Dead Sea Scrolls: Words that Changed the World

Intermediate Level Educators Resource: Developed by the Ontario Ministry of Education

in collaboration with the Royal Ontario Museum

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The Dead Sea Scrolls Grade 8 Language and The Arts (Drama) Critical Learning Guiding Questions The discovery of the Dead Sea Scrolls is one of the greatest archaeological finds of the 20th century.

The Scrolls and the artifacts found with them can provide us with an insight into the life of the people who lived 2000 years ago in the area near the Dead Sea.

1. How do artifacts such as the Dead Sea Scrolls, and the many items found from that time period, help historians determine what life was like during different periods in history?

2. What stories do the artifacts and Scrolls tell us about the people who lived over 2000 years ago in the area around the Dead Sea?

Curriculum Expectations Language, Reading 1. read and demonstrate an understanding of a variety of literary, graphic, and informational texts, using a range of strategies to construct meaning

1.3 identify a variety of reading comprehension strategies and use them appropriately before, during, and after reading to understand increasingly complex or difficult texts 1.5 develop and explain interpretations of increasingly complex or difficult texts using stated and implied ideas from the texts to support their interpretations 1.6 extend understanding of texts, including increasingly complex or difficult texts, by connecting the ideas in them to their own knowledge, experience, and insights, to other texts, and to the world around them

The Arts, Drama B1. Creating and Presenting: apply the creative process to process drama and the development of drama works, using the elements and conventions of drama to communicate feelings, ideas, and multiple perspectives

B1.2 demonstrate an understanding of the elements of drama by selecting and manipulating multiple elements and conventions to create and enhance a variety of drama works and shared drama experiences B1.3 plan and shape the direction of the drama by negotiating ideas and perspectives with others, both in and out of role

Learning Goals (Unpacked Expectations)

Students will use various artifacts and fragments found in the same area and time period as the Dead Sea Scrolls to infer meaning about what life was like during the time of 250 BCE and 68 CE in the area near the Dead Sea.

Based on their interpretations of the texts and artifacts, students will engage in drama conventions and strategies to express the story of life at that time.

Instructional Components Literacy Strategies Think-aloud T-chart Double-entry journal

Drama Strategies Process Drama Role Play Small Group Story Telling In role and out of role Tableaux with Transitions Process Presentation Teacher Side-Coaching Voices in the Head

Terminology Time capsule Before Common Era (BCE) Common Era (CE) Scroll Artifact Fragment Parchment Papyrus Drama definitions

Materials -News articles about time capsules (Appendix A) -T-charts (Appendix A) -Objects from Sepphoris (Appendix B) - Objects from Jerusalem (Appendix B) -Objects from Qumran (Appendix B) -Sample Scrolls (Appendix B) -Dead Sea Scrolls: Words that Changed the World (Appendix C) -Double-Entry Journals (Appendix C) -What is their Story? (Appendix D) -Drama Conventions (Appendix E) -Literacy Strategies (Appendix F) -Strategy Implementation Continuum (Appendix G)

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The Dead Sea Scrolls Grade 8 Language and The Arts (Drama) Minds On (pre ROM visit activities) Approximately 20 minutes Pause and Ponder Whole Class > Modelling > Conceptual Understanding The teacher reads a news story to the class about opening a time capsule and, using a think-aloud strategy, models thinking about the information that can be gathered from the contents of a time capsule. (See Appendix A, Time Capsules) for internet sources of current news stories about time capsules). The teacher models using T-chart #1 demonstrating how to infer information from the objects found in the time capsule. (See Appendix A, T-Charts)

Small Groups > Shared Practice > What is my story? In small groups, students use T-chart #2 and, on the left side, list objects that they would put into a time capsule to let someone in the future know about them. On the right side, students indicate why they have chosen each item. When selecting the objects, students consider what the future person might want to know.

Question Prompts What random objects would you put into a time capsule to let someone in the future know about you? What your life was like? How you lived? What were your interests? What is your story? How well would they be able to piece together your story? How would you protect your time capsule?

AfL: Assess and provide oral feedback on the effectiveness of students choices.

Action! (Pre ROM visit Activities) Approximately 90 minutes Question Prompts Teacher models reading selections from the text and models making inferences. Since these objects are an unintentional time capsule what do they tell you about the people that wrote the scrolls, and that created and used the objects? What questions do you have about the people, their time, and place? What is the story? What do they tell us about their daily life and culture?

AfL: Assess and provide oral feedback on the double-entry journals and feedback on drama in process.

Question Prompts What is archaeology? How were the Dead Sea scrolls found? Where were they found? By whom? Why do you think the scrolls were hidden? What can the artifacts tell us about life at this time? What story do they tell? What is the mystery behind this collection?

A) Small Groups > Dramatic Representation > Imagining a Story Divide the class into three small groups. Students view images and read about some objects that were found near 1. Sepphoris, 2. Jerusalem, and 3. Qumran. (See three files in Appendix B Objects from Sepphoris, Objects from Jerusalem, Objects from Qumran and Sample Scrolls) Using these objects as the stimulus, each group then engages in an imaginative activity and creates a back story for the objects. What do we know? (Facts), What do we think we know? (Infer), What do we want to find out? (Explore) Groups shares and discusses their ideas with the whole class.

B) Whole Class > Modeling > Setting the Context The teacher provides background information and reads aloud sections I and II in the student package Dead Sea Scrolls: Words that Changed the World (Summary and An Astonishing Discovery sections) and models the use of a double-entry journal to respond to information. (See Appendix C Dead Sea Scrolls: Words that Changed the World and Appendix C - Double-Entry Journal)

C) Small Groups > What is their Story? Independently students read about their groups location 1. Sepphoris, 2. Jerusalem or 3. Qumran. Students return to their groups (from activity A) and use a Small group story telling strategy share to consolidate their understanding of the text orally. (See Appendix D What is their Story? and Appendix E- Drama Conventions: Teacher Resource) In small groups, students select one of the locations and engage in a story-telling activity about that site.

