My assignment is due in 8 hours and there is no extra time. 
You will complete Draft activity plan word document and create a language/literacy activity for young kids. 
There are 3 pdf attachment you can read that will give you guidance on how to make one. 
You can use the sample activity plan pdf to guide 
this is only a draft so it does not need to be perfect. MUST BE ON LANGUAGE/LITERACY
LBCC-CDECE 50
Draft Activity Plan
Name: _____________________________________________________________________________________
1. Name and brief description:
2.
Justification:
3.
Objective:
By participating in this activity children will:
(I will know this when I see/hear children…)
4.
Space and materials:
5.
Procedure:
6.
Guidance:
7. Resources:
by Deb Curtis
The birds living in a tree just outside the window of our
school generated quite a stir among the three- and five-year-
old children in the program where I am a child care teacher.
There was much excitement and delight as the children
observed the birds build a nest and care for their new babies.
To take advantage and extend on this wonder-filled event, I
decided to gather some props and materials for our indoor
environment and invite the children to more personally
explore and represent what they were seeing through the
window.
At the local craft store I found some beautiful bird families
made from feathers, a set of tiny plastic eggs, and a few bird
nests commercially made from twigs and feathers. I also
collected feathers, dried leaves, grass, and moss and a variety
of small, flat baskets. I carefully arranged these items on the
top of a low shelf in the classroom and displayed books
about birds and nests nearby. The children eagerly accepted
this invitation, imitating the drama they had been observing
out the window. They were especially drawn to acting out
how the bird parents cared for their babies. The children also
designed elaborate nests with the natural materials, sharing
their theories about what kinds of nests the birds would like.
Over the next month the children continued to play with the
birds and nests, poured over the books about them, and par-
ticipated in many other activities and conversations sparked
by this enchanting event in nature and the opportunity to
pursue it in active, meaningful ways.
In my work as a preschool teacher I have found that offering
information about things that children have limited experi-
ences with, or posing a series of questions to try to encourage
their thinking doesn’t seem to get much of a lively or sus-
tained response. But when I carefully arrange props and rep-
resentational materials in the environment with a particular
focus in mind, the children are delighted to discover and
play with them, eagerly share their ideas and theories, and
seek more information. Because of this I have been steadily
collecting, organizing, arranging, and offering props and
representational materials that captivate children’s interest.
Designing Invitations
I call collections of interesting and carefully combined
materials “Invitations” and I use them in a number of ways:
■ Invitations to respond to and enhance an emerging
interest, as with the Bird Invitation described above.
When I observe an interest among the group I intentionally
organize props and materials for children to revisit and
represent their ideas. As I observe their conversations and
activities, I get new information for what else to offer to
extend the activities and learning possibilities.
■ Invitations to help children learn new skills and multiple
uses for tools and materials that are a part of the daily
environment.
I arrange materials and make displays throughout the
regular areas of the room, often including documentation
with diagrams, instructions, or photos of children’s
previous work in this area. For example, I arrange blocks
and other block props in specific ways that suggest new
possibilities for building and design and include photos of
children’s previous block constructions. The children use
these Invitations as launching points for revisiting their
work, adding complex ideas, and trying new skills.
Deb Curtis has been a preschool and childcare teacher at the Burlington Little School
in Burlington, Washington for the past seven years. She is also co-author of several
books with Margie Carter. This article was extracted from their latest book Designs for
Living and Learning, Transforming Early Childhood Environments, published by
Redleaf Press.
38 Child Care Information Exchange May/June 2004
Creating Invitations for Learning
Single copy reprint permission from Child Care Information Exchange
PO Box 3249, Redmond, WA 98073 • (800)221-2864 • www.ChildCareExchange.com
Multiple use copy agreement available for educators by request.
■ Invitations to offer activities and experiences with
particular content knowledge.
Designing Invitations related to math, science, social
studies, literacy, and other content areas of early childhood
education gives children experiences in wonderful ways
that are engaging and natural for their active learning
styles. When creating these Invitations I try to highlight a
particular skill, concept, or information, and offer an
engaging way to explore or practice the concepts. For
example, I created a small sensory tub filled with lavender
scented rice and included an array of hollow, plastic, three
dimensional geometric shapes for children to fill with the
rice. As the children work, they are exploring the physical
knowledge related to geometric forms and spatial relation-
