Even if you're teaching Maus for the first time, there are more resources out there than you might think...
It can be both an exciting and daunting task for teachers if they're teaching a graphic novel for the first time, and that graphic novel happens to be Art Spiegelman's Maus. Although it is one of the most frequently taught GNs in the high school classroom (along with Marjane Satrapi's Persepolis), there are dozens of resources available to assist you in your preparations. Here are some good ones to get you started with your unit!
These resources should help you to prepare a unit that your students will thoroughly enjoy. If you still have any questions about teaching Maus, don't hesitate to ask us here at Comics in Education!
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Boldprint Kids Graphic Readers Help K-3 Students Learn Math
Math is one of those subjects that students will make judgments about pretty early on in their academic career. It's not so much the math they make a judgment about--it's their ability to do math. It's sad when kids make these kinds of judgments about themselves early on, or when parents makes such judgments for them (e.g. "Don't worry, I wasn't very good at math either").
A great resource for the K-3 math classroom is the Boldprint Kids Graphic Readers series from Rubicon/Oxford. These readers speak directly to the most common curricula found in the primary grades.
What's the Problem, for instance, looks at rudimentary problem solving of the sort that students in Grade 3 would engage in, while Hoop Shot helps to support students doing the measurement unit in Grade 1. Indeed, all of the readers in the series are designed specifically to provide a visual narrative that helps to support a child's development in one of their core subject areas, like mathematics, science, and social studies.
You can find this award-winning series at their official website.
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If you're thinking that comics and graphic novels are only for the English or Social Studies classroom, think again. One of the best graphic novels you can get your hands on is actually about the history of mathematics. In Logicomix: An Epic Search for Truth, Apostolos Doxiadis and Christos H. Papdimitriou examine the life of Bertrand Russell as well as some of the most important and influential mathematicians and thinkers of the 20th century.
The book isn't only about Russell's life as a mathematician and pacifist, however, but of the group of artists and illustrators trying to put it all together, and so the narrative switches back and forth between the actual present, the present of the narrative, and the recollections of Russell's own past, including his work with Alfred North Whitehead on Principia Mathematica.
Of special interest to math educators will no doubt be the part of the story when Russell's attempts to establish a progressive school for young people that does not subscribe to traditional models. Needless to say, things go horribly awry when the students realize that they are not bound by traditional rules!
The book was #1 on the New York Times bestseller list for Graphic Novels and received widespread critical praise. Although it plays fast and loose with historical accuracy at times, it is thoroughly engaging, and a great way to show students how the math they are studying didn't just fall out of the sky one day. It came from the likes of the mathematicians and thinkers shown below!
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We're Blushing for Goodness Sake...
We wanted to take a moment to thank you once again for your support of this site. We have only been in operation for a very short time, but we've already made connections with some wonderful educators out there. Receiving 50,000 visits in little more than two weeks is very flattering, but here at Comics in Education we'd like to think it has to do with one basic idea.
We want to foster and develop a love and appreciation for visual narrative in the K-12 classroom. We want educators--all educators--to see that comics and graphic novels represent a genre worthy of study, that they have a tradition, and that they can open up a young person's mind to different ways of seeing and interpreting the world around them. They can encourage a reluctant reader to read. They can encourage a second language learner to acquire a new understanding of the language they are learning. And they can help students to make connections among a wide variety of texts, whether literary, artistic, or cultural.
So many of you out there are doing wonderful things in comics and in education. We can't wait to see what you do next!
They're Thoughtful, They're Visual, and They're Very Pragmatic
[A version of this post was originally published in October, 2013 on a WordPress blog I started. I moved the entire contents of that blog to its present location here. It consisted only of this post. You can also read it on medium.com.]
This is not a post about comics or graphic novels per se. This is a post about the future of education that is happening right now.
Now don’t get me wrong. I’m interested as much as the next person in the present of education. I’ve been to enough conferences and listened to enough keynote speakers to know that the present is pretty interesting. After all, this is the 21st century, and our classrooms are comprised of an exciting new breed of student: the 21st-century learner. I quite like them, in fact.
