IWitness (Video Editing Tools)
Watch a short introduction to using the site. Before beginning work on a video project, watch a video on ethical editing.
Watch a short introduction to using the site. Before beginning work on a video project, watch a video on ethical editing.
I am doing some research on the use of maps to teach history. Any suggestions for research or theory would be helpful.
To get oriented to how maps can be used to teach history and begin exploring links to relevant websites, this newsletter can be a useful first stop. You will find links to videos of teachers using historical maps, checklists for what to focus on when teaching with maps, reviews of best practices, and links to teaching modules. The fundamental idea behind these resources is that geography can provide the context for sophisticated historical thinking if students are encouraged to actively think about what maps show and why they show it.
One of the clearest rationales for using maps to teach history that I have seen can be found in a recent book by David Rumsey(1) and Meredith Williams entitled Historical Maps in GIS. The authors argue that:
Historical maps often hold information retained by no other written source, such as place-names, boundaries, and physical features that have been modified or erased by modern development. Historical maps capture the attitudes of those who made them and represent worldviews of their time.
Geographic Information System (GIS) is an exciting new tool for history and geography educators that has been the focus of some recent research. If this is of interest you might begin your exploration of the benefits of using GIS by reading "Using GIS to Answer the 'Whys' of 'Where' in Social Studies" by Marsha Alibranadi and Herschel M. Sarnoff. In the article, the authors discuss not only the pedagogical and social benefits of using GIS, but also use real classroom examples to reflect on the challenges that the technology poses.
The most recent research on using maps to teach traditional geography that I could find was Ava L. McCall's "Promoting Critical Thinking and Inquiry through Maps in Elementary Classrooms" published in The Social Studies. The critical thinking that is promoted by this work is very similar to contextualized historical thinking. This is a key point. One of the difficulties in finding research on using maps in history education is that researchers often aren't looking for the dynamic recursive relationships between history and geography that are critical to both disciplines. For instance, studies might show how to develop map-reading skills, but they rarely show how to interrogate the map as a document as a means of determining why it was created and for whom, or how it helps us understand the past. There is very little research using this orientation to historical and geographical relationships.
Depending on your specific research interests, you may want to consult the following resources. You may not have access to all of the materials but if you see something of interest you can contact your librarian. Or you may try a trial membership. The large national database on educational research can be accessed here. Two journals (Theory and Research in Social Education and The History Teacher) devoted to history and social educational research can be accessed here and here. And finally, if you are interested in international research in geography education you may want to look at the Review of International Geographic Education Online or back issues of the journal Research in Geographic Education.
Good luck with your research and let us know if you discover anything.
Christina Chavarria of the U.S. Holocaust Memorial Museum describes the many resources the museum can offer TAH Grant projects and her own perceptions on the value of the TAH Grant program.
During the course of the time that I've been at the Holocaust Memorial Museum, we've had quite a few calls from TAH grant directors who are bringing teachers to Washington who would like a tour of the museum, and sometimes they might ask for a short professional development session.
So this really piqued our curiosity and we began to think of how we could work more intentionally with the TAH program, and it led us to really look at our resources and how our resources support American history, because even though the Holocaust took place in Europe, it is also very much a story about the United States and American responses and how those responses inform a lot of what we're teaching in schools today and issues that we're dealing with here in the United States.
We ask what the theme of the grant is and if there's any particular focus that they are looking at within the grant. For example, we had one TAH project director telling us about the focus on President Roosevelt. So we worked with our historians, our Senior Historians Office; we also work with collections, to see what collections we have that support American history, and we also look at using our permanent exhibition because our permanent exhibition does have a focus on the United States and the role of the United States.
So we try to put in time, of course, for the teachers to see the exhibit, that's very important. and a session on how to teach about the Holocaust and if there is a direct focus within the grant, we can look at our senior historians office to support a lecture about some historical topic that's related to the grant.
We also encourage teachers to hear Holocaust survivors, their testimonies. We do have Holocaust survivors who are at the museum every day. And if we have a phone call and if the project directors make contact with us early on, we can arrange to have Holocaust survivors speak, and that's very important, because we are losing that generation. So while we still have our survivors with us we do encourage teachers and the project directors to incorporate Holocaust testimony in the visit.