D) Whole Class > Independent Practice > The Mystery of the Dead Sea Scrolls The teacher introduces the mystery behind the discovery of the Dead Sea Scrolls and provides some background information. Students independently read section III in the student package Dead Sea Scrolls: Words that Changed the World (Mystery: Who Wrote the Dead Sea Scrolls? section) and use a double-entry journal to respond. (See Appendix C Dead Sea Scrolls: Words that Changed the World text and Appendix C Double-Entry Journal)

E) Small Groups > Process Drama Activity > What is the Story behind the Mystery? In small groups, students work with process drama to explore their understanding of the time and place and consolidate this understanding by generating a theory in answer to the mystery. Out of role they will answer questions such as: Were the Scrolls were part of an ancient collection and, if so, whose? and Who concealed the Scrolls, and why? Students will consider drama elements (e.g., role/character, relationship) and in role convey their understanding using drama conventions (e.g., tableaux with transitions). (See Appendix E Drama Conventions: Teacher Resource) Consolidation (ROM visit and POST ROM visit) Approximately 30 minutes Whole Class > ROM VISIT

Small Groups > Guided Practice > Final Drama Presentation (post ROM visit) In small groups, students share their story to the whole class by presenting their drama tableaux with transitions. The class can use the drama convention Voices in the Head to orally gather more information about the groups theory. (See Appendix E Drama Conventions: Teacher Resource)

Question Prompt How can taking on the perspective of a character and a situation help us understand the story better?

Next Lesson Connection Ideas for extension activities: Write a fictional narrative about an event that may have occurred based on the artifacts selected and developed out of the dramatization. Write a diary entry in role of a person that may have hidden a Scroll. Create a news item (article, video report, podcast) about the discovery of the Scrolls.

Appendix A (Minds On Activity)

Time Capsules: Todays Examples

News stories about time capsules:

http://www.thunderbay.ca/City_Government/City_Records_and_Archives/

Web_Exhibits/Time_Capsule.htm

http://www.thebarrieexaminer.com/ArticleDisplay.aspx?e=1563199

http://www.cambridge.ca/mayor_city_council/time_capsule

http://www.thepeterboroughexaminer.com/ArticleDisplay.aspx?e=1562330

http://www.delhinewsrecord.com/ArticleDisplay.aspx?e=1556492

Protecting/Conserving a time capsule:

http://www.cci-icc.gc.ca/publications/cidb/view-

document_e.aspx?Document_ID=141

Appendix A (for 1st Minds On Activity)

The ________ Time Capsule

T-Chart #1

Object What does it tell us?

Appendix A (for 2nd Minds On Activity)

Our Time Capsule

T-Chart #2

Object What will it tell someone about us?

Appendix B (2 of 4) - Imagining a Story Activity Group 2 Student Handout (Small Group)

Objects found around Jerusalem

Glassware - ROM (Gift of Miss Helen Norton) Eastern Mediterranean region, 1st 2nd century CE (between the years 0-200)

This was one of the first places in the world where blown glass was created. Glassworkers in ancient Judea and surrounding areas produced remarkable objects during these eras. Pieces like these would have been a familiar sight in the homes of the wealthy in Jerusalem. They may have held fine oils, liquids, and perfumes.

Glassware jar - ROM (Gift of Miss Helen Norton) Eastern Mediterranean region, 1st 2nd century CE (between the years 0-200)

Small glass jar in the shape of a date. Dates grow on a plant that is part of the Palm family. The date palm was important because it provided sugar and food, and the plant itself provided shade, building materials, animal feed, tools and rope. The date palm, a symbol of peace, justice and supply, was pictured in early sculptures, and was important to several of the world's religious groups which were in the area (e.g., the Jews, the Muslims and the Christians).

Clay Storage jar - Israel Antiquities Authority (IAA) 1st century BCE - 1st century CE (less than a hundred years of year 0 on our calender)

These vessels would have stored grapes, olive oil, wine, grain, fish, and other commodities. They were produced in very large number (on an industrial scale). They are typical of earthenware clay vessels that were produced throughout the Mediterranean region.

Objects found around Jerusalem continued.

Earthenware (clay) Oil lamp with multiple nozzles - ROM 1st century BCE - 1st century CE (less than a hundred years of year 0 on our calender)

Lamps were the primary source of lighting in the home and workplace at the time. They were filled with oil (e.g., fish oil, animal fat or vegetable oil) and a woven wick was lit with a flame (similar in use to a modern candle). This lamp has multiple nozzles for multiple wicks. The second lamp is the more common single wick style. The type of decoration (geometric, floral, animal or human) can give clues to the archeologist regarding which of the many cultures present at the time may have used particular lamps.

Earthenware (clay), Cooking pot, flask and jug - IAA 1st century CE (around the years 1-100)

Rich or poor, every household in Jerusalem had to cook meals and these are examples of common kitchenware. Smaller juglets could have been used to hold oils of a less expensive kind for personal use, while taking a bath for example. Slightly larger juglets were probably used during cooking, to carry wine, water, or oil.

Limestone Basin/Sink, stone vessel, edge of a carved stone table, olive oil press (crushing platform) - IAA 1st century BCE - 1st century CE (less than a hundred years of year 0 on our calender)

The first object would have functioned as the ancient worlds version of the modern sink. These artifacts were excavated in a residential area in Jerusalem that was topographically higher than the rest of the city. This was the neighbourhood of the rich, with large, elaborate dwellings inhabited by the families of the high priests and the local aristocracy. The remains of many houses have ritual baths as well as elaborate utensils and furniture made of stone. Priests meticulously observed the laws of ritual purity, not only in the Temple but also in their homes. They believed that stone vessels could not absorb impurities the way that more porous clay and earthenware did, and highly skilled artisans carved small household mugs, large water-storage jars even tabletops. The table edge depicts a double cornucopia (A goat's horn overflowing with fruit, flowers, and grain), a symbol of food and abundance (this type of symbol shows Greek Empires influence).

Objects found around Jerusalem continued.

Glass jars and bootles IAA 1st century CE (between the years 1-100 on our calender) An oinment jar (far left) and jars for cosmetics (make up).

