Sentences with phrase «traditional language arts»

It is often difficult to get students enthusiastic about completing creative writing assignments on traditional language arts worksheets or plain lined paper.

Teaching methods utilized by the control teachers involved dividing each class into three reading groups by reading level, giving traditional language arts and writing instruction to the whole class, and using workbooks during follow - up time.

Not exact matches

When Gadamer stressed «the linguisticality of all understanding» he was extending hermeneutics beyond its traditional purview (works, art, people) to all otherness: to all that can address us through language, all that has the power to speak in conceptual form.

Even the language that the Christian once employed in speaking of Christ has become archaic and empty, and we could search in vain for a traditional Christian language and symbolism in contemporary art and thinking.

We have begun to introduce students to the language of the arts, and we have placed the acquisition of this language alongside the traditional forms of literacy and numeracy.

This study of 1,159 seventh graders, using both a correlational and quasi-experimental approach, compared students participating in the Concept - Oriented Reading Instruction (CORI) program who also had traditional instruction to students in only a traditional reading / language arts program.

Before OHSU, Anderson taught for six years in a traditional brick and mortar language arts classroom.

In this randomized controlled study on the impact of the arts on performance in traditional academic subjects, theater arts were integrated into language arts and social studies curricula for fourth - and fifth - grade students (14 experimental classrooms, 14 control classrooms).

Students participating in the CORI program had higher motivation, engagement, and achievement compared to students in the traditional reading / language arts program.

For example, while these five urban charter schools offer an existence proof that high standardized test scores are possible and within the grasp of every student in this country, it is equally true that the several practices of successful traditional schools in areas such as special education, the arts, or second language proficiency, offer insights for the charter world.

Unlike traditional public schools, choice schools often restrict the curriculum largely to mathematics, science, English, a foreign language, history, political science, art, and music followed by all students, which best prepares them for college, careers, and citizenship.

In a study I undertook in 1989, I found that 12 percent of the elementary and middle school magnet programs in my sample specialized in basic skills and / or individualized teaching; 11 percent offered foreign language immersion; 11 percent were science -, math -, or computer - oriented; 10 percent catered to the gifted and talented and 10 percent to the creative and performing arts; 8 percent were traditional, back - to - basics programs (demanding, for instance, dress codes and contracts with parents for supervision of homework); 7 percent were college preparatory; 7 percent were early childhood and Montessori.

The rigorous, engaging K — 8 curriculum includes traditional core subjects, art, music, and world languages.

According to Dr. Matthew Lynch, «Instead of treating the arts like a separate, distant relative to other classroom endeavors, (arts integration) programs integrate musical instruments, painting, dancing, drawing, singing and more into traditional subjects like science, math and language.»

He also asked if the public would recognize «joined italics» — one of the two possible types of cursive that Charlotte Webb, prekindergarten - through fifth - grade English language arts coordinator for the education department, said third and fourth graders would be required to learn — as traditional cursive.

Every additional dollar spent on charter schools is money that takes books, technology, counselors, nurses, librarians, world languages, music, art and extracurricular activities away from children in traditional public schools.

Effect of multi-part reading comprehension strategy was significant, but only in the content - oriented environment (Science IDEAS), not in traditional reading / language arts (narrative) environment (i.e., significant interaction)

In effect, traditional reading / language arts instruction was eliminated through replacement.

Developed over the past two decades as an interdisciplinary, knowledge - based model, Science IDEAS integrates reading comprehension and writing within daily, two - hour, instructional blocks focusing on in - depth science instruction that replaces traditional basal reading / language arts instruction.

In a broader instructional intervention working with ELL students across grades K - 6 for whom science instruction replaced traditional reading / language arts, Klentschy (2003) showed that grade 6 students who participated in the initiative for 4 or more years averaged a percentile rank of 64 on a state - administered nationally - normed reading test.

Children will be taught math, science, language arts, social studies and more, following an established curriculum as they would in a traditional school, but are taught in a foreign language, in which they will also become fluent in reading and writing.

The project Achievement Trajectory Tool applies a data - driven statistical model to predict the longitudinal achievement growth in reading comprehension and science across grades 3 - 8 of students receiving Science IDEAS in grades 3 - 5 in comparision with students not receiving Science IDEAS (i.e., receiving traditional reading / language arts instead of Science IDEAS).

To blend the traditional college preparatory studies of mathematics, science, and language arts with community service and citizenship.

