores. Each of these emergency measures has been advocated by sentient educators forever.

So, there is reason to celebrate (briefly), but then you must act! Use this time to remake schooling in a way that’s more humane, creative, meaningful, and learner-centered. This is your moment!

In the absence of compelling models of what’s possible, the forces of darkness will fill the void. Each of us needs to create models of possibility.

The fact that kids’ days are now unencumbered by school could mean that they finally have adequate time to work on projects that matter rather than being interrupted every 23 minutes. I recently wrote, What’s Your Hurry?, about teaching computer programming, but it’s applicable to other disciplines.

Project-based learning offers a context for learner-centered pedagogy. I was reminded that the new edition of our book, “Invent To Learn – Making, Tinkering, and Engineering in the Classroom,” includes several chapters on effective prompt setting that may be useful in designing projects for kids at home. Invent To Learn also lays out the case for learning-by-doing. Use that information to guide your communication with administrators, parents, and the community.

The following are but a few suggestions for seizing the moment and reinventing education after this crisis is resolved so we may all return to a new, better, normal.

Practice “Less us, more them”

Anytime a teacher feels the impulse to intervene in an educational transaction, it is worth pausing, taking a breath, and asking, “Is there less that I can do and more that the student(s) can do?” The more agency shifted to the student, the more they will learn.

One exercise you can practice teaching online, as well as face-to-face, is talk less. If you typically lecture for 40 minutes, try 20. If you talk for 20 minutes, try 10. If you talk for 10, try 5. In my experience, there is rarely an instance in which a minute or two of instruction is insufficient before asking students to do something. While teaching online, try not to present content, but rather stimulate discussion or organize activities to maximize student participation. Piaget reminds us that “knowledge is a consequence of experience.”

Remember, less is more

My colleague Brian Harvey once said, “The key to school reform is throw out half the curriculum – any half.” This is wise advice during sudden shift to online teaching and the chaos caused by the interruption of the school year.

Focus on the big ideas. Make connections between topics and employ multiple skills simultaneously. Abandon the compulsion to “deliver” a morbidly obese curriculum. Simplify. Edit. Curate.

Launch students into open-ended learning adventures

Learning adventures are a technique I became known for when I began teaching online in the 1990s. This process is described in the 2008 paper, Learning Adventures: A new approach for transforming real and virtual classroom environments.

Inspire kids to read entire books

Since the bowdlerized and abridged basals are locked in school, encourage kids to luxuriate with real books! Imagine if kids had the freedom to select texts that interest them and to read them from cover-to-cover without a comprehension quiz or vocabulary lesson interrupting every paragraph! Suggest that kids post reviews on Amazon.com for an authentic audience rather than making a mobile or writing a five-paragraph essay. Use Amazon.com or Goodreads to find other books you might enjoy.

Tackle a new piece of software

Been meaning to learn Final Cut X, Lightroom, a new programming language, or any other piece of sophisticated software? Employ groups of kids to tackle the software alone or together and employ their knowledge once school returns. Let them share what they know and lead.

Contribute to something larger than yourself

This is the time for teachers to support kids in creating big creative projects. Write a newspaper, novel, poetry anthology, play, cookbook, or joke book. Make a movie and then make it better. Create a virtual museum. Share your work, engage in peer editing, and share to a potentially infinite audience.

Check out what Berklee College of Music students have already done!

Teach like you know better

Use this time to rev-up or revive sound pedagogical practices like genre study, author study, process writing, interdisciplinary projects and the other educative good stuff too often sacrificed due to a lack of sufficient time. You now have the time to teach well.

Take note of current events

Daily life offers a world of inspiration and learning invitations. Why not engage kids in developmentally appropriate current events or take advantage of opportunities like JSTOR being open to the public during the COVID-19 crisis? Here’s a possible student prompt.

“Go to JSTOR, figure out how it works, find an interesting article, and share what you learned with the class.”

Let Grow

Change the world by challenging students to learn something on their own by embracing the simple, yet profound, Let Grow school project. A simple assignment asks kids to do something on their own with their parent’s permission and share their experiences with their peers.