ships. We name the words for the shapes as they are filling
them — cube, cone, etc.
■ Invitations to introduce children to new concepts or events.
When I want to plan for a particular topic or concept, I
arrange a collection of materials and props in an accessible
place in the room for the children to visit and use through-
out the day. I observe their actions and record their conver-
sations so I can uncover their ideas and understandings for
further planning. For example, I assembled a display of
dolls with different skin colors, photos, and books about
the Civil Rights Movement and differences among people. I
left them out a few weeks before the celebration of Dr.
Martin Luther King’s birthday. As the children interacted
with the materials, I took note of what they seemed to
know and understand about the life of Dr. King. I was sur-
prised to discover how little the children knew about this
great man, but also heartened to see their intense interest in
his life and work around issues of fairness. The informa-
tion and interactions spurred by this simple Invitation
helped me design more meaningful activities around the
holiday celebrations, based on the children’s ideas and
awareness.
Principles for Designing Invitations
As I have been studying how to collect and create Invitations,
I have drawn inspiration from many sources. Maria Montes-
sori and her well-known materials and methods, including
Practical Life activities has made such an important contribu-
tion to my practice. Fredrick Froebel, known as the father of
kindergarten and the inventor of blocks, described his
approach to organizing and offering materials as “Gifts” for
learning. The educators from the schools of Reggio Emilia,
Italy, talk of “provocation” and have given us innovative
ideas for the kinds of materials that engage children and care-
ful, aesthetically beautiful ways to display them. I have also
learned from many early childhood teachers and caregivers
and their creative collections of Curriculum Prop Boxes. All
of these sources are worth studying as you seek to enhance
children’s use and learning with materials in your environ-
ment.
The most important source for my learning about collecting
and arranging Invitations in my child care room has been
from the children themselves. When children are offered
interesting open-ended materials, which are thoughtfully
combined and arranged, you will see them work in amazing,
yet predictable ways.
■ Exploring — Children are drawn to the sensory aspect of
materials.
Principle: Look for collections that have textures, interesting
surfaces for touching or looking at or looking through,
things that make sounds or move in interesting ways.
Natural materials are always a good source for this kind of
exploration.
■ Transforming — Children are completely mesmerized with
transforming materials and rearranging the world around
them.
Principle: Look for materials and substances that can be
changed, moved, reconfigured, or otherwise have some
kind of cause and effect quality.
■ Organizing and Designing — With an interesting, varied
collection of materials preschool children will organize
them by their attributes or use them in beautiful designs.
Principle: Find collections of materials that have similarities
and differences and can be used for sorting, patterning,
and designing.
■ Building and Constructing — Young children like to put
things together in relationship to each other, to connect
things to other things, and to use building and construction
materials to represent many aspects of their ideas and
understandings.
May/June 2004 Child Care Information Exchange 39
40 Child Care Information Exchange May/June 2004
Principle: Along with typical early childhood construction
materials, seek out interesting shapes and sizes of items for
building as well as things that can be used to decorate con-
structions. I also look for loose parts and recycled materials
that resemble parts of something else, such as an airplane
wing, a boat shape, or a dinosaur’s scales.
■ Dramatizing — With limited props preschool-age children
will turn anything into dramatic play.
Principle: Keep an eye out for props and figures that can be
added to any of the above background materials for an
adventure or story.
■ Drawing — Drawing is a natural medium for young
children to express their ideas.
Principle: Regularly provide tools for children to draw and
write as a part of Invitations.
■ Reading — Children will thoughtfully study books and
visual information related to a collection of props they have
been using for exploring and representing.
Principle: Include resource books, stories, photos, posters,
diagrams, and instructions to enrich the use of the materials
by offering new suggestions and extensions, and support
the development of literacy skills.
Collecting� Arranging� and
Displaying Invitations
The set of materials I gather depends on the focus of the
Invitation I am creating. I always make sure that the collection
has at least three or four aspects from the list above so the
children will have a variety of options for combining and
using the materials. I am always searching for items that con-
vey a sense of magic and wonder, treasures that beg to be a
part of a drama or creation as well as those that are substan-
tial and have an important aspect or function. For example, in
an Invitation to explore stones, I gathered a set of identical
stones of varying sizes that are smooth and heavy to touch;
they can be seriated by size, balanced and stacked into a
