REINVITE DRAMA INTO CLASSROOMS, PART 2 Exploring Stories Through Process Drama

IRA –SSENTIALS What’s New in Literacy Teaching?

NANCY L. ROSER MIRIAM MARTINEZ

HOLLY CARRELL MOORE DEBORAH PALMER

August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association ittle Red Chicken, the lead character in Interrupting Chicken by David Ezra Stein, just can’t contain herself. Whenever Papa Lreads her a bedtime story, she jumps right into the story world and tries to save ill-fated characters such as Hansel and Gretel or Little Red Riding Hood from impending disasters. Little Red Chicken’s responses aren’t unique. In fact, teachers, parents, and researchers have reported instances in which children, rather than chickens, become caught up in the web of stories, talking back to characters in their efforts to shape outcomes. In his investigations of young children’s responses Defining Process Drama to picture books read aloud to them, Sipe (e.g., 2000, Drama comes in many forms. In our earlier 2008) identified a form of literary response in which E-ssentials column, entitled “Reinvite Drama Into the story listeners appeared to surrender to the Classrooms: New Ways With an Old Form” (Roser, “power of the text” (p. 169) and enter into the story Martinez, & Carrell Moore, 2013), we reviewed world. Sipe (2000) called these responses transparent research on classroom-based drama and explored and described them as occurring at moments of five types of drama activities that teachers use with great intensity. Caught up in the action, the children students to re-create entire stories or scenes from spontaneously “talked back to the text” (p. 267) or stories. These forms of drama include mime, choral joined the cast of characters by speaking original response, tableaux vivants, Readers Theatre, and lines within an unfolding scene. Whether defiantly story reenactments, all of which have the potential to responding to a selfish and vain daughter in Mufaro’s deepen students’ story comprehension. Beautiful Daughters: An African Tale by John Steptoe Process drama, by contrast, offers participants or breathing a sigh of relief that Mama Owl has finally a different kind of opportunity—the opportunity returned in Owl Babies by Martin Waddell, children to step into the story before its completion to affect who are deeply engaged with stories often enact their the action, to create scenes, and to shape events connections with characters and the unfolding action. anew. In effect, process drama affords players the Such connections, made evident through transparent opportunity to create original scenes that may not responses, suggest that children may have a natural necessarily appear in the story. Pioneered by Dorothy affinity for stepping into story worlds, which teachers Heathcote (Heathcote & Bolton, 1995), process drama can build on by offering students invitations into allows teachers to help students “isolate moments...to process drama. In this second installment of our create dramatic encounters in which students of any two-column treatment of drama and literature in the age may be challenged into new ways of thinking” classroom, we review research and share examples of (Edmiston, 1993, p. 251). The text—whether a story, a process drama—a form that invites participants to social issue, or a news event—serves as a springboard take over the story, shaping it in ways that make sense for improvisation, allowing exploration of the to them. The players’ deep concerns for fairness and “thoughts, feelings, and actions” that emerge (Galda, equity (for characters in the story) can mean that their 2005, p. 84). Freebody (2010) explains that process participation in drama may evince critical thinking drama allows students to explore “issues that are and surface issues of social justice through planning, potentially controversial or difficult to address in the playing, and reflecting on the drama. There is also conventional classroom” (p. 212). (See Table 1 for a evidence that children make reasoned arguments for list of studies focused on process drama.) their dramatic decisions, drawing on textual evidence First-grade teacher Ryan Bourke (2008) uses for support (e.g., Adomat, 2007, 2010, 2012; Edmiston, process drama as a vehicle to enable his young 1993; Galda, 2005; Palmer et al., 2012). students to step into stories, assume new perspectives,