Across the state, both traditional district and public charter schools made improvements in both English language arts (ELA) and mathematics.

The results of the new Common Core - aligned tests, which were released today, show that traditional / affiliated charter schools and independent charter schools are within two and half percentage points in overall performance in both math and English language arts, according to the California Charter Schools Association (CCSA).

Based on the spring results of the California Smarter Balanced assessments, the Los Angeles Unified School District recently announced that 55 percent of the district's magnet students met or exceeded state standards in English / language arts, compared with 39 percent in charters, 33 percent in the LAUSD overall, and 44 percent in traditional schools statewide.

eAchieve Academy provides students with all the core subjects found in traditional schooling — math, language arts, science and social studies.

Native communities face the risk of losing traditional arts, tribal languages, and cultural knowledge.

Starting in 8th grade, each student receives four years of Spanish - language instruction, beginning with either a native language arts class for Spanish speakers or a more traditional high school Spanish course.

For the second year in a row, LA Unified's independent charter schools outperformed the district's traditional schools on California's standardized math and English language arts (ELA) tests, according to data released Monday by the California Charter Schools Association.

«In a traditional state or federal accountability system, the metrics used to focus on English language arts, math and graduation rates.

While results vary somewhat, these studies find that the students of teachers who enter teacher through highly - selective alternative routes experience better achievement gains than the students of the unlicensed teachers they replaced; comparable, or in some cases somewhat better, math achievement gains than the students of teachers from traditional preparation pathways; and comparable, or in some cases somewhat worse, achievement gains in English language arts than the students of teachers from traditional preparation pathways.

Jumping into the mix is the Associated Administrators of the Los Angeles (AALA), which in its recent newsletter criticized the CCSA analysis, saying the «wins» of charters on the tests are diminished «when one considers that the enrollment of traditional schools includes 6 % more English learners, who presumably would be at a disadvantage on the SBAC English language arts assessment (though they were apparently not at the same disadvantage on the SBAC math assessment).

• Enhancing and enriching a variety of traditional academic lessons, from science to language arts.

It's a relatively traditional program, requiring students to pass a comprehensive exam (that means learning the details and significance of 300 + works of art from around the world, still weighted towards major Western works of art from antiquity through the contemporary period) and passing a reading exam in a second language (German, Italian, Spanish, or French).

The Native Arts and Cultures Foundation awarded a total of $ 168,249 in Mobilizing the Community grants to support community arts participation projects, which transmitted arts and cultural practices from one generation to the next, including language and story preservation, cultural mapping, traditional arts apprenticeships and youth progrArts and Cultures Foundation awarded a total of $ 168,249 in Mobilizing the Community grants to support community arts participation projects, which transmitted arts and cultural practices from one generation to the next, including language and story preservation, cultural mapping, traditional arts apprenticeships and youth prograrts participation projects, which transmitted arts and cultural practices from one generation to the next, including language and story preservation, cultural mapping, traditional arts apprenticeships and youth prograrts and cultural practices from one generation to the next, including language and story preservation, cultural mapping, traditional arts apprenticeships and youth prograrts apprenticeships and youth programs.

Working across large - scale woodcuts, gouache paintings, so called «typewriter drawings» and ceramic sculptures, their uniquely carnivalesque visual language combines influences from traditional folk art and abstract art from the early 20th century European avant - garde.

The works currently on display include traditional ephemera (Italian language guides, bakery business cards) as well as original works of art that mimic knickknacks, such as Sinead Cahill's hand - embroidered «girl scout» merit badges made from lithographed fabric, and many things that are not ephemeral at all, but step outside traditional fine art forms into the realm of the quotidian.

Prospective students must have reading knowledge of a foreign language before entering, and though the school generally recommends the traditional, European art - historical languages, an Asian language test can also be arranged.

As an American of Iranian descent, his works combine Western art history as well as traditional Iranian miniature drawings and patterns and the Farsi language.

Without formal training (in Lockett's case, deliberately so) and working largely with found materials, Lockett, Dial, Holley and peers like Joe Minter took their visual language from traditional black Southern vernacular art forms like the scrap quilt and the yard show but adapted it to speak of personal philosophies, social issues and the African - American experience.

After completing his bachelor's degree in fine art, to pursue his sculptural language he apprenticed at a traditional neon sign craftman's studio; this one - on - one training equipped him to him to freely form and deform glass.