I can’t help but think, though, that much of what is said about the 21st-century learner, despite being well-intentioned, doesn’t always accord with the needs of the 21st-century learner. Now on the surface it seems to. We talk about how these learners have a different “operating system” than learners once did, and are hardwired to inhabit a visual culture of fleeting images and an aural culture of soon-forgotten soundbites. We’re pretty certain, as well, that they need to complement their "superficial" understanding of a broad range of subjects with deeper investigations of the important few. Talking about these things with one another in the office, discussing them at department meetings, and sharing them at conferences all make us feel like we have a handle on 21st-century education…
But this is a post about 22nd-century education.
Perhaps more accurately, this is a post about the future of education, and about how much or how little we are doing to prepare for it.
I was inspired after much procrastination to post this because of something that happened in my class last term. I learned a fundamental truth about the way in which my students deal with the visual world they inhabit. It reconfirmed my belief that the manner in which students negotiate this world must be an essential component of any secondary school curriculum. I think you will see why in a moment.
In preparation for a Grade 11 unit on poetry, I gave my students the image below to consider:
What I wanted them to do is to use their facility with visual images to teach themselves how well they could transfer these investigative skills to the study of poetry. I wanted them to find evidence, use context, interpret clues. And they were fabulous. They noted, for example, that the central figure appeared to be a woman, that her dress seemed turn of the (20th) century or older, that the men in the photo were ministering to her, and that the nooses suggested something ominous was about to happen.
Then I decided to push them further. I said that I could only begin the poetry unit once they told me who the woman in the photo was, where the photo was taken, and on what day. I teach in a laptop environment, and I allowed the students to use any technology they had at their disposal.
How long do you think it took them to discover her identity?
Perhaps more pertinently, how many clicks do you think it took them?
If you’re imagining a process of keyword and image searches that quickly narrowed things down, with only a few minutes and a handful of clicks required to answer the questions, then you likely understand something about 21st-century learning.
If you’re intrigued, surprised, horrified, or delighted by the fact that the answers can be found in two clicks, however, then read on.
It took about 30 seconds before a student got up, walked over to me holding his phone, and read off his litany of responses: “It’s Mary Surratt, sir, And the photo was taken on July 7, 1865 in Washington, DC. She’s about to be hanged for the Lincoln Assassination.”
“But…how…?” I asked. I mean, it was only 30 seconds after I set them the task.
“Google Goggles, sir. Just took a picture of the image with my phone and the app compared it with the images in the Google Database. Then I just clicked on the link that came up.”
That’s right: two clicks.
I have a feeling, then, that just as we're beginning to get a handle on 21st-century education, the next century has already begun. Apparently, we needed to begin getting ready for this back in the '50s or something,
So although this site will usually focus on the use of comics and graphic novels in the classroom and their wider applications (in visual brainstorming, in recognizing similarities and differences between literary forms, genres, etc.), I still want to hear from educators, students, and parents about where we we need to go in educating today's learners. I want to know how we can transform the real and virtual spaces in which our students learn and break out of the traditional environments we’ve inherited in order to produce the next generation of learners…
Well, the next after the next, anyway.
Filmic language can be useful in terms of understanding and expressing the relative distance between the reader/viewer and a given subject in a graphic story (see Filmic Language, Part 1). However, it can also help us understand our angle of view with regards to the subject, which in itself can have an impact on how we perceive what we are seeing.
A bird's-eye view in a comic allows us to view the contents of a panel from overhead, helping us to do one of a number of different things, including seeing the context of a scene with greater clarity or giving us a clear sense of a character's predicament. When a graphic storyteller shows us a character from a bird's-eye view, they can seem smaller, weaker, or more insignificant than when shown from a different angle. They can look physically smaller and less imposing, and therefore more vulnerable.