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Age of the Drama research “players” Type of drama Research findings Crumpler, T.P. (2003). Becoming dragons and Kindergartners Story-based Story-based process pirates: The possibilities of using process drama process drama drama provided a with literature to reimagine young children’s context within which writing instruction. New Advocate, 16(1), 17–27. students created complex written texts reflecting interpretive responses to stories. Adomat, D.S. (2007). Through characters’ eyes: First graders Process drama Students explored How drama helps young readers understand techniques (e.g., character feelings, stories from the “inside out.” In D.W. Rowe, R.T. role-play, hot seat/ traits, and motivations Jimenez, D.L. Compton, D.K. Dickinson, Y. Kim, interviewing, and considered the K.M. Leander, & V.J. Risko (Eds.), 56th yearbook of tableaux) consequences of the National Reading Conference (pp. 68–80). Oak accompanied character choices and Creek, WI: National Reading Conference. by talk before, actions. during, and after Adomat, D.S. (2010). Dramatic interpretations: dramatizations Performative responses of young children to picturebook read-alouds. Children’s Literature in Education, 41(3), 207–221. Adomat, D.S. (2012). Drama’s potential for deepening young children’s understandings of stories. Early Childhood Education Journal, 40(6), 343–350. Palmer, D.K., Roser, N.L., Martinez, M., Carrell Second graders Process drama Students’ participation Moore, H., Zuniga, C., Henderson, K., ... Peterson, centered around in process drama K. (2012, November). New ways of exploring socially conscious fostered responses old literacies: Deepening understandings across literature to literature that cultures through dramatic interpretations of were more critically picturebooks. Paper presented at the 62nd conscious. annual meeting of the Literacy Research Association, San Diego, CA. Macy, L. (2004). A novel study through drama. The Fourth graders Process drama As part of a novel Reading Teacher, 58(3), 240–248. techniques (e.g., study, students soundscape, giving engaged in process witness, caption drama techniques to making, voice explore various facets in the theatre, of the novel, including interviewing) setting, mood, perspective, and characters’ emotions.

and interpret more deeply. His goal is to help his class of the characters,” and it began to happen. Nicholas understand that all texts “position the reader” and asked, “‘Why did the Daddy Gruff and Mommy Goat “that multiple perspectives exist” (p. 304). During an send Baby Gruff first? I wouldn’t do that!’” As Bourke early read-aloud of the Three Billy Goats Gruff, first describes it, by taking on another point of view, grader “Jonathan declared, ‘The troll is mean, mean, students were beginning to see the undercurrents of mean!’” (p. 305). The other students agreed, accepting (in)justice in the story. Six-year-old Jennifer offered what Bourke terms “fairy tale architecture.” But by a spark: “‘It’s not, it’s not really fair for the troll. The the next day, Bourke was ready to help his students three goats all got to eat the grass, but the troll is “resituate themselves in the individual perspectives hungry. Why can’t he eat, too?’” (p. 306).

3 REINVITE DRAMA INTO CLASSROOMS, PART 2 | August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association Bourke (2008) reflected, class) to accompany him on a scouting trip up the beanstalk to look for treasures in the giant’s house. Like the goats, my students began to timidly trip-trap across In the ensuing improvisation, players are likely to the bridge that separated one world from the next. They were beginning to cross “boundaries and recognize that be torn between coveting the treasures (because of there are entire other worlds of meaning, depending on how the fear of retribution if they help themselves to the they look at things” (Bomer & Bomer, 2001, p. 51). (p. 307) wealth) and their own ethical code (because they recognize that the treasures belong to someone else). Bourke’s classroom demonstrates a potential outcome In our explorations of literature-based process of students stepping into characters through process drama in classrooms, we observed teachers using drama—the opportunity for more critical literacy. culturally sensitive pieces of literature that invite Like the steps of the first two Billy Goat brothers, students into real dilemmas. The teachers we such dramatic work and critical reflection may sound observed read aloud, stopping to discuss at a critical tentative at first. Bourke describes his students’ entry juncture in the story—often a turning point when into drama and reflection as a trek: The progress is the central character is faced with a significant visible and steady, he notes, but incremental. decision involving ethical or moral choices. As the book is closed (but unfinished), the teacher listens Using Process Drama as students pose and discuss options for action and the potential repercussions of those actions. Playing in the Classroom out these options before the students know how the Even incremental steps toward process drama, story plot actually resolves serves process drama, though, can be thoughtful and rewarding. Besides comprehension, and the search for text support (see selecting a text that is worthy of thought and talk, Figure 1). a teacher’s first step in process drama is helping After discussion and playing out students’ to surface students’ ideas and choose their roles. proposals for action, teachers sometimes invite Roles that have to ask or answer questions are further reflection and allow students to play the usually appropriate, advises Cecily O’Neill, an scene again (see Figure 2). This might occur on the international authority on process drama. You can same day or a subsequent day, still without revealing observe her in action directing students and working the author’s resolution of the character’s dilemma. with teachers in this video: www.youtube.com/ This platform for problem solving in varied ways watch?v=Bpy6EZVjRLw (Atteshlis & Davis, 2008). gives students opportunities to step into stories But teachers must also select a comfortable role for and interact with issues for more extended periods themselves because in process drama, teachers, too, than might occur in a typical read-aloud or book are central to the unfolding of the drama. “If teachers discussion. can be brave enough to let go of a little bit of the structure that dominates their lives, I think they discover what fun it is to learn in a more playful way,” Figure 1 O’Neill tells her audience in the video. Getting started with process drama As we noted, in process drama, players are not tied to a text’s strict enactment; instead, they create scenes by drawing on what they know about characters, problems, and issues in the text (and here, text means the agreed-upon pretext for drama). For example, while reading Jack and the Beanstalk, a teacher might decide to use process drama to explore the issue of taking another’s property. In structuring the scene, the teacher may step into the role of Jack and invite his friends (played by the students in the