COMMUNITY BASED & COLLABORATIVE SOCIAL JUSTICE WORK WITH ONAMAN COLLECTIVE Youth Art Mural Project: John F. Ross Secondary School, Guelph, ON (May 2016) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar & Oct 2015, Mar 2016) Words from the Land: Youth & Elders art retreat (Mar 2016) Youth Run for the Language (Oct 2015) The Painted Hand: Gathering to Feast Our Historic Alliances (Sept 2015) Reconciliation, Resurgence & Storytelling with Maria Campbell (Aug 2015) Canoe Building with Youth: Chippewas of the Thames (July / Aug 2015) Harvesting ochre & making paint (June 2015) Research with Elders on traditional knowledge and the language in Ontario & Saskatchewan (June & Aug 2015) Moosehide Tanning (April 2015) The Sacred Fisher Story: The Youth Mural Project (April 2015) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar 2015) Onaman Kendaagozid: Gathering about Sacred Paint (Feb 2015) Research into traditional Indigenous tattoos and face / body ochre paint (on - going) Collaborative creation of art pieces by Isaac Murdoch and Christi Belcourt (on - goiArt Mural Project: John F. Ross Secondary School, Guelph, ON (May 2016) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar & Oct 2015, Mar 2016) Words from the Land: Youth & Elders art retreat (Mar 2016) Youth Run for the Language (Oct 2015) The Painted Hand: Gathering to Feast Our Historic Alliances (Sept 2015) Reconciliation, Resurgence & Storytelling with Maria Campbell (Aug 2015) Canoe Building with Youth: Chippewas of the Thames (July / Aug 2015) Harvesting ochre & making paint (June 2015) Research with Elders on traditional knowledge and the language in Ontario & Saskatchewan (June & Aug 2015) Moosehide Tanning (April 2015) The Sacred Fisher Story: The Youth Mural Project (April 2015) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar 2015) Onaman Kendaagozid: Gathering about Sacred Paint (Feb 2015) Research into traditional Indigenous tattoos and face / body ochre paint (on - going) Collaborative creation of art pieces by Isaac Murdoch and Christi Belcourt (on - goiart retreat (Mar 2016) Youth Run for the Language (Oct 2015) The Painted Hand: Gathering to Feast Our Historic Alliances (Sept 2015) Reconciliation, Resurgence & Storytelling with Maria Campbell (Aug 2015) Canoe Building with Youth: Chippewas of the Thames (July / Aug 2015) Harvesting ochre & making paint (June 2015) Research with Elders on traditional knowledge and the language in Ontario & Saskatchewan (June & Aug 2015) Moosehide Tanning (April 2015) The Sacred Fisher Story: The Youth Mural Project (April 2015) Anishinaabemowin Wiigwaam: Ojibway Immersion Language House (Mar 2015) Onaman Kendaagozid: Gathering about Sacred Paint (Feb 2015) Research into traditional Indigenous tattoos and face / body ochre paint (on - going) Collaborative creation of art pieces by Isaac Murdoch and Christi Belcourt (on - goiart pieces by Isaac Murdoch and Christi Belcourt (on - going)

With his contemporary art - inspired video programmes, Cornelis, who has worked for 30 years with the Duch - language Belgian public channel VRT, has subverted the traditional dogmas and rules adopted by the mass media.

He belongs to a generation of artists whose pictorial language brings together motifs linked to popular culture and the formal qualities of traditional Japanese art, such as flatness, pattern and lavish ornamentation.

Having spent 10 years studying traditional ink painting under a Chinese master in Chongqing, China, Verdier has since created an iconic pictorial language that merges these traditional painting techniques with influences from Western art history.

LeWitt reframed traditional notions of drawing, sculpture and photography by establishing a personal artistic vocabulary of «impersonal» and seemingly simple instructions, providing a platform for language and image to merge and radically changing the landscape of contemporary art.

While Van den Dorpel speaks through the specialized language of computer programming and perhaps abstrusely anthropomorphizes variably folk or «traditional» approaches to fine art, his work addresses more universal concerns related to ethics of economic austerity as well as those of inclusion, alienation, and social hierarchies.

Butt studied traditional Indian and Persian miniature painting at the National College of Art in Lahore and has built a unique visual language based upon that training.

In positioning himself between worlds — the art world, his family and community, peripheral spaces he seeks to inhabit — Murillo has made room for a new visual language, one that draws as easily and subversively on his personal narratives and the narratives around the places he has visited, as it does on traditional vocabularies of painting, installation, and sculpture.