Limestone - IAA 1st century BCE (between the years 1-100 on our calender) The first object is a stone building fragment that could be called a no trespassing sign on pain of death. Translation: "No foreigner shall enter within the balustrade of the Temple, or within the precinct, and whosoever shall be caught shall be responsible for [his] death that will follow in consequence [of his trespassing]." The second building fragment says, "To the place of the trumpeting to de[clare?]..." This may refer to a place "...where one of the priests stood..., and gave a signal beforehand with a trumpet, at the beginning of every seventh day, in the evening twilight, as also at the evening when the day was finished, as giving notice to the people when they were to leave off work and when they were to go to work again." (Josephus, c. 75 CE)

Tyrian shekel (Silver) - ROM Mid 1st century BCE (about 50 years before year 0) This coin called a shekel minted in a city called Tyre (now Lebanon). The coin bears a symbol of an eagle with a palm branch at its shoulder. It was the only coin accepted as payment for the Temple tax. Weighing around 14 g, these silver coins remained the standard payment even after the Romans took over the land. Every male over the age of 20 was required to pay an annual half-shekel tax. To put this in modern terms, a full days labor in this time was one gerah, and a half Shekel was worth 10 gerah or ten full days of work.

Appendix B (3 of 4) - Imagining a Story Activity Group 3 Student Handout

Objects found around Qumran

Earthenware (clay) Juglet - IAA 1st century BCE 70 CE (less than a hundred years of year 0 on our calender) Small juglets like these were likely used at Qumran as containers for precious or expensive liquids, such as perfumes or oils, including balsam. Much of the pottery discovered at Qumran appears to have been manufactured locally.

Earthenware (clay) goblet, plate, cooking pot, and dried dates and olives 1st century BCE 70 CE (less than a hundred years of year 0 on our calender) Remains of an Ancient Pantry? One of the first mysteries that archaeologists unearthed at Qumran was an assemblage of more than 1,000 dishes plain ceramic cups, plates, bowls, and jugs - which lay neatly stacked, yet broken, on the ground. Plaster shelves, now deteriorated, had supported them. For many, this is evidence for the practice of communal dining: a 2,000-year-old pantry of neatly stacked pottery, ready for the next meal. Some scholars reject the communal-dining theory and argue that these remains, along with the remnants of kilns, are evidence of a thriving pottery manufacturing centre.Judging by remains such as these, the inhabitants of the Qumran settlement ate simple meals, including barley, lentils, olives, and dates.

Date-palm fibre rope and Basket fragment, Wool hairnet? -IAA 1st century BCE 1st century CE Date palms not only provided food but their fibres can be used for making ropes, mats, and baskets. This woven net was also found in one of the caves near Khirbet Qumran. It may be an ancient hairnet, though this is difficult to say definitively. Some see this as evidence for the presence of women at Qumran.

Objects found around Qumran continued

Boxwood Comb, leather sandal, fabric, Leather Phylacteries - IAA 1st century BCE 1st century CE

The remnants of a pair of leather sandals and a comb are some of the few personal items that survive the people who once inhabited the Qumran site. Archaeologists discovered several hundred pieces of cloth in the caves around Qumran. Textiles rarely survive the ravages of time, but the extremely dry climate and protected darkness of the caves helped preserve them. Most of the textiles from Qumran are linen; the rest are made of wool and goat hair. This scroll wrapper is made of linen decorated with blue stripes. There were also small leather containers, or phylacteries, which held miniature scrolls inscribed with various ancient biblical texts were found in the Scroll caves.

Clay Vessel used as a hoard container-IAA

A Silver Hoard. Several clay pots filled to the brim with coins, which were found under one of the Qumran buildings. Excavators of Khirbet Qumran unearthed 1,251 coins. Most of the coins were pure silver shekels. The same type of coin was accepted for the poll tax and other payments. One shekel was worth 20 full days of labour.

Earthenware (clay) Inkwell IAA

Small ceramic inkwells were discovered in the ruins of Qumran along with two others. Each had dried ink inside and was found in a collapsed room with a long plastered bench (table?). Few people could write in ancient times, and inkwells are rarely found at archaeological sites. Did these belong to scribes, copists, or authors?

Appendix B (1 of 4) - Imagining a Story Activity Group 1 Student Handout (Small Group)

Objects found around Sepphoris

Earthenware (clay) Lamp fragments - IAA late 1st to 3rd century CE (between the years 0-300 on our calender)

Oil lamps were the primary source of lighting in the home and workplace at the time. They were filled with oil (e.g., fish oil, animal fat or vegetable oil) and had a woven wick that was lit with a flame (similar to a candle). This particular type was a discus lamp, with a flat circular area (discus) moulded into the top of the body that allowed a space for decoration, and they were pierced with a small hole (for filling the lamp). The type of decoration (geometric, floral, animal or human) can give clues to the archeologist regarding which of the many cultures present at the time may have used these particular lamps. For example the one with a depiction of the head of Medusa shows Greek influence. Medusa, meaning "guardian," had hair made of snakes and a look that would turn people to stone. In classical antiquity this image was displayed to avert or scare away evil.

Two dice - IAA

These dice were used to play games of chance. The Romans called this type of dice tesserae; the numbers are arranged such that any two opposite sides add up to seven. Each die is hand-carved from a single piece of animal bone. During the 1st to 3rd centuries CE (between the years 0-300), dice like these were carried across the Roman Empire by soldiers, who used them to play games in their free time.

Limestone building (cornice) fragment - IAA Possibly late 1st century (around the year 75-100)

This carved architectural piece is likely a decorative moulding (e.g., around the wall of a room where it joins the ceiling or, outdoors, on the uppermost part of a building.) It is intended to impress the viewer with the richness of the structure or with the importance of its patron/owner. It must have been a richly decorated building (e.g., basilical structure, theatre).

Appendix B (1 of 4) - Imagining a Story Activity Group 1 Student Handout (Small Group)

Objects found around Sepphoris

Earthenware (clay) amphora handle with inscription (writing) IAA 2nd century BCE (less than 200 years before year 0 on our calender)

This is a fragment of a clay handle of an amphora, an ancient jar with two handles and a narrow neck, to hold grain, olive oil or wine. The text on the fragment reads manager or treasurer which makes it likely that the contents were handed over as tax to the treasurer.

Glass Cosmetic pots and gold jewelry (earring is 6th century CE) IAA

The object of the far left is a small glass container intended to store cosmetics such as kohl. Kohl is a dark powder (a mixture of soot and other ingredients) used to darken the edges of eyelids (much like modern eyeliner). As well as gold jewelry including a gold earring with pearls.