The standards in the United States for teaching U.S. history are either very explicit on teaching the Holocaust, where they state responses to what was happening in Nazi Germany and what was happening in occupied Europe during that time—those are very explicitly stated in many states. But when you look at other themes, American response, foreign policy respond, the rise of fascism, American responses to fascism—if you look at American responses to dictatorships, all of these strands within the elements and standards are very much a part of what we focus on at the museum. It's a very natural fit.
Pretty much everything you will see at the United States Holocaust Museum fits in perfectly to support U.S. history teachers when you're looking at 20th-century history. And even the precedents that were set before. You can look at the 19th century, you can look at the role of antisemitism. There are so many elements. And then of course, today, focusing on our responses to genocides since the Holocaust—that is an incredibly important topic to our museum. And, so, we would encourage U.S. history teachers to look at American foreign policy in trouble spots in places like Darfur, in the former Yugoslavia, like Rwanda, and how we've responded to those situations, and how the Holocaust gave us this, I don't want to say opportunity, but it gave us this light on the subject that is still very much with us today.
Because our primary focus is on the victims and our survivors and their testimonies, but, for example, in working with a Teaching American History group a few weeks ago, I focused on some interviews with an African American athlete, John Will—John Woodruff, excuse me, who was a participant in the 1936 Berlin Olympics, and he speaks very eloquently about his experiences in Berlin in 1936, representing the United States and being proud to represent his country and his race and what he saw there and the euphoria of the crowds in reaction to his gold medal victory—also Jesse Owens, which is a story that many people know very well. And then when he returns home, he speaks about being excluded from the hall of fame, from the university where he, that he attended.
In looking at that, to show again what we do in a professional development is to show how expansive this history really is. And we use survivor testimony, we use witness testimony, we use liberator testimony. we also focus very much on photos and other primary source documents. And what we really want to do is to complicate the thinking of the teachers that come to us for professional development, to show that this history is so complex and so vast in its context from the years that it took place, but what happened in the years before, the decades and centuries before, and what's happening after.
June and July are very, very busy months for us and usually we're booked about a year before in our schedules, so I recommend to project directors that they contact us, perhaps in the fall, but as soon as they know that they want to come, they need to be in touch with us, and we will do our absolute best to get them in the museum—because that's very important and if there's time and if there's space and we're available to do so we would be very happy to provide professional development to them, as well.
And for groups that they cannot come to Washington, DC, we offer many resources offsite. First of all, our website is filled with archival material—our photo archives, for example. We also have exemplary lessons that have been tested by teachers and education experts, and they have been vetted for historical accuracy. We also have online exhibitions that contain collections that we encourage teachers to use for a more hands-on approach. More importantly, we have traveling exhibitions, and on our website, you can see a schedule of what exhibitions will be in certain venues around the country and when.
And from our standpoint, from the educational standpoint, we have a network of museum regional educators, our Regional Education Corps, and these are 30 educators who are deeply involved with our museum who are spread out around the country, and if you contact us in the Education Division, in the National Outreach for Teacher Initiatives branch, we can be in touch with our museum regional educators and they can work with a TAH project anywhere in the country to provide professional development even before a group comes to the museum, or after, or if they never come at all—we still have that on-ground support. We also have 246 museum Teacher Fellows around the country, one in each of the 50 states, and they are also resources whom we turn to to provide professional development in places where we're not able to go.
The value of Teaching American History is that it works so closely with a group of teachers and it provides sustainability, and sustainability in the career of a teacher is incredibly important. Sometimes you feel like you're alone as a teacher in your classroom, and when you have that network of support and it's ongoing and it's centered on a theme and a particular rational, that makes a teacher feel incredibly rewarded for having that experience, but more importantly that translates into student success.
And students will only benefit from a teacher having that kind of quality interaction with professionals around a sustained program that will keep them going. The network and the broad availability of resources in the form of other teachers and other grants and what is available online is astounding, and I hope that it continues, and I encourage teachers and educators throughout the country to look at this program, because it does sustain teachers, and if you sustain the teacher, the teacher can better sustain the student, so that that translates into success in the classroom for the student.