Stand on the shoulders of giants

Every problem in education has been solved and every imaginable idea has been implemented somewhere. Teachers should use this time to read books about education written by experts and learn the lessons of the masters.

Take time to enjoy some culture

There is no excuse to miss out on all of the cultural activities being shared online from free Shakespeare from the Globe Theatre, Broadway shows, operas, living room concerts, piano practice with Chick Corea, and exciting multimedia collaborations. Many of these streams are archived on social media, YouTube, or the Web. Bring some peace, beauty, and serenity into your home.

The following are some links, albeit incomplete and subjective, to free streaming cultural events.

Apprentice with the world’s greatest living mathematician

In A Personal Road to Reinventing Mathematics Education, I wrote about how I have been fortunate enough to know and spend time with some of the world’s most prominent mathematicians and that while not a single one of them ever made me feel stupid, plenty of math teachers did. Stephen Wolfram is arguably the world’s leading mathematician/scientist/computer scientist. Over the past few years, he has become interested in teachers, kids, and math education. Dr. Wolfram spoke at Constructing Modern Knowledge, runs an annual summer camp for high school mathematicians, and has made many of his company’s remarkable computational tools available for learners.

Acknowledging that many students are home do to the pandemic this week, Wolfram led a free online Ask Me Anything session about an array of math and science topics, ostensibly for kids, as well as a “follow-along” computation workshop. You, your children, or your students have unprecedented access to all sorts of expertise, just a click away! This is like Albert Einstein making house calls!

A bit of exploration will undoubtedly uncover experts in other disciplines sharing their knowledge and talents online as well.

Abandon hysterical internet policies

The immediate need for laptops, Internet access, student email, plus the expedient use of available technologies like YouTube, FaceTime, Skype, Twitter, Instagram, and Zoom has instantly dispelled the hysterical and paranoid centralized approach to the Internet schools have labored under for the past twenty-five years. The Internet has never been dependent on the policies of your school or your paraprofessional IT staff to succeed. Perhaps we will learn what digital citizenship actually looks like after teachers and children are treated like modern citizens.

Heed Seymour Papert’s advice

When I worked with Seymour Papert, he created a document titled, “Eight Big Ideas Behind the Constructionist Learning Lab.” This one sheet of paper challenges educators to create productive contexts for learning in the 21st Century. Can you aspire to make these recommendations a reality in your classroom(s)?

Do twenty things to do with a computer

In 1971, Seymour Papert and Cynthia Solomon published, Twenty Things to Do with a Computer. How does your school measure up a half-century later?

Program your own Gameboy

Yes, you read that correctly. Here is everything you need to know to write your own computer games, build an arcade, or program a handheld gaming device!

Teach reading and programming simultaneously

Upper elementary and middle school students could learn to program in Scratch and develop their reading fluency at the same time. Learn how in A Modest Proposal.

Share my sense of optimism

Shortly before the COVID-19 crisis, I published, Time for Optimism, in which I shared reasons why progressive education is on the march and how we might teach accordingly. We can do this!

Wash your hands! Stay inside! Stand with children!


Veteran educator Dr. Gary Stager is co-author of Invent To Learn — Making, Tinkering, and Engineering in the Classroom and the founder of the Constructing Modern Knowledge summer institute. He led professional development in the world’s first 1:1 laptop schools and designed one of the oldest online graduate school programs. Learn more about Gary.

Prechewed Pencils

Today’s horrific health and economic crisis might have at least one educational benefit, students are “working” from home and like everywhere else in the past two generations, communication is largely via computer generated text, not manual handwriting.

Whenever I visit a school, I scan the environment, observe social interactions, and look for learning artifacts. Even while strolling around spectacular schools — the sort of institutions blessed with phenomenal facilities, grandiose grounds, well-stocked libraries, maker spaces, and performing arts centers — I sense reason for concern. The lower primary classrooms have examples, presumably of exemplary student work, adorning the corridor walls. Sadly, the displayed work fails to match the grandeur, quality, and expectations of the school. Por que?

Thanks to the technology of choice, the pencil, your average elementary school student will spend an inordinate amount of time filling a cleverly designed worksheet with two or three banal sentences. I truly lament the lost opportunities for children to create work commensurate with their creativity and intellect. The prophylactic barrier is the pencil.