Bronze Figurine - IAA

This bronze figurine was discovered in a cistern (a tank for catching and storing rainwater). It probably represents Prometheus (a character in Greek mythology). According to Greek myth, he committed a crime (he stole fire from the gods and given it to humankind) and as a result he was chained to a rock by Zeus to be tortured by an eagle (standing on his right thigh in the sculpture) continually tearing at his liver, which grew back every night.

Appendix B (4 of 4) - Student Handout for Imagining a Story Activity All Groups

Sample Scrolls / Texts found in the caves

Date: 130 CE, Discovered in Cave 4 This cave contained scrolls that had 150 poems including a number of previously unknown psalms.

Date: late 1st century BCE, Cave 4 This scroll is a composition that describes a war between good and evil. The author describes recruitment, requirements of combatants, roles of the leaders, rituals of war, soldiers weapons and battle strategy.

Date: 251 BCE, Discovered: Cave 4 A series of religious verses that include the authors commentary and provide interpretation of the texts meaning. The analysis is often related to contemporary events in their world.

Date: 301 BCE , Discovered in Cave 4 Scrolls were found with numerous previously unknown texts, as well as biblical texts such as the book of Genesis, the book of Daniel and the Ten Commandments, in addition to stories found in several religions (e.g., Judaism, Christianity and Islam) such as the story of the sacrifice of Abraham. The texts include languages such as Hebrew, Aramaic (ancestral to alphabets such as Arabic and Hebrew), and Greek.

Date: 10080 BCE (paleographic dating), 93 BCE80 CE (radiocarbon dating), Cave 4 This fragment describes the belief of the author that the end of times was near and that someone would arrive soon to save them.

Date: 134 CE, Discovered: Cave of Letters This scroll was one of six papers that belonged to a farmer. This document is a lease agreement written in the year 134 CE. The lessee agrees to pay a certain amount and to harvest the fruit and crop within the leased property. The length of the lease is also specified and extends until the completion of the growing season. This cave contained other legal documents, personal letters of the Premier, as well as clothing and skeletal remains.

Date: 301 BCE, Discovered in Cave 4 This scroll contains a story about a community that fled from Judea. There is a list of legal rules and rituals. This fragment has regulations concerning people with infectious skin diseases in the community (e.g., leprosy). The text displays basic knowledge of blood circulating through the arteries, a concept that was not fully understood until the 17th century.

Appendix C: Dead Sea Scrolls: Words that Changed the World

I. Summary

The discovery of the Dead Sea Scrolls ranks as one of the great archaeological events of the 20th century. They are among the earliest records of Biblical patriarchs and prophets known to Judaism, Christianity and Islam. Prior to the discovery of the Scrolls, the oldest known copies of Biblical texts were written almost 1,000 years later.

Discovered in 11 caves near the Dead Sea between 1947 and 1956, the Dead Sea Scrolls consist of over 900 ancient manuscripts, mostly in fragments. Written primarily in Hebrew, but also in Aramaic and Greek, these manuscripts include Biblical texts, other religious writings, poetry, songs, and lists of rules. Although apparently deposited in these caves in the late 1st century CE, the scrolls were written over a period between 250 BCE and 68 CE.

Figure 1. Caves near Khirbet Qumran. Three-quarters of the Dead Sea Scrolls were discovered in this cave (Cave 4) in 1952. Photo by Tsila Sagiv, courtesy of the IAA.

The Dead Sea Scrolls have been the objects of great scholarly and public interest, as well as heated debate, since their discovery over 60 years ago.

II. An Astonishing Discovery

For 2,000 years, caves in the Judaean Desert overlooking the Dead Sea concealed a collection of mainly parchment scrolls stored in tall clay jars, untouched by light and other elements. Hidden from human eyes for millennia, the Scrolls were brought to light in 1947 through a chance discovery by a Bedouin shepherd. While searching for a stray goat, Mohammed Ed Dhib, threw stones into one of these caves and heard the sound of a breaking clay jar. Upon investigating, he and his companions discovered a few clay jars that held leather scrolls wrapped in linen, the first of what would become known as the Dead Sea Scrolls. While he surmised that these manuscripts were ancient and possibly valuable, he did not know that he had stumbled upon some of the earliest Biblical writings ever to have been found.

Eventually, the Bedouin took the leather pieces to Khalil Iskander Shahin, known as Kando, an Armenian shoemaker who also dabbled in antiquities. He purchased the scrolls, promising the Bedouin of the profits if he succeeded in selling them. It was a tough task. Because of the excellent condition of these first scrolls, many thought them to be fakes, or perhaps recently stolen from a local synagogue. Kandos instincts, however, told him otherwise.

Unfortunately, time treated most of the scrolls rather harshly. All suffered some degree of

deterioration, even the best preserved. A large number were found in fragments, their protective devices long gone, owing to rot, vermin, and (perhaps) vandalism.

Figure 2. 1st century BCE 70 CE earthen jar, Qumran - IAA

The caves where the Dead Sea Scrolls were found are located northwest of the Dead Sea, in an area known as Wadi Qumran. The caves are fairly close, and in some cases directly accessible from the site of Khirbet Qumran. Until the discovery of the manuscripts, Qumran had not attracted much interest from archaeologists, but has since been extensively excavated and studied. Today, the site is an archaeological park, where visitors can see the layout of the buildings, pools and the sophisticated water system that allowed residents of the site to live in this arid area.

In the early 1950s, the handful of scholars who laid eyes on the first Dead Sea Scrolls understood immediately their monumental significance. They spent sleepless nights poring over the writings and countless days analyzing the texts, carefully considering who could have written these 2,000-year-old manuscripts. As more and more were discovered, these ancient documents would capture the imaginations of millions around the world. Most of the Scrolls were found in small fragments, more than 50,000 in all. In 1952, a team of eight scholars began the decade-long task of piecing them back together.

III. Mystery: Who wrote the Dead Sea Scrolls?

The Dead Sea Scrolls teach us much about this period. The texts range from prayers, poems and prophesies to laws and commentary. Some of the stories and texts had never been seen before, but

others were early versions of texts we still know today in the Jewish Torah and Christian Old Testament. However, who wrote them, and how and why they were in the caves remains a matter of debate. Some scrolls are as old as 250 BCE, while others date to about the year 68 CE, just before the Romans destroyed both Qumran and Jerusalem. Did the Scrolls originate with a community that lived in Qumran? Did the Scrolls come from elsewhere and have no connection to the community near the caves where they were found? Perhaps the scrolls were placed in the Qumran caves by people fleeing from the Romans in Jerusalem. Were they once part of a broader collection like a library?