tower, or designed as a habitat for a drama using a family of
plastic snakes. Included with the collection are books about
designs in nature, rocks, and snakes.
I have found that the way materials and props are offered is
as critical to their use as what is offered. Thoughtfully col-
lected and carefully placed materials help children focus on
what is available and spark their ideas and actions. When
arranging the display, it is important to position the materials
in an orderly fashion so the children can see what is available
and the possibilities for their use.
■ Designate an accessible location with enough space for one
to four children to work with the Invitation, such as a low
shelf, counter top, or small table. If I’m creating an Invita-
tion in a regular area of the room, I make sure it is out of
the way of the typical use and traffic flow.
■ Provide a background for the materials such as a cloth or a
tray to highlight the materials and define the work area. I
think of this as offering figure/ground support like a
puzzle, or a blank artist’s palette to invite the work that will
be done.
■ Offer collections of like objects, for example all metal tools
in the sensory table, all wood containers for sorting, or all
natural baskets for storage. These like objects create a
context for the materials so the Invitation does not look
cluttered.
■ Place like objects in baskets near the tools and materials
they can be used with so the children can see what is
available and how the materials relate to each other.
■ Arrange the materials in beautiful ways that suggest how
they might be used. For example, design a beginning
pattern with tiles, partially build a small construction, offer
an example of a simple drawing done with colored pencils,
place the correct number of beads in the section of a tray
with the corresponding numeral.
Scouting for Invitations
Once you begin providing interesting open-ended materials
and observe the marvelous ways the children use them, you
will be eager to search for and provide more. Always be on
the lookout in thrift stores, craft stores, garden shops, and
garage and estate sales. You can develop an eye for the perfect
treasure based on what you have seen children do with simi-
lar materials. You can also take a chance and offer children
something that jumps out and captures your own curiosity.
It’s always delightful and surprising to see the children’s
unique ideas and approaches. What better way to offer learn-
ing experiences — as an invitation to wonder, explore, and
create in as many ways as possible!
CURRICULUM 45
JANUARY/FEBRUARY 2011 EXCHANGE
If nature has commanded that of all the
animals, infancy shall last longest in human
beings — it is because nature knows how
many rivers there are to cross and paths to
retrace. Nature provides time for mistakes to
be corrected (by both children and adults), for
prejudices to be overcome, and for
children to catch their breath and restore their
image of themselves, peers, parents, teachers,
and the world.
(Malaguzzi, 1998, p. 80)
Introduction
For those who are tired of old images and
practices, Malaguzzi suggests that there
is time for mistakes to be corrected. New
paths of practice can be forged by being
willing to consider another way of teach-
ing and learning with young children.
And as with any change in professional
practice, teachers face cognitive disso-
nance when they try to reconcile their
current practice with new ideas. This is
the story of what happened when four
teachers abandoned their theme-based
approach in favor of the uncharted terri-
tory of an emergent curriculum, and how
this act impacted their practice and their
self-image.
It is also the story of a personal journey. I
spent years as a preschool teacher strug-
gling with the theme approach. I knew
that there was a better way, but in spite
of purchasing numerous books and at-
tending conferences and workshops, my
curriculum practice was not innovative.
My practice was run-of-the mill and com-
monplace. When I became a director, I
had the opportunity to work with a teach-
er who adopted an innovative approach
to curriculum planning. Themes could
last more than one week and the ideas for
themes did not just connect to holidays,
the weather, and preschool concepts such
as colours, numbers, and the alphabet. I
vividly recall how, for one month’s time,
her classroom became the Hundred Acre
Wood inspired by the children’s favou-
rite literary character, Winnie the Pooh.
However, I was dismayed and frustrated
with the inability of the other teachers to
abandon their own theme-based practice.
When I left my position as director to
become a teacher educator, I left the op-
portunity to practice a curriculum that
was not run-of-the-mill and common-
place, but innovative and authentic. Un-
fortunately, I was not aware of emergent
curriculum when I was working with
children. As a result of my experiences,
I decided to focus my doctoral research
on four teachers implementing emergent
curriculum so that I could better under-
stand how it could impact teaching
practice.
Past practice
The four teachers in question — Felicia,
Rose, Mary, and Layla — described their
past practice in this way:
n Themes were the preferred approach.
n The curriculum was routine and tightly
scripted.
n The routine provided a level of
comfort to those who were using it.
n A tightly controlled time frame of one-
week intervals was used.
n The teachers controlled the curriculum;
children had little input.