How many learning disabilities are created by a six-year-old’s confusion between their ability to express one’s self and their physical prowess at etching letters with a primitive writing stick? The development of a child’s fine motor skills is much better suited to typing than handwriting. Few other intellectual pursuits require muscle development.

Word processing is the undisputed winner of the computer age. No serious writer under the age of a presidential candidate uses a writing stick for more than writing “not my fault” in Sharpie. Writers “write” on computers. Period. Full stop. Fin!

I harbor no doubt that the pencil has retarded literacy development. It spawned the five-paragraph essay, inauthentic “writing” assignments, and has made life unpleasant for teachers sifting through piles of student chicken scratch. The pencil has fundamentally limited the quality and volume of student writing. This is indisputable.

You learn to write by writing. When you waste several years teaching kids, not one, but two different styles of ancient stick scratching, you severely diminish opportunities for students to say something with coherence, persuasion, beauty, or personal voice.

Word processing makes it possible to write more, better, and quicker, while the editing process is continuous and fluid. You may still turn in X number of drafts to satisfy an assignment, but each of those drafts is the product of countless micro-drafts. Best of all, word processing eliminates another useless and ineffective subject of bygone eras, Spelling instruction! Bonus! #winning

Spare me the academic papers by tenure-track weenies at East Metuchen Community  College seeking to “prove” that handwriting instruction raises test scores or I will be forced to send you reams of scholarship on butter churning as an effective weight loss strategy or blood letting as an indicator of entrepreneurship.

I am sorry, but publishers of handwriting workbooks and providers of D’Nealian professional development may have to go and get themselves some of those clean coal jobs or find some other way to torture young people. The College Board may be hiring!

If you feel nostalgic about handwriting, offer a calligraphy elective. Now, your school will have an art class! The high-falutin handwritten International Baccalaureate a concern? Relegate penmanship to an 11th grade PE unit.

The only time I use a pen or pencil is when asked to autograph a copy of a book I composed on a computer. Banking is online, so no more check writing excuses. You can teach kids to sign their name on a greeting card for their great grandmother in a session or two and then say, “Aloha!” to Eberhard Faber. Spend the rest of elementary school how to think and engage in work that matters. Their lumbrical muscles will thank you and their intellectual development will no longer be limited by a Number 2 drawing stick.

Teachers, it’s time to say goodbye to your little friend… Pencils R.I.P


For those interested in “keyboarding instruction,” please read this literature review.


Veteran educator Dr. Gary Stager is co-author of Invent To Learn — Making, Tinkering, and Engineering in the Classroom and the founder of the Constructing Modern Knowledge summer institute. He led professional development in the world’s first 1:1 laptop schools and designed one of the oldest online graduate school programs. Learn more about Gary.

“Prechewed Pencils” by Bernie Goldbach is licensed under CC BY-NC-ND 2.0

One anonymous teacher who is quoted in my book, claims that her district is not using DIBELS because administrators and teachers want to use it or because it gives helpful information, because it doesn’t, she claims. “We’re using it because Reading First requires it,” she says. “Some schools are posting fluency scores of children … and then the students have race cars, in the form of bulletin boards, where they are trying to race to the speed goal. On the phoneme segmentation part, some kindergarten classrooms have been known to drill and practice the segmentation while kids are in line waiting for the restroom.”

DIBELS is not just an early literacy test. Teachers are required to group learners and build instruction around the scores. They’re evaluated on the DIBELS scores their pupils achieve. Publishers are tailoring programs to DIBELS. And academic and life decisions for children, starting in kindergarten, are being made according to DIBELS scores.

I believe this period in American education will be characterized as the pedagogy of the absurd. Roland Good, a DIBELS developer, told the U.S. House of Representatives’ Education Committee during a hearing last April that three million children are tested with DIBELS at least three times a year from kindergarten through third grade. New Mexico provides every teacher with a DIBELS Palm Pilot so the pupils’ scores can be sent directly to Oregon for processing.

Kentucky’s associate education commissioner testified at the hearing that the state’s Reading First proposal was rejected repeatedly until they agreed to use DIBELS. The DOE inspector general cited conflicts of interest by Good and his Oregon colleagues in promoting DIBELS.