Qumran was destroyed and Jerusalem attacked in the year 68 CE and the first Dead Sea Scrolls were found 2,015 years later in 1947. After 60 years of research by dozens of dedicated scholars, there continue to be disagreements.

So the mystery remains: Who wrote the Dead Sea Scrolls? Where did the scrolls come from? Under what circumstances

did they end up in the caves? We are also left with the concerns of the Scrolls authors, such as: How should we live our lives? How and when will the world end? What then will happen to us?

Appendix C (for Action! Activity B)

Dead Sea Scrolls: Words that Changed the World

Double-Entry Journal While reading, you can use this graphic organizer to question and respond to what you are reading. Jot down words and phrases from the text on the left side. On the right side jot down ideas that come to mind and any questions that you have while reading. Also jot down possible answers (e.g., maybe because. )

What it says :

- Selected words and images from the text

What I think:

- Visual commentary (drawings, doodles)

- Significance

- Possible answers: Maybe because

- Questions (Clarifying & Probing)

Appendix D (for Group One)

Student Handout: What is their Story?

Location One: Sepphoris

Read to learn about Sepphoris, one of the archaeological sites where the Dead Sea Scrolls and artifacts were uncovered. What does this time capsule found at Sepphoris tell you? What questions do you have about the people, their time, and place? What is their story?

While reading, use the double-entry journal to question and respond to what you are reading. Jot down words and phrases from the text on the left-side. On the right side jot down ideas that come to mind and any questions that you have while reading. Also jot down possible answers (e.g., maybe because. )

After reading, dramatize the story of Sepphoris.

"I saw Sepphoris in its time of prosperity; and it contained 180,000 booths of sellers of spices." - Babylonian Talmud

Let us visit Sepphoris in 100 BCE, a town perched on the top of a hill in Galilee. Streets and houses are laid in a grid pattern originally paved with a simple mosaic design and lined with pillars. The market is lined with white plastered buildings, red-tiled roofs, mosaic floors, and painted fresco walls. Stories tell of a city archive (library) and a treasury.

The climate here is too hot and challenging for material such as paper (parchment and papyrus) to survive. The artifacts that did survive include bone fragments (e.g., from peoples food waste), the pools that they had carved into the rock of numerous houses, and a significant number of stone vessels used for storing pure water and for ritual washing.

Artifacts reveal that there were times of quiet coexistence of cultures, and at one time Sepphoris proclaimed itself as Eirenopolis (City of Peace). Prior to that time, however, there is evidence of times of violence and revolt against the authorities and taxation. A later rebellion caused the Romans to respond by burning the city. Similar issues and tensions can be found in some of the texts of the Dead Sea Scrolls.

Sepphoris was likely a multicultural city because many influences from other cultures are evident in the architecture. Fragments from richly ornamented buildings have been found as well as venues such as a theatre.

Appendix D (for Group Two)

Student Handout: What is their Story?

Location Two: Jerusalem

Read to learn about Jerusalem, one of the archaeological sites where the Dead Sea Scrolls and artifacts were uncovered. What does this time capsule found at Jerusalem tell you? What questions do you have about the people, their time, and place? What is their story?

While reading, use the double-entry journal to question and respond to what you are reading. Jot down words and phrases from the text on the left-side. On the right side jot down ideas that come to mind and any questions that you have while reading. Also jot down possible answers (e.g., maybe because. )

After reading, dramatize the story of Jerusalem.

"Whoever has not seen Jerusalem in its splendour has never seen a fine city." - Babylonian Talmud

Jerusalem has been inhabited for some 5000 years; some texts say King David made the city the political and religious capital of ancient Israel just over 3000 years ago. It is located in the centre of the Judean mountains, which made the city a challenge to enemy invaders. Jerusalem is an important site for the people of several major religions (i.e., Christians, Jews and Muslims). Its mountainous location also made it a demanding hike for religious pilgrims. Jerusalem evolved during this time period (583 BCE-70 CE) from a small, ruined settlement to a city of monumental cultural, political, and religious importance. It grew from 30 acres to almost 450 acres and from 5,000 inhabitants to over 60,000.

Many Scrolls mention Jerusalem as the "contemporary city" or current reality and also refer to "visions" of it in a perfect future age. Over these 600 years Jerusalem was absorbed into the Persian Empire, the Greek Empire, had periods of independence, and the Roman Empire in 63 BCE. During the era of King Herod, he sought to transform the city into a grand, capital city. Herod built massive fortifications (military constructions and buildings designed for defense in warfare), a theatre, a hippodrome (arena or stadium) for horse and chariot races, government council buildings, streets lined with columns, marketplaces, and, perhaps most importantly he renovated the Temple.

Also during this time period, the religious leadership in Jerusalem became contentious and politicized. This role was limited to a group of men because it was hereditary (they were related). They were the officials at ceremonies and taught laws, and cultural traditions. During this time some saw the High Priest as a glorified civil servant. Divisions arose, and there were competing ideas about leadership, authority, and maintaining tradition.

Historical sources say that a variety of Judean groups disagreed, sometimes strongly, with one another about how best to maintain rituals and traditions. For example, the priesthood and the aristocracy were most often associated with a group called the "Sadducees." Similarly, the "Pharisees" were an educated group of "common" leaders who represented the "common" people. The "Essenes" supposedly lived a very simple life secluded from everyone else. But recent scholarship says this might not be entirely true and the lines between one philosophy and another may not have been so definite. For example, Essenes may not have lived in seclusion, some Pharisees may have served as priests, and not all Sadducees were aristocratic.

Appendix D (for Group Three)

Student Handout: What is their Story?

Location Three: Qumran

Read to learn about Qumran, one of the archaeological sites where the Dead Sea Scrolls and artifacts were uncovered. What does this time capsule found at Qumran tell you? What questions do you have about the people, their time, and place? What is their story?

While reading, use the double-entry journal to question and respond to what you are reading. Jot down words and phrases from the text on the left-side. On the right side jot down ideas that come to mind and any questions that you have while reading. Also jot down possible answers (e.g., maybe because. )

After reading, dramatize the story of Qumran.