Diane Kashin, EdD, is a professor at
Seneca College in Toronto. She
completed her Doctorate of Education
degree from the Ontario Institute for
Studies in Education at the University
of Toronto. Her thesis, “Reaching the Top of the
Mountain: The Impact of Emergent Curriculum on the
Practice and Self-Image of Early Childhood Educators,”
was published in 2009 and is available from
amazon.com. Her first textbook, Playing and Learning
In Early Childhood Education (co-authored with
Beverlie Dietze), will be published by Pearson Canada
in 2011. Diane is currently the president of the
Association for Early Childhood Educators of Ontario
and is a consultant with the Acorn School, the site of
her summer experience with emergent curriculum.
From theme-based to
emergent curriculum
Four teachers change and learn about themselves,
the children, and authentic practice
by Diane Kashin
Reprinted with permission from Exchange magazine.
Visit us at www.ChildCareExchange.com or call (800) 221-2864.
Multiple use copy agreement available for educators by request.
46 CURRICULUM
EXCHANGE JANUARY/FEBRUARY 2011
The theme approach to curriculum
planning is described as linear, lock-
step, and segmented by subject (Wien,
2004) or what Felicia referred to as ‘fill-
ing in the boxes.’ A matrix of activities
guided the week’s activities and there
was little opportunity for discovery or
emerging directions if they conflicted
with the ‘theme of the week.’ In this
approach, there is no opportunity to
“revisit children’s work to incorporate
principles of editing” which Clemens
(1999) calls “the permission to start
wrong” (p. 2). Rose’s observation that
“by the end of the week your theme is
done even if the children want to know
more” shifted the teachers’ attention to
what was happening in their class-
rooms.
Themes are based on the assumption
that “all children will benefit and be in-
terested.” Themes do not acknowledge
each child’s uniqueness and they do not
“empower children to become part of
the planning process” (Crowther, 2003,
p. 40). Mary agreed, saying, “[Themes
were] more structured, more teacher di-
rected. This is what we are doing today,
this is what we are doing tomorrow and
this is what we are doing next week.”
As Fraser (2000) suggests, in the field of
early childhood education sometimes
. . .
Experiences that happen in the class-
room have little relationship to the writ-
ten plans. . . . [Children} come up with
more interesting ideas than the teachers
had thought of. . . . [Teachers] “find
themselves caught in the dilemma of
sticking with the theme or abandoning
it and following the children’s inter-
ests” (p. 124).
As Felicia recalled:
“When I was transforming from filling
in the boxes to emergent curriculum,
the boxes couldn’t hold everything,
only one physical activity, one cogni-
tive, one social. This is the limitation.”
The need to change
Except for Felicia, the others had not
questioned or deliberated on the practice
of themes. However, increasingly Felicia
had difficulty reconciling the emerging,
expressed interest of the children with the
prescribed theme-of-the-week and began
to reflect on her teaching practice in a way
that questioned the use of themes. Felicia
recalls feelings of frustration and a lack
of authenticity in implementing themes.
For Felicia this was the driving force in
seeking alternative approaches. Felicia
contends, “If you are following the tradi-
tional curriculum, it gets in the way of real
meaningful learning.” Felicia’s perception
was that themes “did not feel right.” Wien
(1995) refers to theme-based practice as re-
flecting a ‘teacher dominion orientation.’
In this practice, teachers choose the activ-
ity, its purposes, and its design, and then
implement it. Ownership of the activity
belongs to the teacher: part of the activ-
ity is persuading children to her purpose,
motivating them (p. 8).
Wien’s (1995) case study of a teacher
whose program planning was based on
themes offers some insights. This teacher
found the “traditional content she has
been using for themes: shapes, colours,
alphabet, and numbers (which is remark-
ably similar to the content of traditional
kindergarten and primary classrooms)
increasingly boring” (p. 24). The teacher
saw part of her role as familiarizing
children with material they will encounter
in school. Themes are based on a school
model. Early childhood teachers feel it
provides an academic focus especially
with the use of worksheets. “The teacher
controls the agenda for action” and “there
is a prescribed range of possible responses
that the children are permitted; activity
outside the range is corrected” (Wien,
1995, p. 8).
Wien’s characterization of the limitations
of the theme-based approach fit with what
Rose had been observing. She described
how she had seen teachers reacting to
children colouring outside the lines while
completing worksheets. “Mommy is not
going to like it because you are colouring
outside the lines.” In trying to duplicate a
school model, early childhood programs
use instructional group experiences,
construction paper cut-outs (e.g. turkeys
at Thanksgiving, pumpkins at Halloween,
and shamrocks for St. Patrick’s Day) and
worksheets to ‘teach’ the children.
Abandoning themes
When I began my study, Mary, Felicia,
Layla, and Rose had all abandoned the
use of themes. The focus of curriculum
planning for each participant had become
project work and all were attempting to
implement an emergent curriculum with
varying results. Project work and emer-
gent curriculum, it appears, do not always