Another teacher, quoted in my book, claims that while the DIBELS test is used throughout the school year, any child who receives the label “Needs Extensive Intervention” as a result of the first testing must be monitored with a “fluency passage” every other week.

No test of any kind for any purpose has ever had this kind of status. In my book, I analyzed each of the subtests in depth. Here are my conclusions:

•   DIBELS reduces reading to a few components that can be tested in one minute. Tests of naming letters or sounding out nonsense syllables are not tests of reading. Only the misnamed Reading Fluency test involves reading a meaningful text, and that is scored by the number of words read correctly in one minute.

•   DIBELS does not test what it says it tests. Each test reduces what it claims to test to an aspect tested in one minute.

•   What DIBELS does, it does poorly, even viewed from its own criteria. Items are poorly constructed and inaccuracies are common.

•   DIBELS cannot be scored consistently. The tester must time responses (three seconds on a stopwatch), mark a score sheet, and listen to the student, whose dialect may be different from the tester, all at the same time.

•   DIBELS does not test the reading quality. No test evaluates what the reader comprehends. Even the “retelling fluency test” is scored by counting the words used in a retelling.

•   The focus on improving performance on DIBELS is likely to contribute little or nothing to reading development and could actually interfere. It just has children do everything fast.

•   DIBELS misrepresents pupil abilities. Children who already comprehend print are undervalued, and those who race through each test with no comprehension are overrated.

•   DIBELS demeans teachers. It must be used invariantly. It leaves no place for teacher judgment or experience.

•   DIBELS is a set of silly little tests. It is so bad in so many ways that it could not pass review for adoption in any state or district without political coercion. Little can be learned about something as complicated as reading development in one-minute tests.

Pedagogy of the Absurd
I believe this period in American education will be characterized as the pedagogy of the absurd. Nothing better illustrates this than DIBELS. It never gets close to measuring what reading is really about-making sense of print. It is absurd that self-serving bureaucrats in Washington have forced it on millions of children. It is absurd that scores on these silly little tests are used to judge schools, teachers and children. It is absurd that use of DIBELS can label a child a failure the first week of kindergarten. And it is a tragedy that life decisions are being made for 5- and 6-year-olds on the basis of such absurd criteria.

Today’s parents of five year olds are hearing a new answer to the age old question, “What did you do in school today? “I got DIBELed.” Within a few days of entering kindergarten, hundreds of thousands of five year olds are given their first opportunity to taste failure in their ability to say the names of letters in three seconds, say the sound that a picture name begins with in three seconds, and sound out three letter words in three seconds. And if they can’t get enough letters named, initial sounds made, or words sounded in one minute in each DIBELS sub-test then they have failed and are thus in need of intensive instruction even though they just started kindergarten. From then on they will be DIBELed three times during each year through third grade and sometimes beyond. By mid-year in kindergarten the children also must sound out a page of nonsense syllables. 

DIBELS reduces reading to a set of one-minute tests of reading “skills.” Many five year olds are simply overwhelmed by being escorted to an unfamiliar place in the school where a stranger with a stop watch rushes them through a series of tasks and stops them before they have had any chance to figure out what is happening.  

DIBELS takes over the lives of primary children and determines their school future. It becomes the curriculum. In a half-day kindergarten five year olds will get little more than DIBELing in school. Ironically, there’s little time for reading and even less time for writing. And all over America children are being retained in Kindergarten or first grade on the basis of their DIBELS scores. Some teachers have a bulletin board with nonsense words for the children to practice reading nonsense. Children practice for DIBELS while waiting in line to use the toilet.  

With their commitment to testing what a child can do rapidly and accurately in one minute, DIBELS authors reduce reading to a series of tasks that measures something less than what the name of each implies. The tests are Letter Naming, Initial Sound, Phonemic Segmentation , Nonsense Words , Oral Reading. The last is the only test that has the child read a real passage. The score is the number of words read correctly in one minute. Children learn in repeated testing and practice to say as many words as they can quickly and not worry about the meaning. There is also a Retelling, added according to the DIBELS manual when teachers worried that the oral reading score didn’t show comprehension. The score is the number of words the child used in the retelling. In this test there is no concern for the quality of the retelling.