In this type of shot in a graphic story, the camera looks up at the subject from below. This can make the subject itself seem much larger, more imposing, or even more physically intimidating, especially as the bug's-eye shot moves closer to the actual subject and the angle gets closer to 90 degrees.
In this shot, a character is typically shown in the immediate foreground of the panel with another character further away. The action of the panel is sometimes literally framed bythe head and shoulders of the character in the foreground, thus giving the shot its name. It is a commonly used shot in the exchange of dialogue since it gives the reader an opportunity to perceive the character (or object, scene, etc.) in the distance from the general point of view of the character in the foreground.
For the POV shot, the viewer takes a small step forward from the over-the-shoulder shot to become, in effect, the character in the foreground. Comics and films from the horror genre use this shot frequently since it can develop great anxiety and anticipation in the reader/viewer. It can allow him or her to walk in the shoes of a killer or potential victim, seeing only what this character sees. Its use, however, is not limited to the horror genre, and a POV shot has wide applications in visual narrative.
Shot / Reverse Shot
This is a common technique in graphic storytelling that has been inherited from classic Hollywood films that sought to de-emphasize transitions from one scene to the next . Often, a shot / reverse shot in a panel sequence involves a medium over-the-shouldershot of two characters in conversation followed by a panel in which the characters' positions are reversed. This allows for a fairly seamless conversation.
Perhaps you were a comics fan when you were a kid and haven't read them in a while. Things have probably changed a bit since then. Or maybe you'd like to use them in the classroom with your students but feel like you don't have a great background in reading them. The following list should help get you started on the road to becoming an expert on the hottest and most exciting genre on the market!
The Mysterious Underground Men (1948), by Osamu Tezuka
A Contract with God (1978), by Will Eisner
Maus (1986), by Art Spiegelman
The Dark Knight Returns (1986), by Frank Miller
Watchmen (1986), by Alan Moore and Dave Gibbons
Finder (1996-present), by Carla Speed McNeil
Transmetropolitan, Volume 1 (1997), by Warren Ellis and Darcik Robertson
Persepolis (2004), by Marjane Satrapi
Building Stories (2012), by Chris Ware
Boxers & Saints (2013), by Gene Luen Yang
Use Visual Note-Taking Strategies for Better Results!
I know in the mathematics classroom that we're ever-more conscious about allowing students to find their way to the answers to problems. Gone, I hope, are the days of forcing students to take a single road along their journey through our mathematics curriculum.
I was never big on taking that road myself. When asked to solve a math problem, I always wanted the solution to look cool for some reason. I think this had to do with my formative reading experiences being so tied to comics, detective fiction, adventure stories, and the manuals and gamebooks of fantasy role-playing games. I wanted the journey to be exciting!
A few years back, I was teaching at a school that held a math contest for students and faculty. I found the questions really challenging, and that's with ten undergraduate math courses under my belt!
I managed to win the contest (which I think my colleagues found strange given that I taught in the English department), but the way I answered the questions had something to do with it: Here were my responses, and I apologize in advance for having no longer any clue what the questions were...
Q1. Killer Geometry Question
Q2. Fractals -- It was brutal
Q3. Hypocycloid Question (I nearly died)
Q4. I honestly don't even remember this one...
I think when we allow our students to draw their math answers, write out their frustrations about their math answers, and use visual brainstorming techniques for their math answers, we're giving them opportunities to arrive at these answers in very useful ways. If you encourage visual brainstorming or having kids use doodling in their written responses to questions, send along some examples because we'd love to feature them at Comics in Education!
Students read, examine, and create graphic poems, and consider both the implications of using the visual in connection with poetry, and whether an artist or poet/artist can visually represent the intricacies of literal and figurative language. The hope is that students will recognize the beauty of graphic poetry and thereby develop a greater fondness for and appreciation of poetry proper.