Can you suggest any literature covering World War I to World War II that my 10th-grade world history class can read? I am looking for short stories or novels from that period that would interest my students. I would like stories that include what life was like during these years for young people.
Historical literature can really grab your students' interest. Consider the following excerpt:
They had come for him just after midnight. Three men in suits and ties and black fedoras with FBI badges under their coats. 'Grab your toothbrush,' they’d said. This was back in December, right after Pearl Harbor, when they were still living in the white house on the wide street in Berkeley not far from the sea. The Christmas tree was up and the whole house smelled of pine, and from his window the boy had watched as they led his father out across the lawn in his bathrobe and slippers to the black car that was parked at the curb.
He had never seen his father leave the house without his hat on before. That was what had troubled him most. No hat. And those slippers: battered and faded, with the rubber soles curling up at the edges. If only they had let him put on his shoes then it all might have turned out differently. But there had been no time for shoes.
Grab your toothbrush.
Come on. Come on. You’re coming with us.
We just need to ask your husband a few questions.
Into the car, Papa-san
Later, the boy remembered seeing lights on in the house next door, and faces pressed to the window. One of them was Elizabeth's, he was sure of it. Elizabeth Morgana Roosevelt had seen his father taken away in his slippers.
The next morning his sister had wandered around the house looking for the last place their father had sat. Was it the red chair? Or the sofa? The edge of his bed? She had pressed her face to the bedspread and sniffed.
"The edge of my bed," their mother had said.
That evening she had lit a bonfire in the yard and burned all of the letters from Kagoshima. She burned the family photographs and the three silk kimonos she had brought over with her nineteen years ago from Japan. She burned the records of Japanese opera. She ripped up the flag of the red rising sun. She smashed the tea set and the Imari dishes and the framed portrait of the boy's uncle, who had once been a general in the Emperor's army. She smashed the abacus and tossed it into the flames. "From now on," she said, "we are counting on our fingers."
The next day, for the first time ever, she sent the boy and his sister to school with peanut butter and jelly sandwiches in their lunch pails. "No more rice balls," she said. "And if anyone asks, you're Chinese."
The boy had nodded. "Chinese," he whispered. "I'm Chinese."
"And I," said the girl, "am the Queen of Spain."
"In your dreams," said the boy.
"In my dreams," said the girl, "I'm the King."
—When the Emperor Was Divine, a novel by Julie Otsuka, p. 7375
This list includes books considered to be for adult readers as well as books considered to be for young adult readers. These labels are only somewhat useful. Occasionally the young adult books are less challenging, though perhaps equally rewarding, for the reader.
A Very Long Engagement by Sebastien Japrisot won the Prix Interallie in 1991. This nonlinear mystery is a moving and incisive portrait of life in France during and after the First World War.
An ambitious, meticulously researched, novel, The Green Glass Sea by Ellen Klages is set in New Mexico in 1943 and told from the viewpoint of two disenfranchised children at Los Alamos where scientists and mathematicians converge (along with their families) to construct and test the first nuclear bomb. Grades 5up.
No Pretty Pictures, Caldecott illustrator Anita Lobel's haunting memoir of her traumatic years in Nazi-occupied Poland, is told from the perspective of a child—she is just five when the war begins—who does not fully comprehend what she is witnessing. Grade 6up.
Private Peaceful by Michael Morpurgo is a slim, stunning, and easily accessible novel written by the author of War Horse. "Exquisitely written vignettes explore bonds of brotherhood that cannot be broken by the physical and psychological wars of the First World War," said Horn Book Magazine. Grade 7up. Match with the superb photo-essay The War to End All Wars: World War I by Russell Freedman.
Bird in a Box by Andrea Davis Pinkney is a graceful, restrained, and detailed portrait of America's Great Depression, a time when the radio delivered the sound of Ella Fitzgerald and Duke Ellington into living rooms across the country and boxing champion, Joe Lewis, the "Brown Bomber," came to represent so much more than the zenith of a sport. Grade 4up.