The authors also added an oral Word Use test that involves no reading..The child is asked to “use” a word. The score is the number of words used in using the word.  

The authors require what they call “fluency” in each sub-test. The child must be fast and accurate whether naming letters, abstracting initial sounds, breaking words into sounds, saying nonsense words, reading oral passages, retelling the text, or using words orally. It’s hard to see what how fast a child can name letters has to do with making sense of print.  

In none of the DIBELS one minute tests is there any measure of the quality of the reading: No score shows comprehension. 

To summarize: DIBELS is a set of silly little, one minute tests so poorly thought through and constructed that they would be unlikely to pass the review of any school, district or state committee. Education Week has said that there are widespread beliefs among local and state authorities that they could not receive No Child Left Behind funds unless they adopted DIBELS. (Education Week, Sept. 7, 2005.) 

No child should suffer what millions are suffering from DIBELS. And no parent or teacher should be party to DIBELing the enthusiasm for school out of children for the sake of the meaningless bench marks that are replacing learning to read in too many American schools.


Scratch is a miracle. It’s popularity as a creative computing environment and its ubiquity around the world are truly impressive. Millions of children use the environment and have shared tens of millions of projects for others to enjoy and remix.

Scratch is a descendent of the Logo programming language. Logo was the first, and I would argue best, programming environment ever designed for children and learning. Logo is over fifty years old. While this would seem to be a million years old in technology years, Logo not only remains powerful in the hands of children, but benefits from a half-century worth of research, project ideas, and collective pedagogical wisdom.

Scratch adds media computation to the Logo bag of tricks available to kids. The sort of storytelling projects created in it appeals to adults who value kids being engaged in creative acts. A large part of Scratch’s appeal is the enormity of its project library full of projects that look like anyone can make them. It is also worth remembering that Scratch was originally designed for use in afterschool programs where teaching could not be guaranteed. Kids look at Scratch and know what to do. These are powerful and legitimate design features that contribute to its popularity.

Logo on the other hand was designed as a vehicle for education reform and created a “microworld” in which children could be mathematicians rather than just be taught math. Kids using Logo often fell in love with mathematics and felt intellectually powerful for the first time. Logo introduced the concept of the turtle, a representation of the child’s place in physical space, and turtle geometry, a math connected to movement in the real world. The turtle matched the intensity of children, captured their imagination, and was their collaborator in constructing mathematical knowledge. In 1968, Alan Kay first imagined the Dynabook, the progenitor of the modern laptop or tablet computer, after observing children programming in Logo. Kay recalls being amazed by the sophisticated mathematics young children were engaged in. Fifty-two years later, I feel the exact same way every time I use Logo with children.

*Today, a 5th grader came bounding up to me to announce, “Look what I accomplished!” She had taught the Logo turtle to draw a fraction, a bit of curricular detritus that normally invokes dread. In the process, she simultaneously demonstrated understanding of fractions, division, angle, linear measurement, and was on the verge of understanding variables all while teaching the turtle to draw. Turtle geometry may be the greatest mathematical prosthetic ever invented for learners. Logo creates a Mathland in which “messing about” and learning mathematics is as natural as a child develops oral language.

Math is the weakest link in every school. It remains the center for misery and instructionism in most. Seymour Papert taught me that the teaching of math ultimately jeopardizes all other efforts at educational progress. There is no gap as wide as the gulf between mathematics – a jewel of human intellect, and school math. Papert believed that even the most progressive schools become undone by the traditional diet and pedagogy of school math. He often discussed the need to create a mathematics children can love, rather than inventing tricks for teaching a “noxious” irrelevant math. Papert convinced me that no matter how project-based or student-centered a school happens to be, there remains a part of the day or week (math time) when coercion is reintroduced into the system. That is ultimately coercive to the nobler aims of the institution. Logo is and has been one of the few Trojan horses available for helping teachers rethink “math” on behalf of the kids they serve.

I fear for the future of such experiences in a world in which software has no value and there is no incentive for modern Logos to be created.