4 REINVITE DRAMA INTO CLASSROOMS, PART 2 | August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association Figure 2 Amigos del Otro Lado by Gloria Anzaldúa, offer Considering alternate perspectives opportunities for students to step into story worlds to explore these significant issues. In the classrooms in which we observe, such books set the stage for students to engage in deep conversations and thoughtful enactments that involve consideration of fairness, justice, inequality, and power. Table 2 lists books that we have introduced into process drama in classrooms.

Scene Selection Once the right story has been selected, students are more likely to be motivated to step into story worlds and engage in the action at turning points—when Much like Bourke’s (2008) trek with first graders characters may face a complex decision. The teacher’s through process drama and critical literacy, in the task is identifying those moments. In Henry and classrooms we observed, students’ and teachers’ the Kite Dragon, Henry loves, more than anything, journey toward process drama was an incremental the magnificent kites that Grandfather Chin makes one. Engaging in process drama included several and flies from the roof of their apartment building steps, beginning with the selection of appropriate in 1920s Chinatown. When the children from Little texts, followed by scene selection, planning, Italy continue to destroy the handmade kites by dramatizing, and reflecting. We share some ideas for throwing rocks, Henry is ready to lead his Chinese these steps that teachers can take to infuse process American friends into a confrontation with Tony and drama into their own literature activities. his Italian American confederates. At this dramatic moment of choice, and before the students know Selecting Stories for Dramatic how the story resolves, we stop, consider, propose, Story Reenactments and enact. Students step into the story to sort out A wide range of stories and texts offers possibilities the dilemma and try out their solutions—some in for improvisational drama. As described previously, the roles of Henry and his friends and others as the texts that provide the most opportunities for process children protecting turf of their own. The issues that drama are those with some kind of dilemma—even emerge in Henry and the Kite Dragon let students one the students have never experienced. In Harry cross boundaries and understand others’ perspectives and the Terrible Whatzit by Dick Gackenbach, readers meet Harry, who is convinced that some terrible creature lives in his basement. When his mother goes down to the basement and does not come back, Harry must decide what he will do. This critical juncture offers an ideal opportunity for stepping into Harry’s character and trying out different perspectives. Very young students are likely to feel empathy with his dilemma, and this empathy can serve as the impetus for facing fears, getting help, admitting weaknesses, and more. Stories that deal with issues of race/ethnicity, class, or gender, such as Amazing Grace by Mary Hoffman, Henry and the Kite Dragon by Bruce Edward Hall, and Friends From the Other Side/