Set on the Laguna Pueblo Reservation in the years immediately following World War II, Ceremony by Leslie Marmon Silko, focuses on Tayo, a young vet of mixed Indian ancestry. The book is Tayo's story of return and redemption. "The novel is very deliberately a ceremony in itself—demanding but confident and beautifully written," said the Boston Globe.
The Book Thief by Markus Zusak is an unsettling, unsentimental, poetic novel, set in World War II and narrated by Death. This is not an easy read, but it is a book that can change a life. Grade 9up.
We Are the Ship by Kadir Nelson is a sumptuous history of Negro League Baseball from its beginning in the 1920s to 1947 when Jackie Robinson broke the major leagues’ color barrier. Dazzling, almost iconic paintings illustrate the easygoing, conversational, historically detailed text, and all in all the book illuminates more than baseball in the '20s and '30s—it is a history of all of us. Grade 4up.
The narrator of Ruta Sepetys's Between Shades of Gray, 15-year-old Lina, begins "They took me in my nightgown." In 1941, Stalin is deporting families from Lithuania and imprisoning them in Siberia where daily life is brutal. It is the slim possibility of survival that provides hope. This book is similar to Esther Hautzig's earlier autobiographical novel, Endless Steppe in that it is similarly themed and equally searing. In Endless Steppe, 10-year-old Esther Rudmin is arrested with her family in Poland as "enemies of the people" and exiled to Siberia. Grade 6up.
Homestead, by Rosina Lippi, is a series of interconnected vignettes beginning in 1909, about life in Rosenau, a small isolated village in the Austrian Alps. The villagers harvest, tend animals, and make cheese. Against this pastoral backdrop are all of life's vicissitudes. The prose is clean and clear, each chapter is seemingly autonomous but as we see an event (over generations) from different characters' points of view, the life of Rosenau becomes increasingly rich and complex. This novel won the 1998 Hemingway Foundation/PEN Award for best first fiction and was short-listed for the 2001 Orange Prize.
The International Spy Museum is "the only public museum in the United States solely dedicated to espionage," according to its website, featuring "the largest collection of international espionage artifacts ever placed on public display." The museum works to offer an apolitical view into the world of spies and espionage and to explore the importance of espionage work worldwide, both in the past and the present day.
The museum offers downloadable educator guides, pre- and post-visit materials, workshops for grades 512, bus tours, and long-distance web-conferencing-based programs.
The lecture has fallen on difficult times . . . it relies too heavily on auditory input and makes students passive as opposed to active learners. —Silver, Strong, and Perini (1)
As history teachers we may often use the lecture format, and perhaps many of us had our first excitement about history ignited by an incredible lecture that sparked our interest in the past. But we also know that for an engaging lesson, we need students to be actively involved in that lesson. They must be actively processing what they are hearing. Because interaction and engagement are the climate to set in our history classes, our focus must be on more than teacher-led lectures consisting of just "teacher talk/students listen." A lot more.
You may have decided that you are going to use a lecture to impart a certain amount of information to your students. And perhaps you have some slides you wish to have them view, so you have created a PowerPoint presentation. Can the lecture be made more engaging? Can the lecture become less a passive imparting of information and more an interactive experience grappling with that information? Absolutely! Incorporating two elements into your lecture will make it interactive and engaging for your students:
To begin with, make the students first encounter with your lecture an interactive encounter. Rather than “Okay, take out your notebooks,” you might choose to begin with a Discrepant Event Inquiry. In this strategy (which my students have always termed their favorite), a puzzling statement or story is presented to students which they must figure out using questions that are answerable with a yes or a no. Questions build upon questions and answers build upon answers as students try to figure out the puzzle. Try beginning a lecture on General U.S. Grant with an inquiry such as "Although this person failed at much, this person’s successes ensured his success."
Or perhaps begin your lecture with a Media Hook. In this simple strategy you will select a powerful visual image to show the class. If you have an LCD or Smartboard the image can be made large enough for students to come up and interact with. Imagine the interest generated by beginning a lecture on the Depression with viewing Dorothea Lange’s "Migrant Mother." Use guiding questions to have students identify specific components of the image.