go hand-in-hand.
n Projects can become predetermined by
the teachers once an interest has been
established.
n While projects are labeled ‘emergent
curriculum,’ once there is an expressed
interest in the topic by the children, the
teachers take over.
n Teachers respond to children’s initial
interest by collecting related resources
and provide connecting activities, and
the project becomes teacher directed.
n The direction of the project is pre-deter-
mined and teacher controlled.
Layla, Felicia, and Rose engaged the
children in class meetings to make group
decisions about the direction of the
project. In this way:
n The children had the opportunity to
decide how they would make decisions;
“would it be consensus or majority
rules?”
n The children were presented with
topics representing the emerging
CURRICULUM 47
JANUARY/FEBRUARY 2011 EXCHANGE
that with the practice she is “more alert
to what the children are talking about
and showing interest in.” When asked
whether she is satisfied with emergent
curriculum, she answers with a quali-
fying, “pretty satisfied.” She says, “I
don’t know how far to go when doing
emergent curriculum. How much is
going to be too structured? I need a bal-
ance between structure and completely
emergent.”
Layla, on the other hand, asserts that
she is “extremely satisfied” and it is the
“best curriculum we ever had.” Rose
claims she is “very satisfied” with her
approach to curriculum even though
she was initially resistant. She asserts,
“Now I cannot comprehend pre-cut”
and proclaims, “I wouldn’t know how to
go back.” Felicia believes that if it were
not for emergent curriculum she would
not be working in the field. Emergent
curriculum has lent authenticity to her
practice.
Final thoughts
For me, this journey of discovery has
shed much light on the practice of emer-
gent curriculum. I discovered that emer-
gent curriculum has transformational
possibilities such as depicted in Reggio
Emilia’s Hundred Languages of Children
Exhibit. Having multiple opportunities
to visit the exhibit during its tenure in
Toronto has made me a believer.
It has been the stories of these four
teachers, coupled with the inspiration
from the marvelous documentation pan-
els of the exhibit, that have motivated
me to once again seek the experience of
working directly with children. For two
months during my summer holiday, I
worked in a Reggio-inspired program. I
relished the possibilities inherent when
learning with and from children on a
daily basis. I appreciated the opportu-
nity of establishing reciporical relation-
ships with children, parents, and other
teachers. I cherished the chance I had
were encouraged to explore, discover,
inquire, predict, and theorize. The teach-
ers had to work hard to pique and sus-
tain the children’s interest in this topic.
In Felicia’s classroom, the children were
able to identify artistic elements and
characteristics of the great masters of the
art world. By limiting the number of
artists for the children, she allowed for
more in-depth study than would have
been possible with a larger number.
When the children in Rose’s program
arrived after attending school for a full
day, they encountered resources and
activities that engaged their sense of
wonder and discovery about snakes.
In Mary’s classroom, the children
seemed to have an abundance of knowl-
edge related to the Lion King movie.
Teachers’ reflections on the
process
Becoming a teacher of emergent cur-
riculum is not easy. Layla recalled the
experience of losing control of the cur-
riculum when she began to implement
an emergent curriculum. She recalls the
experience as being traumatic. She felt
vulnerable. Layla was in the vulnerable
position outside of the “teacher domin-
ion” (Wien, 1995, p. 5). By stepping out
of this comfort zone to a place of cogni-
tive discomfort, Layla experienced the
colliding of past and present practice.
Layla recalls that it took considerable
time for her to accept emergent cur-
riculum to define her practice. Now she
claims “it has given me more confidence
in what I do.” Rose also recalls being
initially resistant. Felicia took to the
practice immediately, accepting the dis-
comfort as the impetus for growth and
development. She now views emergent
curriculum as being ‘instrumental’ in
keeping her in the field.
Mary is less than enthusiastic about
emergent curriculum, but acknowledges
interests of the group and a decision
was made about the project that would
unfold.
n The children reacted to waning interest
and the development of emerging topics.
n The children expressed and transcribed
ideas and theories about the project and
determined its direction.
In contrast, Mary determined the activi-
ties that were presented every day which
related to her project on animals. Interest-
ingly, Mary is the only one of the four
teachers who was not transformed by the
change to a project approach. Even though
the centre she had worked in professed to
be ‘Reggio-inspired,’ she was dissatisfied
with emergent curriculum and admit-
ted to not knowing what is meant to ‘do
Reggio.’ Mary struggled with children’s
behavioural issues in her classroom and
felt the need to maintain control. What was
missing for Mary that was there for the
other three? My research suggests that the
following components are necessary for a
successful practice of emergent curriculum:
n On-site support
n Access to professional development
n An intrinsic desire to change
n A collaborative approach to curriculum
that includes parents, teachers, and chil-
dren