5 REINVITE DRAMA INTO CLASSROOMS, PART 2 | August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association (Lysaker & Tonge, 2013). We finish reading the story Table 2 after variant solutions have been played, and talk over Sample books for process drama what stepping in allowed us to experience. Anzaldúa, G. (1997). Friends from the other side/ Amigos del otro lado. San Francisco, CA: Children’s. Planning Browne, A. (1998). Voices in the park. New York, NY: We have found that the steps the teacher takes in DK. inviting students into the drama are critical to the Cohn, D. (2002). ¡Sí, se puede!/Yes, we can! Janitor strike in L.A. El Paso, TX: Cinco Puntos. success of the improvisation. Before inviting students Gackenbach, D. (1984). Harry and the terrible Whatzit. into the action, we have seen effective teachers New York, NY: Clarion. first make sure that their students understand the González, R. (2005). Antonio’s card/La tarjeta de character: “What do we know about Henry? Why does Antonio. San Francisco, CA: Children’s. he love spending time with Grandfather Chin?” They Hall, B.E. (2004). Henry and the kite dragon. New York, also invite their students to take up the characters’ NY: Philomel. perspectives: “You are Henry or one of his friends. Harrington, J.N. (2004). Going north. New York, NY: Farrar, Straus and Giroux. You have already seen Grandfather Chin’s butterfly Hoffman, M. (1991). Amazing Grace. New York, NY: kite destroyed. Now, you have worked for hours on Dial. a new dragon kite and have just seen it purposefully Kellogg, S. (1991). Jack and the beanstalk. New York, destroyed. What are you feeling and thinking?” NY: William Morrow. Discussions that emerge from questions like these Lacámara, L. (2010). Floating on Mama’s song/ Flotando en la canción de Mamá. New York, NY: prepare students to step into story worlds and try Katherine Tegen. on solutions to complex problems. It is important Landowne, Y. (2004). Sélavi, that is life: A Haitian story to underscore that process drama is not an attempt of hope. El Paso, TX: Cinco Puntos. to guess what solution the author will choose or to Medina, J. (1999). My name is Jorge on both sides of bask in being right in one’s prediction after the plot the river. Honesdale, PA: Wordsong. Naylor, P.R. (1994). King of the playground. New York, is resolved. Instead, the goal is to pose, weigh, and NY: Aladdin. try out more than one solution to see how the action Novak, M. (1994). Mouse TV. New York, NY: Orchard. shapes and what impact the decisions have on the Park, F., & Park, G. (2000). The royal bee. Honesdale, players (characters). PA: Boyds Mills. Recorvits, H. (2003). My name is Yoon. New York, NY: Dramatizing Frances Foster. Skármeta, A. (1998). The composition. Toronto, ON, Recall that process drama is not simply acting out Canada: Groundwood. a story; instead, it is acting because of the story. Steptoe, J. (1987). Mufaro’s beautiful daughters: An Dramatizing (and reflecting) can occur throughout. African tale. New York, NY: Lothrop, Lee & Shepard. Rather than waiting until the end of the story, we ask Vamos, S.R. (2011). The cazuela that the farm maiden students to step into characters’ shoes and grapple stirred. Watertown, MA: Charlesbridge. with the problem, the characters’ emotions, and the Wiles, D. (2001). Freedom summer. New York, NY: Aladdin. likely consequences of varying choices at decisive Willems, M. (2005). Leonardo the terrible monster. moments. New York, NY: Hyperion. In one second-grade classroom, Ms. Alanis read Williams, K.L., & Mohammed, K. (2007). Four feet, two The Composition by Antonio Skármeta, a story in sandals. Grand Rapids, MI: Eerdmans. which a dictatorial government official enters a Winter, J. (2005). The librarian of Basra: A true story from Iraq. Orlando, FL: Houghton Mifflin Harcourt. classroom in an unnamed country for the purpose Woodson, J. (2001). The other side. New York, NY: G.P. of bribing students to write essays that would reveal Putnam’s Sons. their families’ possible revolutionary activities. Pedro Woodson, J. (2012). Each kindness. New York, NY: and the other students in the story understand that Nancy Paulsen. they are being asked to betray their families. Ms. Alanis readied her class for the drama by first asking

6 REINVITE DRAMA INTO CLASSROOMS, PART 2 | August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association Figure 3 go to bed.” [with a smug and self-satisfied Close your eyes expression] Cruz: No, they’ll come at night, and they’ll take your family.