During the lecture give students time to review, formulate questions about the ideas, and process.
One quick strategy for processing is a Think-Pair-Share. At particular points, stop lecturing and ask an open-ended question about the material that has been covered. Students are given a short amount of time to think about their answer. Students then pair up to discuss their answer, and a brief whole-class discussion ensues. A variation of this is a Timed-Pair-Share in which students think about the open-ended question and in pairs take turns discussing their ideas, each for a specified period of time. Another strategy for processing is Spencer Kagan’s Numbered-Heads-Together. After numbering off one through four in a group, students put their heads together to discuss. A number is then called; the students with that number in each group must explain their group’s ideas.
And if you are using PowerPoint or other presentation programs during the lecture, pause at a picture and discuss it, and/or listen to a recording. Imagine pausing during a lecture on the Civil War to have students listen to a recording of a reading of the Sullivan Ballou letter from the soundtrack of Ken Burns’s Civil War (there are a number of excellent YouTube clips with this letter and accompanying images).
Finally, there are many excellent quick-write strategies that can be used to augment note-taking during the lecture. One excellent example is Sentence Syntheses. In addition to inserting within a lecture, it is particularly good for closure. In this quick-write, students construct meaningful sentences on ideas from the lecture, using two or three key terms. They then share these sentences. In a lecture on the Constitution, for example, the teacher might select the words separation, Constitution, and branch. Students must use all three words in a sentence that might come out like this: "Separation of powers is the principle in our Constitution of dividing powers between the different branches of government."
Or you might pause and have students respond to a Question All Write (which is exactly what its name states; you as the teacher give your students a question and they all write the answer prior to the classroom discussion). At the end of the lecture, you might ask students to write and share Outcomes Sentences, which, as in a Question All Write, has students responding in writing to a teacher prompt. Students complete the sentence stem I learned that…, or I still wonder why….
A lecture need not be a passive experience for students. It can easily become an interactive experience that will engage them in the ideas you are imparting. Give some of these mini-strategies a try in your next lecture.
1 Harvey F. Silver, Richard W. Strong, and Matthew J. Perin, The Strategic Teacher: Selecting the Right Research-based Strategy for Every Lesson (Alexandria, VA: Association for Supervision and Curriculum Development, 2007).
Yell recommends several resources for finding quick engaging mini-strategies that can be inserted to make a lecture more interactive:
Check out Yell's past blog entries here at Teachinghistory.org for more strategies, including ideas for teaching with documentary films, using textbooks, and drawing students into history as a mystery.
In a Ask a Master Teacher, we answer the question "How do I mix document-based teaching with lecture-style teaching to try to make sure the students learn the entire curriculum?"
Scholars In Action presents case studies that demonstrate how scholars interpret different kinds of historical evidence. This short story by Herman Melville was published serially in Putnam's Monthly magazine in November and December 1853. "Bartleby, the Scrivener" is the story of a copyist in a New York City legal office who refuses to perform any other work asked of him. It is also a story about office work and social relations at a time when urbanization and class stratification were increasing in New York City.
Economic and technological changes reshaped daily life dramatically in the mid-19th century. The rise of new categories of professionals and managers created a growing middle class that sought to impose its values and morals on the working class and poor through a wide range of reform movements. Melville's story of the relationship between the narrator, a lawyer, and his employee, Bartleby, was one of many stories about lawyers published in popular magazines in the 1850s and is part of a genre of stories that explore the culture of New York in that period.
NOTE: Deemed not acceptable for publication
This is a sampling of questions asked by my juniors in their final project for American History. Counterfactual or alternate history is a fringe topic amongst academic historians. However, as a class activity it challenges students to understand history as more than a series of inevitable events. The What If? project focuses on the specific engagement of the individual student with a deep investigation of the historical record. The steps that take the student through the exercise are challenging, couched in research, and steeped in creativity.