I just spent several hundred words stipulating that Scratch is a good thing. However, decisions were made in the evolution of Scratch that undermine its ability to make mathematics comprehensible, wondrous, relevant, and accessible for learners of all ages. Scratch could maintain fidelity to the powerful ideas inherent in Logo while adding all of the storytelling, animation, and media manipulation in a Web-based programming environment, but the designers of Scratch have decided to do otherwise. In fact, the most recent version, Scratch 3.0, has made it either too difficult or impossible to create the sorts of experiences I desire for my grandchildren and the children I’m privileged to teach.

I truly do not wish to step into the minefield of arguing about everyone’s favorite software, but my concerns are legitimate. I know readers may be thinking, “Hey, design your own software if you love Logo so much!” This is impossible in a world in which software has no value and there is no incentive for modern Logos to be created. Scratch benefits from mountains of government, university, and corporate funding, making it the 900-pound gorilla in coding for kids. That’s a good thing, but it could be better. My hope is that as Scratch evolves, consideration is given to bringing back some of the powerful mathematical ideas that have been lost.

Let me get specific. The following examples are a non-exhaustive list of the ways in which Scratch makes my life more difficult as a teacher and teacher educator concerned with providing authentic mathematical experiences.

Putting the turtle out to pasture
Perhaps the most enduring and kid-imagination-capturing metaphor of Logo programming goes like this:

[Teacher] “The turtle has a pen stuck in its belly button. What do you think happens when it drags its pen?”

[Kids] It draws!

This sounds simple, but is at the heart of what makes Logo a powerful, personal experience. Placing a transitional object representing ourselves inside of the machine is an instant personal invitation to programming. Drawing, with a crayon, pencil, or turtle is the protean activity for representing a child’s thinking.

Drawing or painting with the mouse is fine but denies children opportunities to express mathematical formalisms in service of drawing. There is fifty years’ worth of scholarship, joy, and powerful ideas associated with turtle graphics – often a user’s first experience with thinking like a mathematician and debugging.

Scratch 3.0 inexplicably demotes its pen blocks (commands) to software extensions. The extensions are hidden until the user un-hides them. All of the other Scratch 3.0 extensions support either external hardware control or more advanced esoterica like interactive video, language translation, or text-to-speech functionality. I appreciate that part of Scratch’s success is its clean design and lack of clutter. However, pen blocks are seminal and were integrated into previous versions. This design decision has several negative consequences.

  • It complicates the possible use of turtle graphics by requiring finding the location of the extensions button and clicking on the pen extensions
  • It implies that turtle graphics (drawing) is not as valuable a form of expression as animation.
  • The symbol on the extensions button is highly non-intuitive.
  • The pen blocks, once the extension is loaded, appear near the bottom of the block palettes, far from the motion blocks they rely on. This makes block programming cumbersome when the focus is turtle geometry.

The turtle has a pen stuck in its nose? Ouch!
In Scratch, the sprite draws from the perimeter of its shape, not its center. This makes precise movement, predictions about distances, and drawing precision much more difficult.

There are no turtle costumes for sprites
The turtle head points in the direction that matches “Forward” commands. This is obvious to even the youngest programmers. In Scratch, even if one wanted to use the turtle, there are no turtle costumes. Neither the turtles found in systems, like Turtle Art, MicroWorlds,  Lynx , or even the old 70s-80s era turtle  are provided. While it is possible to design your own Scratch costumes, you would be required to do so for every project, rather than merely adding sprite costumes to the system.

It is easy to explain that the “turtle may wear other costumes you design,” telling the kids that “the sprite could be a turtle that you can dress in custom costumes,” adds needless complexity.

No Clean, CG, Home, or CS
Nearly every other version of Logo has a Clean command for erasing the screen, CG, or CS for erasing the screen and repositioning the turtle at the center of the screen with a compass orientation of zero. Commonly found, HOME commands, send the turtle back to the center of the screen at coordinates, [0 0]. These are all simple concepts for even young children to quickly grasp and use.

Scratch’s pen extension Erase All block wipes the screen clean, but neither returns the sprite to home nor reorients a “dizzy turtle.”

Program for clearing the screen and sending the turtle/sprite home

Sure, if a teacher wants students to have a block performing the roles of Clearscreen, Scratch allows them to Make a Block.