Self Awareness, Metacognition, Critical Thinking, Navigation Skills, Making Connections
By the end of the activity, students should see that there is something to be gained and something to be lost in marrying a poem with its graphic illustration. What is gained is a visual context that the reader can use to help him or her understand what is actually happening in a poem. What is also gained is the recognition of what art can and cannot do with pictures in order to mimic or represent the figurative. What is lost, perhaps, is precisely what is lost when the curtain rises for the presentation of play and we see the gradual unfolding of the directorial decisions that will define how the performance in front of us will interpret the stage directions and dialogue of the playwright.
Critical Thinking Questions
Self-Awareness and Metacognition Questions
Navigation Skills and Making Connections Questions
How Can Visual Narrative Foster Inquiry in This Activity
Reading graphic poetry can help students to make sense of some of the complexities of the poems they examine, even if those complexities are what is literally “happening” in a given work. In my experience, though, a student is far more likely to want to bring their critical thinking and inquiry skills to bear on a poem that they believe they understand than one they don’t. As students move through the process of reading, analyzing, and creating graphic poetry, it is essential that teachers encourage students to develop an ongoing dialogue with the work they are studying.
Students create a storyboard or visual narrative that does not contain text. The exercise has wide application, whether in having students block a scene from a work of drama, visually relate the progress of a character’s story from a work of fiction, or visually represent the story of a particular historical moment. The exercise is similar to Activity 3: Visual Note-Taking, but the student is not permitted to use words in order to communicate his or her ideas.
Critical Thinking, Navigation Skills, Making Connections
By the end of the activity, students should perceive the challenges of communicating without words, translating the written or verbal into the visual, and developing a narrative that is comprehensible to their audience when said narrative must be interpreted in the absence of explanation. The aim of the exercise is to develop the student’s communication skills and transliteracy: the ability to demonstrate literacy across a range of platforms or mediums of expression by making meaningful connections between them.
Critical Thinking Questions
How Can Visual Narrative Foster Inquiry in this Activity?
As in the previous activity, students will have a dizzying range of questions that they will have to ask themselves at the outset of the activity: “How do I represent this scene from a play or short story without needing pages and pages of illustration?” or “How can I best capture the most important features of a historical battle in a way that a person examining it can understand?” My inspiration for this activity comes from Hogarth’s “A Rake’s Progress,” which Scott McCloud in Understanding Comics cites, along with hieroglyphics, cave art, etc. as a forerunner to the comics of today. I’ve always been impressed by the fact that little or no text (other than the naming of the individual paintings), the audience has little difficulty perceiving what is happening to the rake. As our global village shrinks and our students are immersed even further into a principally visual culture, being able to communicate with the visual takes on an increasing importance.
We Salute You!
Comics in Education wanted to take a moment to thank once again for all of the wonderful visitors to our website. We've now officially reached 10,000 of you and more are visiting the site every day. Our mission is to nurture and develop a love of visual narrative in the K-12 classroom, and we're delighted that so many of you out there are as well.
In truth, we expected you would be, but you're doing such wonderful things!
In addition to the "Our Supporters" tab we now have one for "Corporate Support." If you are a business or organization whose goals align with ours, we'd be happy to feature your icon, company description, and a link to your business. You can find both of these pages under the "About" tab on our website or just click the links above. This service is free of charge and lets the wider comics and education communities know of your support.
If you are interested in additional services that Comics and Education can provide, like interviews, author visits, product reviews, or advertising, please contact us here for a brochure.
Once again, thank you for your support of Comics in Education. We'll let you get back to all of the great work you're doing!
Comics in Education
When it comes to comics and the broader tradition of visual narrative, it is incumbent upon educators to teach students about the genre and its history. If we talk to students about how poetry developed from an oral tradition, or about the resurgence of the drama during themiddle ages, we must also talk to them about how sequential art has evolved over time. We must treat the genre with the same degree of seriousness with which treat other genres, because not doing so would be to suggest that there is something nobler or far more worthy of our consideration in poetry or in drama than in visual narrative.
That, however, is rubbish.