A good stopping point in Amazing Grace is the scene in which Natalie, a classmate, tells young Grace, the main character, that Grace cannot play the role of Peter Pan in the school play because she is black. As Grace’s classmates, students step into this story situation to ask Natalie questions about her opinion. Children’s sense of fairness makes Natalie’s ideas extremely hard to find support for in the classrooms we observe. Teachers are often a bit hesitant to try their hands at process drama, anticipating that the improvisational demands will be too challenging or the freedom to create too likely to get out of hand. them to take the perspective of the main character: Indeed, at times, students may feel uncertain about “Close your eyes,” she directed. “You’re Pedro. This what is expected of them. For these reasons, it makes decision is yours,” she continued. “You have been sense to take small steps into improvisational drama. asked to write about what your parents do at night. During storybook read-alouds, we let students Raise your hand if you would lie to protect them.” At remain seated as we invite them to respond as a story varying speeds, students lifted their hands, but not character: “You are Grace, and Natalie has just said all of them (see Figure 3). that you can’t be Peter Pan because you are black. Later, the discussion became heated over Show how you are feeling right now.” Other times, whether it’s ever “OK to lie.” Mariana insisted that we invite students to respond as Grace’s friends: “You she would never report that her parents engaged in are Grace’s classmate, and you just overheard what the behaviors that the officers in the story ask the Natalie whispered to her. What, if anything, are you students to report in their compositions. going to say to Natalie?”

Mariana: I would write on my paper, “When I come Reflecting home from school, I do my work, and then Taking time for reflection on dramatic improvisations me and my parents eat, and then we listen is important, especially when an improvisation has to the radio, and then we go to bed.” explored significant moral, ethical, and social issues. Lance: Well, you shouldn’t write they listen to the Reflection, according to O’Neill (1995), need not just radio, because then they will ask, “What happen at the end of the event. Students can stop to type of radio?” talk about the decisions and enactments throughout Mariana: They listen to music. the experience. Through discussion, students can Lance: If you write—if you write about the radio consider alternatives, implications, and how playing [turns to Mariana and extends hand], into the issues can help them understand more about someone will think, like, will say, like, how a text works, as well as their roles as decisions “What type of radio?” makers in the world. Table 3 reviews the baby steps Mariana: I’ll say—I’ll write, “It’s a music radio. that teachers can take toward implementing process They just listen to music, and then we all drama in their classrooms.