Finally, after they complete these eight steps, students use all the pieces amassed on their graphic organizers to pull together multimedia projects that utilize each piece of their evidence, real and created, in order to represent 2011 as it exists after their PODs. Students then post their work on their blogs and each writes a lengthy reflection. They answer questions including
Many times over I hear the students say things like, "You have no IDEA how much I know about this topic." They push back when I try to poke holes in their logic with events from the historical record; they cite primary sources when I need more proof. Their reflections often are the most telling records of the learning that occurs during this process. They write:
The thing that I found most fun about this project, was coincidentally the same thing I thought was the most difficult, and that was the fact that there were so many different possibilities. It was very fun to see how different events related to one another, and how changing one could set off this long domino effect about all of history. —Dennis
My favorite part of the actual creating of the project was definitely fabricating primary source documents. I felt so cool, like some kind of all-powerful, primary-source-creating being. —Luna
I liked that I had free control to change something in history. It gave me the opportunity to choose something I was passionate about and change it to my liking. On the flip side, it was hard to pick something to change that would give me the outcome I wanted. —Ayanna
I really liked the hypothetical part of this benchmark, it left a lot of room for creativity. I enjoyed making my primary source documents and making up a different future for our country. However, topic choice was definitely the most difficult thing for me. —Emma
What I like about the project was that it made me do a lot of thinking and I learned a lot of history by going out on my own and researching the information that I needed. —Sam
This unit causes my brain to hurt. This project causes my students' brains to hurt. It puzzles, stumps, and perplexes us. Students choose topics poorly but do not realize it until well into the project. I approve a topic that is 'too big' and we are challenged to find a way out as the project comes to a close. There are contracts, organizers, analysis, predictions, and sweat involved in this project. In the end, each student learns. They learn content in an intense and curious manner. They learn skills with an urgency of 'I need to know this right now.' They learn their limitations and challenges in the most instructive of ways. This unit also pushes me in all these ways and more. It pushes me as a teacher and as a constant student of history to be the type of resource they need throughout this project. This is learning in its most messy and beautiful form.
In Ask a Historian, John Buescher looks at how complicated (and ultimately unanswerable) questions of 'what if? can be (here, for World War II history).
Ask students to 'stop action and assess alternatives,' suggests teacher educator Lori Shaller. This teaching strategy can help students realize that history, as it was happening, presented its participants with constant 'what ifs?'
Students in high school (grades 912) pursue in-depth study of social studies content that equips them with the knowledge and skills required for success in postsecondary education (i.e., freshman level courses), the skilled workplace and civic life. The amount of content in the standards for each discipline corresponds to the course credit graduation requirements identified in Minn. Stat. § 120B.024 which are as follows:
3.5 social studies credits encompassing at least United States history, geography, government and citizenship, world history, and economics
OR
3.0 social studies credits encompassing at least United States history, geography, government and citizenship, and world history, and .5 credit of economics taught in a school’s social studies, agriculture education, or business department.
It is difficult to step into the minds of our students. As teachers, we are frequently seeking feedback from students and looking for those signals that let us know they understand. It is challenging to figure out both when students don’t understand something and what students don’t understand. Fortunately, much research has gone into this dilemma and we know that we must go beyond the simple tasks of checking for understanding and clarifying confusion. We must offer ample opportunity for students to explain their reasoning and foster metacognition. New technology, backchannel discussion, is making students’ thinking more visible to us teachers.
Backchannel communication is simply the communication that occurs simultaneously, but secondarily to instruction. For example, it could be the text messages students send to their classmates about how boring U.S. History class is. These secondary conversations occur in any meeting, and one could easily construe these conversations as disruptive. For the purposes of education, we want to formalize this backchannel chatter and give it a legitimate use in the classroom. This may differ from classroom to classroom, but essentially, students would sign in to a site from their wireless device or computer, post questions, reply to posts, and engage in a secondary conversation to the one occurring at the front of the room. Teachers can display this as a live feed on a LCD projector during class or can simply refer to it on their own device while teaching. In addition, teachers could post questions to this “chat group” to begin conversations prior to class and have them continue after class. Used effectively, a backchannel means extending the reach of class.