Great works of literature are great because they merit such distinction--not because they happen to be of one particular genre and not another. We don't look down our nose at War and Peace because it's a novel and not poetry. We don't think less of King's "Letter from Birmingham Jail" because it's "only a letter."
Visual narrative is a genre worthy of study, both for ourselves and for our students. Comics in Education (www.comicsineducation.com) is dedicated to proving that.
Sometimes Note-Taking Isn't Just about What You Write...
In a previous post I shared with you a student's Sir Ken Robinson / RSAnimate-inspired visual note-taking exercise comparing the spectre of death in A Streetcar Named Desire and Death of a Salesman. Here's what my student, Lucila, did with the theme of marriage...
The minimalist nature of the notes themselves are part of the beauty and importance of this example. Note for instance how cleverly Lucila has shown Blanche literally drowning in a glass of whiskey, and then look more closely still to see what the whiskey is composed of.
The text looks at Blanche's desire to escape the past, but it's run together and becomes very difficult to interpret--as though it is visually expressing slurred speech, a hazy memory, and a desire to forget. Blanche is colourful and so are the letters. Blanche tries to make sense of the past and fails just as the letters do.
No doubt the student could have managed to articulate these things if asked to engage in a more traditional brainstorming exercise, but I doubt that it could have captured so forcefully, so expertly, so profoundly something that is at the heart of Williams' play.
We could look at the visual note-taking that the student has done and at first glance we might think she has expressed very little.
But how very wrong we would be!
You absolutely rock!
Comics in Education would like to thank the thousands of visitors to its website in only its first week of operation. We wanted to let you know that we have a new page up on the site called "Our Supporters" under the "About" tab. If you are doing great work in the field of comics in education, want to celebrate visual narrative and the impact it has on popular culture, or hope to promote the great work you're doing in the comics industry, please consider sending us a message on Twitter or through our contacts page and we'll put a link to you and your work as a thank you for visiting our site!
If it sounds like free advertising, well...I guess it is!
Comics in Education wants earnestly to promote the use of visual narrative in the K-12 classroom, and for that we need an industry that is dynamic and receptive to the needs of all readers, from those who are young to those who are young at heart. Fortunately, we seem to have just that!
Thanks everyone for all your support!
Comics in Education
But the animation is just so entirely engaging in this video -- it provides so much to both the visual and auditory learner alike -- that it speaks volumes to teachers about our need to give students opportunities to put their thoughts down on paper in a way that makes sense to them. We can get them to organize their ideas to form a coherent comparative essay later, but for now it is so much better to allow them to express their understanding in a way that looks more like the thoughts themselves and less like some linear model that does not mimic how they think. This is the beauty, I think, of something like RSAnimate. It shows us a kind of visual note-taking that is rich, powerful, and inspiring--exactly what we want our lessons to be.
I won't repeat my previous post by sharing Catherine's work with you, but I will show you my own. Inspired by the RSAnimate version of Sir Ken's talk many moons ago, I decided that my lesson plans needed to have something of the visual in them. So, I started creating lessons that would use a hybrid of comic book narration bubbles, a flow chart, and visual imagery. Throw in some colour and a pinch of Photoshop and you have an array of visual lesson plans that students will respond to.
Every year at least one student asks me why I do this. Is it that I'm just such a comics fanatic that I have to do visual lesson plans in this way? Do I have hours of time to spend on these aesthetic touches?
"No," I tell them. "I do this because learning is beautiful."
Chaney also gets into the whole idea of how we tend to process cartoonish representations of the human form in a different way than we would still photography. Photography suggests an image captured in the a past that no longer exists. We know that something in a photograph is not happening to the person "in the here and now" because the photo had to have been previously taken. However, Satrapi's cartooning shows us a character that we, as readers, are willing to believe is in "the present" of the narrative. This is such an insightful idea and one that can generate really excellent discussions with students.