The problem with doing so is that Scratch leaves the blocks you create, complete with their instructions, in the blocks palette – cluttering up your workspace. The definition of the “new” block cannot be hidden from users, even when the new block appears under My Blocks. Even more critically, there is no simple way to add pseudo-primitives (user-created blocks) to Scratch 3 for use by students each time they use the software. Therefore, you need to recreate Clearscreen in every new project.

[Making your own blocks is buggy too. Make your own block. Drag that stack of blocks, topped by Define, off the screen to delete it. Press Undo (Apple-Z or CTRL-Z). The definition stack of blocks returns, but not the new block under My Blocks until another block is created.]

The default sprite orientation is 90
When you hatch a sprite in Scratch, its orientation is towards the right side of the screen with an orientation of 90. If one hopes for children to construct understanding of compass orientation based on Mod 360, orienting the sprite/turtle to 0 is more intuitive. Since the turtle is a metaphor for yourself in space, your orientation is up, or 0 when facing the computer to program it.

No wrapping
For many kids, one of the most intoxicating aspects of turtle graphics comes from commanding the turtle to go forward a large number of steps. In many ways, it’s a kid’s first experience with big numbers. Turn the turtle and go forward a million steps and get a crazy wrapping pattern on the screen. Add some pen color changes, turns, and more long lines and math turns into art turns into math.

Scratch has no wrapping due to its focus on animation and game design. There could be a way to toggle wrap/no wrap. But alas…

Units are unnecessary
Not only are they unneeded, but educationally problematic. Far too much of math education is merely vocabulary acquisition, often devoid of actual experience. I go into countless classrooms where I find a store-bought or handmade “angles” poster on the wall listing the various kinds of angles. My first question is, “Who do you think is reading that?” The kids certainly aren’t, but more importantly, “Who cares?” Kids are forced to memorize names of angles too often without any experience with angles. Turtle geometry changes all of that.

If you watch me introduce turtle geometry to children, I show them that the turtle can walk and turn. It walks in turtle steps. I never use the terms, angle or degrees, until either kids use them or much much much later. After kids have experience with angles and a growing intuition about their units of measure will I mention the words, angle or degrees. After experience, those labels hang nicely on the concepts and the terms are understood, not just parroted.

In Scratch, the turn right and turn left blocks include the label for “degrees.” This is quite unfortunate. The design of these blocks is particularly odd since they do not even use the words, right and left, but arrows instead. This is most peculiar when juxtaposed against the rest of the motion blocks which are excessively chatty with extraneous text for their inputs.

Why use symbols for right and left and not a straight arrow for move?

To make matters worse, the default degree value in Scratch is 15. Kids naturally turn in 90 degree increments. If the default were 90, as it is in Turtle Art, kids quickly realize that there are turns smaller and larger when seeking angular precision. This is a much more effective sequence for understanding angle measurement from the syntonic to the abstract.

One tacit, yet profound, benefit of teachers teaching with Logo is that they gain experience teaching mathematics without front-loading vocabulary. In too many classrooms, kids are “taught” terms, like degree or angle, absent any experience. Logo-like environments offer the potential for teachers to appreciate how students may engage in mathematics unburdened by jargon. After children enjoy meaningful experiences and “mess-about” with the turtle, it is easy to say, “that’s called an angle,” or “the units used to measure angles are called degrees.” Those terms now have a powerful idea to hang their hat on.

Starting with units is not just unnecessary, it’s pedagogically unproductive.

Asymmetrical movement
Why are there blocks for turning right and left when there is only one move block? In Logo, Forward (FD) and Back (BK) are incredibly simple for children to understand and act out by playing turtle as a formal activity or in the course of programming. Move is ambiguous. Which way should I move? Forward and back make perfect sense.

Frankly, having a default of 10 in the move block is also a drag. For decades, teachers have experienced success by asking children, “How far would you like the turtle to go?” Kids suggest values and then are surprised by them. 10 is an arbitrary number. I might prefer 0 or a random integer as the default value for move. Such a change would force children to make a decision about the distance they wish to travel.

If you want the turtle to move backward, there is no back block. You are required to turn 180 degrees or move by a negative value.