• Selects a text in which the character(s) faces issues of ethics, morality, or justice, such as the following children’s books: • Hall, B.E. (2004). Henry and the kite dragon. New York, NY: Philomel. • Recorvits, H. (2003). My name is Yoon. New York, NY: Frances Foster. • Skármeta, A. (1998). The composition. Toronto, ON, Canada: Groundwood. • Winter, J. (2005). The librarian of Basra: A true References story from Iraq. Orlando, FL: Houghton Mifflin Adomat, D.S. (2007). Through characters’ eyes: How drama helps young Harcourt. readers understand stories from the “inside out.” In D.W. Rowe, R.T. Jimenez, D.L. Compton, D.K. Dickinson, Y. Kim, K.M. Leander, & • Identifies a critical juncture (or turning point) when V.J. Risko (Eds.), 56th yearbook of the National Reading Conference the character(s) must make a decision involving (pp. 68–80). Oak Creek, WI: National Reading Conference. ethics, morality, or justice Adomat, D.S. (2010). Dramatic interpretations: Performative responses of young children to picturebook read-alouds. Children’s Literature • Stops the reading before the plot resolves in Education, 41(3), 207–221. doi:10.1007/s10583-010-9105-0 Adomat, D.S. (2012). Drama’s potential for deepening young children’s • Helps students connect with the dilemma and understandings of stories. Early Childhood Education Journal, 40(6), (perhaps) unfamiliar scenes 343–350. doi:10.1007/s10643-012-0519-8 Atteshlis, L. (Executive Producer), & Davis, L. (Producer & Director). • Sets the stage for students’ entry into the story by (2008). Teachers TV: A workshop with Cecily O’Neill [Video]. inviting stances: “If you were Pedro, ___.” “You’re England: Glasshead. Retrieved from www.youtube.com/ Pedro, and you ___.” “Imagine that you are there. watch?v=Bpy6EZVjRLw How would you ___.” Bourke, R.T. (2008). First graders and fairy tales: One teacher’s action research of critical literacy. The Reading Teacher, 62(4), 304–312. • Invites students to work through the dilemma, doi:10.1598/RT.62.4.3 possibly reshaping the story and changing Crumpler, T.P. (2003). Becoming dragons and pirates: The possibilities of using process drama with literature to reimagine young children’s perspectives writing instruction. New Advocate, 16(1), 17–27. • Sometimes becomes a participant to support Edmiston, B. (1993). Going up the beanstalk: Discovering giant possibilities for responding to literature through drama. In K.E. students from within the dramatization Holland, R.A. Hungerford, & S.B. Ernst (Eds.), Journeying: Children responding to literature (pp. 250–266). Portsmouth, NH: Heinemann. Edmiston, B., & Wilhelm, J. (1998). Repositioning views/reviewing positions: Forming complex understandings in dialogue. In B.J. Wagner (Ed.), Educational drama and language arts: What research shows (pp. 90–117). Portsmouth, NH: Heinemann. Freebody, K. (2010). Exploring teacher–student interactions and moral reasoning practices in drama classrooms. Research in Drama Conclusion Education: The Journal of Applied Theatre and Performance, 15(2), 209–225. Young students (and those for whom reading is not Galda, L. (2005). Exploring characters through drama. In N.L. Roser & M.G. Martinez (Eds.), What a character! Character study as a guide an easy task) profit from crawling into stories and to literary meaning making in grades K–8 (pp. 83–95). Newark, DE: other texts, taking insiders’ perspectives, and then International Reading Association. Heathcote, D., & Bolton, G. (1995). Drama for learning: Dorothy reflecting on what they are coming to understand. Heathcote’s mantle of the expert approach to education. Portsmouth, NH: Heinemann. When young readers occupy the story world, they Lysaker, J., & Tonge, C. (2013). Learning to understand others through relationally oriented reading. The Reading Teacher, 66(8), 632–641. reposition the metaphoric lens that allows them fresh doi:10.1002/trtr.1171 perspectives. With the guidance of teachers, students Macy, L. (2004). A novel study through drama. The Reading Teacher, 58(3), 240–248. doi:10.1598/RT.58.3.2 can apply critical thinking, pose and support ideas O’Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth, NH: Heinemann. both from within and outside character roles, and Palmer, D.K., Roser, N.L., Martinez, M., Carrell Moore, H., Zuniga, C., Henderson, K., ... Peterson, K. (2012, November). New ways of make deeper sense of texts together. Edmiston and exploring old literacies: Deepening understandings across cultures Wilhelm (1998) note that drama allows us to play into through dramatic interpretations of picturebooks. Paper presented at the 62nd annual meeting of the Literacy Research Association, San what we don’t yet know, and “we become receptive Diego, CA. Roser, N., Martinez, M., & Carrell Moore, H. (2013). Reinvite drama to…other views and interpretations” (p. 91). Teachers into classrooms: New ways with an old form [IRA E-ssentials series]. Newark, DE: International Reading Association. doi:10.1598/ who invite young students to participate in drama e-ssentials.8043 Sipe, L.R. (2000). The construction of literary understanding by first and are discovering that deep, critical, and complex second graders in oral response to picture storybook read-alouds. understandings can result when readers step into Reading Research Quarterly, 35(2), 252–275. doi:10.1598/RRQ.35.2.4 Sipe, L.R. (2008). Storytime: Young children’s literary understanding in texts. the classroom. New York, NY: Teachers College Press.