"I give you thanks Lord, because you have set me at the source of streams in a dry land, at the spring of water in a parched land in a garden watered by channels...hidden among all the trees at the water which shall make a shoot grow in the everlasting plantation." - Hodayot [Thankgsgiving Hymns], Scroll A (Dead Sea Scrolls)

The small settlement of Qumran would have offered a striking contrast to the cosmopolitan cities of Jerusalem and Sepphoris. The isolated settlement stood beside the lowest place on Earth, the Dead Sea. In comparison to the city of Jerusalem which stands 1040 metres above sea level, Qumran was by the Dead Sea which lies at 402 metres below sea level. The site remains a puzzle to archaeologists. Was it a military outpost, a manor house, or a ceramics factory? Or was it the centre for a group of monks who copied and composed the scrolls?

The caves where the Dead Sea Scrolls were found lie close to Khirbet Qumran. Some people have a theory that it was inhabited by the Essenes, a group that lived a simple, communal life apart from the mainstream society. There is some evidence at the site that could support this theory. This desert city contained many baths which could have been used to support the groups beliefs about ritual purity. They also found a room with a plaster bench and three inkwells. Perhaps this was the "scriptorium" where the Scrolls were copied and composed. Few people could write in ancient times, and inkwells are rarely found at archaeological sites. Of the 43 graves excavated from a much larger cemetery, most contained skeletons of adult males.

Other people have different theories. Perhaps it was a fortified mansion or an estate that was involved in some form of farming. Still others view it as a centre of ceramic production where they made clay pottery. The site contains numerous ovens, furnaces, and pottery kilns, suggesting an industrial use, and perhaps explaining the large quantity of pottery.

How did the inhabitants of Qumran survive in such a hot, dry location? Their lives depended upon their ability to capture and store water. Qumran was carefully located so that the people could take advantage of rainwater from the mountains. The settlers constructed a dam, built an elaborate aqueduct 210 metres long, and cut water channels into the rock to direct water into pools found throughout the site. Creative engineering made use of every drop of scarce rainwater. Archaeologists suggest that the water captured from one flash flood could last for six months to a year. The community used water for more than drinking and cooking. Ritual bathing seems probable.

Archaeologists also found several clay pots filled to the brim with a horde of 1251 pure silver coins under one of the Qumran buildings. Most of it was composed of Tyrian shekels. A half shekel, which every male over the age of 20 was required to pay as tax once a year, was worth ten full days of work. The horde was worth over a hundred full years of labour. Imagine its worth at five 5 days of work a week all year...no holidays...for over a hundred years! Some view this coin horde as further evidence of a religious community at Qumran, in which new members surrendered their worldly goods to the community treasurer.

Or are there other theories?

Drama Definitions

process drama. Unscripted and improvised drama activities. Role play is a key component of process drama, and the activities are intended to promote learning, inquiry, or discovery rather than to create drama for presentation to an audience. The focus is on the exploration and investigation of human dilemmas, challenges, and relationships.

conventions of drama. Practices and forms of representation that are widely accepted for use in drama instruction as ways to help students explore meaning and deepen understanding. Hot seating, voices in the head, and tableau/freeze-frame images are a few examples, among many.

tableau. A group of silent, motionless figures used to represent a scene, theme, or abstract idea (e.g., peace, joy), or an important moment in a narrative. Tableaux may be presented as stand-alone images to communicate one specific message or may be used to achieve particular effects in a longer drama work. Important features of a tableau include character, space, gesture, facial expressions, and levels.

voices in the head. A convention used to deepen students understanding of a conflict or a difficult choice facing a character in the drama. The student representing the character remains silent while others standing behind speak out to express the thoughts and feelings the character might be experiencing at this point.

role playing/role play. An instructional technique in which a student and/or the teacher acts the part of a character in an imagined situation, usually in order to explore the characters thoughts, feelings, and values.

out of role. Not acting a part. The term may be used to refer to discussions that take place out of character to further the drama or to plan or discuss artistic choices.

side coaching. A non-disruptive instructional technique used by the teacher to help students working on an exercise or improvisation. As an onlooker, the teacher quietly makes suggestions that the students can use as they develop and shape their drama.

process presentation. The informal presentation of a drama work to peers for the purpose of feedback. The feedback can be used to inform further revision.

Appendix E

Drama Conventions: Teacher Resource

Small group story telling (for Action! Activity C)

In groups of 5-6 tell the story of your location. Have the students number

themselves off (e.g., 1 to 5). Give the number 1s a small object such as a scarf, a pencil, or a pebble. The number 1s hold on to the object and begin to tell some aspect of the story of the location text. After a short time, they pass the object to number 2 who continues the story who then passes the object on to number 3, etc.

Everyone should have an opportunity to tell a part of the story. If a student cannot think of anything to say or is not yet comfortable, let him/her just pass the object on to the next person in the group. In that way, the flow of the story is kept constant and no one feels embarrassed. If you do not have an object, have the students clap their hands when they have finished their story-telling and want to pass the story on to others.

Process Drama (for Action! Activity E)

Working in their small groups (from Activity A), students use the drama convention

tableaux with transitions to convey their groups understanding of the information

and their theory about the mystery. Students think critically out of role to determine the specifics about the character/role of someone from that time and

place. Students work together to decide the tensions in the time and place and relationships between roles.

The teacher can help students establish relationship while working out of role by asking guiding questions about the characters gender, age, name, family background, education, special talents or skills, social class, occupation, and role in society. Teachers and peers questions can be in three categories: 1. Seeking new information (e.g., How old is your character? How long have they known that the scrolls would be hidden?, 2. Shaping understanding (e.g., What do you know about the time and place that can help you to understand/portray this character? What can we

learn from the artifacts and history of the place?), 3. Prompting reflection (e.g., What do you suppose your characters life was like? Would he have any friends that he can confide in? I wonder what happened to these people before the scrolls were hidden? What does your character want/need in the scene? Where and when is the scene taking place?) These kinds of questions help delve beyond the known into the world of the imagination.