Premature use of negative numbers
Introducing negative numbers and vectors the moment one encounters the turtle is premature and likely developmentally inappropriate. There is no reason for little kids to deal with negative numbers so soon when forward (fd) and back (bk) blocks could have been in the system, or at least as primitives under the pen extensions.

Multiple forwards provides kids practice with repeated addition, leading to multiplication.

Consider this simple example:

fd 20
fd 30
fd 100

Now you want the turtle to return to the midpoint of that line segment.

You can achieve that goal three ways, not including all of the repeated addition that might be used if a kid is not ready to divide 150 by 2 or figure out that a U-turn equals 180 degrees.

bk 75
rt 180 fd 75
fd -75

It is the possibility of solving even simple problems in multiple ways that is central to the genius of learning to think mathematically with Logo and the turtle. Sadly, the Scratch use of “move” to replace forward and back makes what was once a natural simple act, complicated or impossible.

PS: One more annoyance
Why are ask and answer in the Sensing palette? They get information from a user, but do not sense anything. Either move them or rename the Sensing palette, Data. Again, why lead the witness with the arbitrary “What’s your name?” value?


*Notes:
This was largely written after a recent day teaching kids. I spent months deciding whether to share this with the world. The great Cynthia Solomon contributed to my thinking and Sylvia Martinez read a draft. Seymour Papert is in my head all of the time.

Resources

  • Scratch – web site for Scratch software
  • ScratchEd – online community and resources for teachers teaching with Scratch
  • LogoThings – Cynthia Solomon’s collection of artifacts on the history of Logo
  • A Modest Proposal – ideas for using Scratch to learn computing and reading
  • Lynx – web site for new generation of Web-based Logo
  • MicroWorlds – web site for MicroWorlds software
  • Turtle Art – web site for Turtle Art software
  • The Daily Papert – archives of Seymour Papert writing, audio, and video
  • The Logo Exchange – archives of the long-running journal for Logo-using educators
  • Logo history discussion – video interview with Cynthia Solomon and Wally Feurzig, two of Logo’s creators

Selected bibliography

  • Abelson, H., & DiSessa, A. A. (1986). Turtle geometry: The computer as a medium for exploring mathematics: MIT press.
  • Harvey, B. (1982). Why logo? . Byte, 7, 163-193.
  • Hawkins, D. (2002). The informed vision; essays on learning and human nature. NY: Algora Press.
  • Newell, B. (1988a). Turtle confusion: Logo puzzles and riddles. Canberra, Australia: Curriculum Development Centre.
  • Newell, B. (1988b). Turtles speak mathematics. Canberra, Australia: Curriculum Development Centre.
  • Papert, S. (1972). Teaching children to be mathematicians versus teaching about mathematics. International Journal of Mathematical Education in Science and Technology, 3(3), 249-262.
  • Papert, S. (1993). Mindstorms: Children, computers, and powerful ideas (2nd ed.). New York: Basic Books.
  • Papert, S. (1999). Introduction: What is logo and who needs it? In LCSI (Ed.), Logo philosophy and implementation (pp. v-xvi). Montreal, Quebec: LCSI.
  • Papert, S. (2000). What’s the big idea? Toward a pedagogical theory of idea power. IBM Systems Journal, 39(3&4), 720-729.
  • Papert, S. (2002). The turtle’s long slow trip: Macro-educological perspectives on microworlds. Journal of Educational Computing Research, 27, 7-27.
  • Papert, S. (2005). You can’t think about thinking without thinking about thinking about something. Contemporary Issues in Technology and Teacher Education, 5(3), 366-367.
  • Watt, D. (1983). Learning with logo. New York: McGraw-Hill Book Co.
  • Watt, M., & Watt, D. (1986). Teaching with logo: Building blocks for learning. NY: Addison-Wesley Publishing Company.

The Papert articles (above) are available here.


Veteran educator Dr. Gary Stager is co-author of Invent To Learn — Making, Tinkering, and Engineering in the Classroom and the founder of the Constructing Modern Knowledge summer institute. He led professional development in the world’s first 1:1 laptop schools and designed one of the oldest online graduate school programs. Learn more about Gary.