By sharing control of the curriculum and
letting go of the belief that a teacher has to
have all the knowledge and make all the
decisions, a classroom can actually appear
more in control. Neither Rose, Layla, nor
Felicia had daily issues with children’s
behaviour. All of the participants viewed
their projects as an opportunity for chil-
dren to acquire knowledge on their respec-
tive topics, but also to provide children
with active involvement in the emerging
curriculum:
The children in Layla’s class were able to
identify common weather patterns as well
as speculate upon cause and effect. They
48 CURRICULUM
EXCHANGE JANUARY/FEBRUARY 2011
Additional resources on
emergent curriculum
Carter, M. (2006). Giving children more
languages. CD-ROM. Mechanicsburg,
PA: Harvest Resources.
Carter, M. (1999). Thinking big: Extend-
ing emergent curriculum projects. DVD.
Mechanicsburg, PA: Harvest Resources.
Carter, M. (2004). To see takes time:
Growing curriculum from children’s
theories. DVD. Mechanicsburg, PA:
Harvest Resources.
Forman, G., & Gandini, L. (2006). The
Amusement Park for Birds DVD. Am-
herst, MA: Videatives, Inc.
to practice documenting a project. For
me, I had finally lived first-hand emer-
gent curriculum within a Reggio-inspired
environment. At the end of the summer I
felt confident to stand before another new
succession of pre-service early childhood
education students in my classroom having
practiced what I preach.
References
Clemens, G. S. (1999, Spring). Editing
permission to start wrong. Early Childhood
Research and Practice, 1, 1.
Crowther, I. (2003). Creating effective learn-
ing environments. Scarborough, Ontario:
Thomson and Nelson.
Fraser, S. (2000). Authentic childhood:
Experiencing Reggio Emilia in the classroom.
Scarborough, Ontario: Nelson Fraser.
Malaguzzi, L. (1998). History, ideas, and
basic philosophy. In C. Edwards, L.
Gandini, & G. Forman (Eds.), The hundred
languages of children: The Reggio Emilia
approach to early childhood education (pp. 49-
77). Norwood, NJ: Albex.
Wien, C. A. (1995). Developmentally
appropriate practice in “real life”: Stories
of teacher practical knowledge. Teachers Col-
lege Press: New York.
Writing Learning Objectives