Chaney's talk and the ideas it raises also allow for a lot of cross-polination depending on the other writers your students are studying. For example, Margaret Atwood's poetry is filled with references to the problematic nature of photography: how photographs capture an instant in time, but don't tell us what happened to the subject in the time before or the time since the click of the camera's shutter. Think, for instance of "This is a Photograph of Me" or "Girl and Horse, 1928." Satrapi also focuses on photographs as a visual record, with a memorable full-page panel of her father taking photos of the violence, and other panels in which a character is looking at a photograph from the past and pointing out something about it.
Chaney's talk, then, is a wonderful starting point for such discussions. Be sure to check it out!
There are so many great videos out there just waiting for you to share them with your students. The trick, sometimes, is finding them. While I enjoy sifting through countless videos on YouTube that are student reenactments of great works of literature, I would prefer to know what's out there in advance. What follows in the coming blog posts is a collection of great YouTube videos that are either animated or focus on visual narrative in some way. They can really help you make successful curriculum connections with your students and help foster engagement. We'll start with the one below by Lynn Tomlinson.
So begins Emily Dickinson's "I heard a Fly buzz -- when I died --," a chilling poem that focuses on one of her favourite themes: Death. Even more chilling, perhaps, is this 1989 adaptation of the poem by Lynn Tomlinson. Here, the incessant buzzing and shifting, animated canvas seem spot on with Dickinson's own sensibilities.
When I teach this poem to my IB English students, I find Tomlinson's video to be eminently helpful. Above and beyond generating great discussions about the mood that it establishes, the video also shows students that the poem really works best when it's subject to a very matter-of-fact reading. So much of Dickinson's poetry is like this in fact. I really love the way the poem is delivered, especially when the fly appears on the scene. It takes students no time at all to realize that the windows failing are the speaker's eyes, and then they soon discover that nearly every time Dickinson makes reference to windows, our ocular faculties are in play. Soon after, they make the connection between "Eye" and "I" that pervades so much of Dickinson's writing.
Some educators would argue that the video serves to interpret the poem for students--that they have less of an opportunity to think or to imagine by virtue of watching it. This, however, is a red herring, because young learners profit far more from listening to a solid reading of the poem first and seeing it in some sort of context. We don't go to a performance of Hamlet and come away complaining that the director ruined Shakespeare's text by interpreting it (unless, I suppose, the interpretation is dreadful). We don't fret about the sanctity of a screenplay for a film when we go and see the film at the theatre.
As educators, we need to get away from handing out the poem to students, asking Sally to read it (because Sally likes reading out loud) and then asking the class what the poem means. That stopped being cool last century.
Note that this post and others in the "Visual Narrative and YouTube" series will become permanent fixtures of the website under the "Classroom" and "Curriculum Connections" tabs.
(c) 2014, Catherine Paap, published with the artist's permission at www.comicsineducation.com.
The next time you're having a disagreement with someone about the importance of visual narrative in the classroom, just send them to this post. What you're looking at here is a wonderful example of how visual note-taking--the kind of note-taking inspired by visual narrative--can have a tremendous impact in the classroom. In a recent IB English class at The York School in Toronto, I had my students engage in a visual note-taking exercise. Usually, when we're writing, it makes sense to be fairly linear. Essays tend to be linear, articles tend to be linear, and any kind of formal writing that doesn't involve someone like Borges, Calvino, or Cortazar is going to be pretty linear.
Our minds, however, are not linear.
Visual note-taking allows us to put down on the page our thoughts and ideas in a way that isn't linear. It therefore serves as a bridge between how we think and what we want to say. Those of you out there who burn the midnight oil making comics probably already know this. When you were in school, your teachers probably asked you to stop doodling on more than one occasion.
But doodling is crucial.
In the above piece, my student, Catherine, is using visual note-taking in order to draw connections between Arthur Miller's Death of a Salesman and Tennessee Williams' A Streetcar Named Desire. Some students went with flowchart structures, others chose mind maps, but most of the students, regardless of artistic skill, opted for the visual and the symbolic. Catherine's artistic skills are exceptional, but more importantly, they allowed her to express her exceptional thinking skills.