The first step in setting up a backchannel is to decide what site you would like to use and set up an account. Your best bet is to explore a variety of backchannel-friendly tools (Twitter, TodaysMeet, TinyChat, Chatzy, Wallwisher, Edmodo) and decide what best suits your needs. The second step is to make your chat room known to your students and accessible. Decide if you want the bulk of the conversation to take place during class or outside class time. In my classroom, I prefer instantaneous feedback. I have a LCD projector dedicated to displaying the running backchannel conversation. (By the way, LCD projectors have really come down in price, so you may be able to dedicate one to this purpose.) I like being able to refer to the screen to readily adapt my teaching or answer questions as we go. If I ever feel the conversation is visually distracting, I can simply turn off the LCD, but still allow students to post their comments.
In an effort to make students’ thinking visible, I am committed to fostering dialogue between students so that I as the teacher can better guide them. Having a running backchannel allows more “voices” to be heard as students type or text their thoughts. In a classroom conversation, I first ask an open-ended question; I then allow a few students to voice their responses aloud. Next, I turn students loose to discuss the question at hand with their group and explain their thinking. While these group discussions are taking place, students are simultaneously asked to text or type their thinking behind their answers to our backchannel feed. Students are doing the majority of the talking in this environment, and on top of that, more students are able to participate through the backchannel than would be able to participate in a normal class discussion. Students whom I find typically afraid to speak up in class find a voice for their thinking in the backchannel. As our class progresses, I refer to the backchannel discussion and use it as an opportunity to praise good thinking and validate those risk-taking students who acknowledged confusion.
In a more formal use of backchannel communication, try using it during a fishbowl discussion. In a fishbowl discussion, an outer circle of students act as quiet observers and an inner circle of students discuss. The outer circle could use a projected backchannel to fact-check, ask follow-up questions, and provide instant feedback to the speakers in the inner circle. With the backchannel conversation visible to the inner circle, adjustments can be made to the conversation in real time.
Have you ever run out of time before answering students “burning questions?" Another practical use of backchannel communication is allowing students to post questions during class that you as the teacher can come back to and answer after class. Students would need to know to log in to the backchannel site later to see their questions answered or to ask any new questions. If it is not feasible to have students log in at home, simply opening the backchannel conversation from yesterday's class allows you to pick up where you left off.
It is important that you decide ahead of time how you intend to use a backchannel. Will there be extra credit associated? Participation points? Or will your students understand the utility of the backchannel to bolster their understanding without extrinsic motivators? Are you dedicated to its use? If you do not pause to use it during class or follow up on student comments after class, students will not take the backchannel seriously.
The same things that make a backchannel conversation productive can also make it problematic. On one hand, a backchannel opens the door for timid students to participate or confused students to ask questions if they can remain anonymous. However, I lean in the other direction towards requiring student accountability, and require my students to post their class ID (a number only I and they know, not a sensitive number) before comments. Even after explicitly instructing students on the proper use of the backchannel, without some system of accountability I find the system too susceptible to the "comment smoke bomb" (an inappropriate comment made for distraction). Since I like to project the backchannel conversation, it is even more susceptible to student abuse; like anything new and exciting in your class, be prepared to shut it down if it's abused. Also, make students aware of their digital footprint, and wary of putting anything into writing that is inappropriate.
The other important issue is the use of cell phones in your classroom and your school policy on cell phones. While a backchannel conversation is easy to have in a computer lab where all students are at a computer, it is a bit trickier in a classroom. Students need access to a cell phone or other wireless-enabled device. You should make students aware that participation in a backchannel discussion may involve text message use and if they are unsure of their allotted texts to abstain from the activity (my experience is that every student with a cell phone is keenly aware of their text message allotment and this is a non-issue). As for breaking school cell phone policy, my feelings are as long as students are using cell phones for educational purposes, I can justify breaking the rules in my mind and hopefully in the mind of my principal.
In spite of its drawbacks, the possibilities of this background conversation are immense. While clickers offer us the ability to instantly check for understanding, they do not show us how students arrived at a given answer. Backchannel conversations, however, do allow us to see student thinking and adjust instruction accordingly.
Ready to learn about more digital tools? Browse Tech for Teachers to discover tools that can add flexibility, reach, and depth to your classroom when used thoughtfully and well.
What does a backchannel look like? This video in Beyond the Chalkboard gives one example.