8 REINVITE DRAMA INTO CLASSROOMS, PART 2 | August 2014 | DOI:10.1598/e-ssentials.8062 | © 2014 International Reading Association ABOUT THE AUTHORS NANCY L. ROSER is a professor of language and literacy HOLLY CARRELL MOORE recently completed her studies and the Flawn Professor of Early Childhood at the doctoral work at the University of Texas at Austin, USA, and University of Texas at Austin, USA. She teaches undergraduate will begin serving this fall as an assistant professor of early courses in elementary reading and language arts, as well as childhood education in the family sciences department graduate courses in literacy leadership and children’s literature. at Texas Woman’s University in Denton, USA. She can be Her research interests are directed toward understanding how contacted at [email protected]. children and teachers work together to make sense of texts. DEBORAH PALMER is an associate professor of bilingual/ She can be contacted at [email protected]. bicultural education and cultural studies in education at the MIRIAM MARTINEZ is a professor of literacy education University of Texas at Austin, USA, where she teaches courses at the University of Texas at San Antonio, USA, where she in dual-language education, second-language acquisition, teaches reading and children’s literature courses. Her research and bilingual education. Her research examines issues of race and publications have focused on the nature of children’s and class in bilingual and dual-language education programs, literary meaning making, their responses to literature, and their policy and practice, and inservice bilingual teacher education. understanding of various literary genres and formats. She can She can be contacted at [email protected]. be contacted at [email protected].

“What’s New in Literacy Teaching?” is edited by:

KAREN WOOD (University of North Carolina, JEANNE PARATORE (Boston University, Charlotte, North Carolina) Boston, Massachusetts)

RACHEL MCCORMACK (Roger Williams University, BRIAN KISSEL (University of North Carolina, Bristol, Rhode Island) Charlotte, North Carolina)

Children’s Literature Cited Anzaldúa, G. (1997). Friends from the other side/Amigos del otro lado. Naylor, P.R. (1994). King of the playground. New York, NY: Aladdin. San Francisco, CA: Children’s. Novak, M. (1994). Mouse TV. New York, NY: Orchard. Browne, A. (1998). Voices in the park. New York, NY: DK. Park, F., & Park, G. (2000). The royal bee. Honesdale, PA: Boyds Mills. Cohn, D. (2002). ¡Sí, se puede!/Yes, we can! Janitor strike in L.A. El Paso, Recorvits, H. (2003). My name is Yoon. New York, NY: Frances Foster. TX: Cinco Puntos. Skármeta, A. (1998). The composition. Toronto, ON, Canada: Gackenbach, D. (1984). Harry and the terrible Whatzit. New York, NY: Groundwood. Clarion. Stein, D.E. (2010). Interrupting chicken. Somerville, MA: Candlewick. González, R. (2005). Antonio’s card/La tarjeta de Antonio. San Steptoe, J. (1987). Mufaro’s beautiful daughters: An African tale. New Francisco, CA: Children’s. York, NY: Lothrop, Lee & Shepard. Hall, B.E. (2004). Henry and the kite dragon. New York, NY: Philomel. Vamos, S.R. (2011). The cazuela that the farm maiden stirred. Harrington, J.N. (2004). Going north. New York, NY: Farrar, Straus and Watertown, MA: Charlesbridge. Giroux. Wiles, D. (2001). Freedom summer. New York, NY: Aladdin. Hoffman, M. (1991). Amazing Grace. New York, NY: Dial. Willems, M. (2005). Leonardo the terrible monster. New York, NY: Kellogg, S. (1991). Jack and the beanstalk. New York, NY: William Hyperion. Morrow. Williams, K.L., & Mohammed, K. (2007). Four feet, two sandals. Grand Lacámara, L. (2010). Floating on Mama’s song/Flotando en la canción de Rapids, MI: Eerdmans. Mamá. New York, NY: Katherine Tegen. Winter, J. (2005). The librarian of Basra: A true story from Iraq. Orlando, Landowne, Y. (2004). Sélavi, that is life: A Haitian story of hope. El Paso, FL: Houghton Mifflin Harcourt. TX: Cinco Puntos. Woodson, J. (2001). The other side. New York, NY: G.P. Putnam’s Sons. Medina, J. (1999). My name is Jorge on both sides of the river. Honesdale, Woodson, J. (2012). Each kindness. New York, NY: Nancy Paulsen. PA: Wordsong.

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