And that just totally rocks.
We want students in a junior or middle school classroom to begin to develop an understanding of what they read, how language works to make meaning, and how they can figure such things out. Graphic novels can therefore pose an additional level of challenge, because the visual and its impact on meaning must be worked out at the same time that the language is being examined. Even something as simple as this prototype I designed for the Graphic Poetry series is instructive (don't worry...I didn't illustrate any of the titles, and the series has won two awards). A student might be comfortable reading a short story and analyzing its setting—the time, place, and prevailing circumstances of the story—but how do they analyze the setting of the poem presented here as a visual narrative? They would have to talk about the colour of the half-page panel at the top, and how it seems to suggest that the events of the poem will take place in the early evening or at twilight. They would also need to talk about how the title of the poem, juxtaposed with the tree, implies that the reader is looking at the poison tree in the opening panel. And what is to be made of the fact that the tree is entirely black and blends in with the gutter between each of the panels and the page borders as well? Is the author/illustrator making a comment about how quickly and dangerously poison can spread? What are we to make of the close up of the male figure in the bottom left-hand panel and the eerie red background colour? He looks angry and the black words on the red background reinforce that, but his fixed gaze almost seems to peer right through the gutter and at the “friend” who is shot in a medium-long to long shot, presumably looking back at him, albeit tentatively. All of this is happening and we’ve only reached the end of the poem’s first line, at which point—if we were simply looking at the text of the poem—we wouldn’t normally have begun debating its meaning. It is crucial, then, when teaching graphica that we don’t just acquaint students with the terminology they might use to talk about how a shot is composed, but look carefully with them at the various features of the verbal and visual canvas before them.
If you're looking for some of this terminology by the way, you can find it under Terms and Terminology on the Introduction tab.
At the 2014 Reading for the Love of It conference in Toronto, I mentioned an activity to participants that struck them as being a new idea in teaching the graphic novel. Here's what I said:
"We should teach kids how the form and structure of a graphic novel is related to the form and structure of other genres they might read in a junior or middle school classroom. However, we need to go beyond just having students create a graphic story out of a chapter or scene from a traditional novel. Probably the coolest exercise you can do with a group of students is to have them turn the pages of a graphic novel into a traditional narrative. The advantage of this is that it forces students to think far more about traditional narrative and about how very complicated it can be for a writer to use only words to represent the simplest ideas or concepts."
A number of participants remarked afterwards that they wanted to try this activity right away and inquired about good starting points in terms of choosing a graphic novel that would lend itself well to such an activity. I gave them some of my own suggestions (Persepolis, Watchmen, Maus, The Silence of Our Friends, Are You My Mother?), but for the benefit of those who might be taking a look at this post, I'd love comments from experienced comics educators who have either done this activity with their students or who have a suggestion about a great comic or graphic novel that would work well.
Thanks in advance, and see you next time!
Welcome to Comics in Education, a new site devoted to advancing the use, understanding, and appreciation of comics and graphic novels in the K-12 classroom. Motivated by the insightful questions and great feedback I received from the 2014 Reading for the Love of It conference in Toronto, I was inspired to get this site up and going.
Comics in Education is a work in progress, but things are progressing well and I hope to have it fully functional in short order. Because this site is for teachers, students, school administrators, curriculum specialists, educational publishers, library professionals, academics, and for folks within and outside of the comics industry, I welcome as much feedback and as many suggestions as you can send my way. Updates are coming soon to the "Classroom" tab, and there'll be a lot more on the website in the days ahead. Thanks for dropping by and check back again soon for the updates.
Dr. Glen Downey is an award-winning children's author, educator, and academic from Oakville, Ontario. He works as a children's writer for Rubicon Publishing, a reviewer for PW Comics World, an editor for the Sequart Organization, and serves as the Chair of English and Drama at The York School in Toronto.
If you've found this site useful and would like to donate to Comics in Education, we'd really appreciate the support!