Bloom’s Taxonomy: A classification of Educational Learning
When writing activity plans for young children it is essential that the objectives be clear and observable. With young children the only way you can know what they know is through observation. There is a tool called Bloom’s Taxonomy that can help you to write objectives that will be observable. Blooms Taxonomy of Learning Objectives describe six levels of learning-the levels are in
increasing order of complexity
– the first levels build the foundation on which higher order skills can be developed. For preschool aged children most objectives will fall within the first three levels but higher order skills are appropriate as well.
Bloom’s Taxonomy:

Name of level

Description

Verbs
used in Objectives

Example

#1-
Knowledge

This is where children recall information and content. This is simply: the gathering of new knowledge

Identify, Recognize, show, Tell, Name, Write, Recite, Collect, State

By participating in this activity children will: recite the words to the song along with the teacher.

#2-
Comprehension or Understanding

This is where children explain or interpret new information based on prior learning.

Compare, Describe, Distinguish, explain, Illustrate, Match, Predict, Say, Summarize

By participating in this activity children will: compare what they know about insects to the story

#3-

Application

This is where children solve real problems and solve difficult situations using relevant information, prior knowledge or rules and principles that they are aware of.

Adapt, Build, Classify, Modify, operate, Plan, Prepare, Produce, Demonstrate, Develop, Discover, Dramatize, Graph,

By participating in this activity children will: dramatize the events stated in their own written stories

#4-
Analysis

This is where children analyze complicated and complex information by separating it into parts in order to determine the relationships and organization of those parts as they relate to the whole.

Categorize, Classify, Compare, Determine, distinguish, examine, group, Organize, sequence, Infer

By participating in this activity children will: compare the events in the story__ to the story__

#5-

Synthesis

This is where children order, organize or transfer prior knowledge and current learning to form new ideas or solve problems.

Change, Combine, Compose, Create, Design, Develop, Invent, Incorporate, Plan, Revise, Produce

By participating in this activity children will: create new stories about animals with the flannel board pieces

#6-

Evaluation

This is where children, judge, predict and justify information based on a set of specific, carefully defined standards and criteria, not based on personal opinion.

Consider, Evaluate, Justify, Summarize, Defend

By participating in this activity children will: evaluate the characters behavior based on the rules in their own classroom.




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