Drama Definitions

process drama. Unscripted and improvised drama activities. Role play is a key component of process drama, and the activities are intended to promote learning, inquiry, or discovery rather than to create drama for presentation to an audience. The focus is on the exploration and investigation of human dilemmas, challenges, and relationships.

conventions of drama. Practices and forms of representation that are widely accepted for use in drama instruction as ways to help students explore meaning and deepen understanding. Hot seating, voices in the head, and tableau/freeze-frame images are a few examples, among many.

tableau. A group of silent, motionless figures used to represent a scene, theme, or abstract idea (e.g., peace, joy), or an important moment in a narrative. Tableaux may be presented as stand-alone images to communicate one specific message or may be used to achieve particular effects in a longer drama work. Important features of a tableau include character, space, gesture, facial expressions, and levels.

voices in the head. A convention used to deepen students understanding of a conflict or a difficult choice facing a character in the drama. The student representing the character remains silent while others standing behind speak out to express the thoughts and feelings the character might be experiencing at this point.

role playing/role play. An instructional technique in which a student and/or the teacher acts the part of a character in an imagined situation, usually in order to explore the characters thoughts, feelings, and values.

out of role. Not acting a part. The term may be used to refer to discussions that take place out of character to further the drama or to plan or discuss artistic choices.

side coaching. A non-disruptive instructional technique used by the teacher to help students working on an exercise or improvisation. As an onlooker, the teacher quietly makes suggestions that the students can use as they develop and shape their drama.

process presentation. The informal presentation of a drama work to peers for the purpose of feedback. The feedback can be used to inform further revision.

Tableaux with Transitions (for Action! Activity E)

1. Students plan a series of tableaux (2-4 tableaux) that tell theory about the story of their characters and the scrolls. Students need to determine 2-4 key moments in their story, and create still or frozen images using their bodies to

crystallize those moments or ideas. Out of role students discuss, negotiate, and

decide upon the images that will communicate or represent their story/theory. Each tableau should be connected to the next with carefully thought out

movements. Students need to consider the involvement of all group members as well as ideas such as dramatic energy, focus and emphasis and sense of time.

During in- role play, teacher is side- coaching and observing for active listening, focus and character motivation. Side coaching is a non-disruptive technique which relies on the teacher working alongside the students providing feedback. The teacher is outside the work in progress, making suggestions, which the students may choose to incorporate into their drama.

Prior knowledge about tableaux include: - multiple levels: body positioning should include high, medium, and low levels in space - relationship: in space, with others, physical distance or proximity to other characters - focus or emphasis: eye line, eye contact; what is the scenes focus? - role/character: feelings conveyed through gesture, body language, and facial expressions - tableaux are shared in stillness and silence.

2. Students may share a process presentation with another group for feedback.

Discussion points can include body positions at definite times, knowing positions and roles in each tableaux, establishing a signal to move and shift, with no disruption, to the next tableau. When

tableaux are shared, it is important to emphasize that there are many messages contained within a

single image and that they are all valid. There is the intended message of the students who

designed the tableau and there may be many interpretations offered by students who bring their

own meaning making process. The teacher and the students may also use questions help delve

beyond the known into the world of the imagination (see Process Drama Activity).

3. Students can think-pair-share in pairs and their small groups about the feedback and how to revise their work in order to clearly convey their message.

Tableaux with Transitions Presentation (for Consolidation Activity)

Student engagement statement said by the teacher, To seek answers, we must traverse an immense interval of time, and take a journey through the world that created the Dead Sea Scrolls. Lets meet some people from (Sepphoris, Jerusalem, Qumran).

Have students share their tableaux with transitions in a large group presentation

format.

The class can use the drama strategy Voices in the Head to have students

verbalize information about their character. For example, have one student from

each of the other groups walk over to the tableau, put his/her hand on a

characters shoulder, then (the still frozen) character can speak in role (e.g., what

he/she is feeling and thinking, about who they are, what they are doing and why).

The teacher might question the talking character further to find out more

information about him/her. This can help the class elicit oral information about the

groups theory from the presentation.

The teacher facilitates a debrief of the presentation. Students may share at the end as a large group or in small groups their reflections and/or glow and grows through discussion (e.g., I learned., I felt., I wonder.). The teacher could also facilitate discussion of critical literacy questions: What perspectives are missing? What voices are left out? How does taking on roles in drama help us to see or understand people, times and places? How can taking on the perspective of a character and a situation help you understand the story better? How does pretending to be someone else during a certain situation help us understand what the other person is going through?

Appendix F

Literacy Strategies

Think Aloud

To model for students the thought processes that take place when difficult

material is read. When using think alouds, teachers verbalize their thoughts while

they are reading orally. Students will understand comprehension strategies better

because they can see how the mind can respond to thinking through trouble spots

and constructing meaning from text.

T-Chart

A T-Chart is a graphic organizer in which a student lists and examines two facets

of a topic, like the pros and cons associated with it, its advantages and

disadvantages, facts vs. opinions, etc. For example, a student can use a T-chart to

help graphically organize thoughts about:

- Making a decision by comparing advantages and disadvantages

- Evaluating the pros and cons of a topic

- Enumerating the problems and solutions associated with an action

- Listing facts vs. opinions of a theme

- Explaining the strengths and weaknesses of a piece of writing

- Listing any two characteristics of a topic

Double-Entry Journal

The Double-Entry Journal allows students to record their responses to text as

they read. In the left-hand page or column, the student copies or summarizes text

which is intriguing, puzzling, or moving, or which connects to a previous entry or

situation. In the right-hand page or column, the student reacts to the quotation or

summary. The entry may include a comment, a question, a connection made or an

analysis. Entries are made whenever a natural pause in the reading occurs, so that

the flow is not interrupted constantly.

For more, see Differentiated Instruction for Literacy GAINS on the EDU GAINS site: http://www.edugains.ca

Strategy Implementation Continuum

Pearson and Gallagher (1983) developed the gradual release of responsibility model, or framework. The model emphasizes a controlled shift of the balance of joint responsibility between teacher and students. Rather than linear and sequential, the model outlines a negotiated, iterative and recursive process of shifting. It is possible to beginas many literacy strategies dowith open-ended, generative questions about the topic of new learning in order to assess students readiness, and provide authentic opportunities for formulating inquiry and engaging in problem solving.

Metacognition The teacher considers: Why am I teaching the strategy? How does use of this particular strategy make students more literate? more strategic? To what extent does the strategy reflect the kind of thinking were doing? Am I teaching the strategy as well as the content?

Modeling Modeling means the teacher assumes responsibility to demonstrate the use of and the thinking behind the strategy.

Shared Practice Shared practice means that the teacher provides explicit instruction and feedback as the students participate in the strategy.

Guided Practice Guided practice means students use the strategy as the teacher provides targeted and differentiated support.

Independent Practice Independent practice means that the students use the strategy as the teacher provides supports, as needed, and gathers assessment information.

The teacher The teacher The teacher The teacher creates conditions for effective modeling, including helping students focus on the demonstration, using effective materials and/or choosing appropriate technology to demonstrate strategy

creates conditions for effective shared practice experience, including building community, inviting questions

creates conditions for effective guided practice experience, including using flexible groupings based on assessment data

creates conditions for effective independent practice experience, including building students confidence

activates prior knowledge related to the strategy

connects the shared practice with the modeling of the strategy

connects the guided practice with shared and modeled experiences

connects independent practice with modeled, shared and guided experiences introduces terminology/language

related to the strategy continues to use

terminology/language related to the strategy and invites students to begin to engage in talk about the strategy

engages students in using terminology/language related to the strategy and provides opportunities for students to talk about the use of the strategy, e.g., be metacognitive for the purpose of assessing for learning

engages students in using terminology/language related to the strategy and provides opportunities for students to talk about the use of the strategy, e.g., be metacognitive for assessment as, for and of learning purposes provides an appropriate context for

modeling, e.g., the teacher uses the strategy with familiar texts

provides an appropriate context for shared practice, e.g., the teacher and students use the strategy with familiar texts

provides an appropriate context for guided practice, e.g., students use the strategy with familiar texts

provides an appropriately challenging context for independent practice, e.g., students use the strategy in new contexts and/or with unfamiliar texts models the strategy, using a think

aloud, to make explicit rationale, steps, and skills

provides a shared experience and invites students to follow along using the strategy

invites students to work independently or in small groups through a task, using the strategy

invites students to complete the task independently (or with appropriate supports) anticipates the challenges or difficulties

students (as a group) may have in the acquisition of skills and plans support

anticipates the challenges or difficulties some students may have in the acquisition of skills and plans supports for those students

gathers assessment for learning information, including collecting student work, and observes students in action, providing feedback and targeted support, e.g., additional opportunities, alternative approaches

gathers assessment as, for and of learning information based on independent practice, and provides feedback and next steps

gathers assessment for learning information through observation

gathers assessment for learning information through observation, particularly from students who may find the strategy challenging

responds strategically to challenges or difficulties experienced by students

shows possible adaptations of the strategy, as appropriate

provides opportunities for students to explore possible adaptations of the strategy, as appropriate

invites students to think about situations when they may self-select or adapt the strategy in future learning

TEA

CHER

Inst

ruct

iona

l App

roac

h

makes decision whether to move to shared experience based on assessment information

makes decision whether to move to guided experience based on assessment information

makes decision whether to move to independent practice based on assessment information

makes decision whether to provide additional and/or more appropriate independent practice experiences for students who may need to improve

Groupings Whole class or small groups Whole class or small groups Independent or small strategic groupings

Independent (or small groups, if appropriate)

Purposes To introduce the strategy To show how experts use the strategy or a new application of it by exposing the steps involved in using the strategy effectively To make explicit the what, when, how, and why

To engage students in using the strategy To provide explicit instruction on the use of the strategy in the context of a supported opportunity for hands-on learning

To provide opportunities for practising use of the strategy To provide differentiated support for the application of the strategy in a similar or new context, based on student need

To encourage independent use of the strategy To apply the strategy to similar, unfamiliar, or innovative contexts self-identified by student To provide opportunity for students to reflect metacognitively

Students Students Students Students participate within the conditions set for learning (e.g., focusing on what the teacher does and says)

participate within the conditions set for learning, e.g., including taking part in effective collaboration using the strategy

participate within the conditions set for learning, e.g., being open to feedback

participate within the conditions set for learning, e.g., prepares to use the strategy with minimal support

make connections to previous relevant experiences, if applicable

connect to modelled experience connect to shared experience connect to guided experience actively listen to the talk about the

strategy and notes any terminology/language related to the strategy

become familiar with terminology and form related to strategy

talk about strategy, using terminology and form, and reflecting metacognitively

clearly articulate why the strategy was selected and how it supports learning can explain the think process behind the strategy actively observe teacher

demonstration (i.e., think aloud) use the strategy, following along with

teacher instructions use the strategy, independently or

with peers, with targeted teacher support and/or peer support where appropriate

intentionally use the strategy independently, or in small groups if appropriate, with minimal teacher support

ask questions related to the strategy ask questions related to the strategy and respond to teacher prompts related to the strategy

share thinking processes in response to teacher prompts and ask questions related to the strategy assist/collaborate with peers where appropriate

are able to think aloud the process of the strategy as they are doing it

respond to teacher feedback use specific teacher feedback to make improvements and reflect on learning of the strategy share thinking processes of next steps reflect on achievement and the strategys impact on learning

use specific teacher feedback to make improvements and reflect on learning of the strategy

are able to anticipate use of the strategy for future learning

STUD

ENT

Part

icip

atio

n

are able to self-select the strategy in other appropriate contexts and be able to explain why other strategies would not be effective

Metacognition Students consider: Why would I use the strategy? When would I use this strategy? How does using this strategy support my thinking and learning? How does the strategy help me learn the content?

SECTION 4: FEEDBACK

Feedback describes student performance. Its purpose is to reduce the gap between the students current level of understanding and/or performance and a desired goal. Depending on the nature and delivery of the feedback, it can have powerful effects on student engagement and learning.

Feedback helps students consolidate new learning by providing information about what is being done well, what needs improvement and how to take steps toward improvement. Feedback supports differentiated instruction by responding to an individual students needs identified through assessment.

Considerations:

Effective feedback is:

Descriptive rather than evaluativefeedback should identify what the student is doing well and what needs improvement and, most crucially, provide next steps to guide the student on how to improve.

Focusedon the learning goals and the success criteria.

Limitedto a few traits or characteristics of student performance. It is tempting to point out all the areas where improvement is needed; however, feedback is more likely to improve learning when it is focused on a few priorities.

Timelythat is, offered just in time and at regular intervals to support students in continuously monitoring their progress toward a learning goal.

Implemented by students and monitored by the teacherStudents are expected to act on the feedback. This means that they must be provided time and opportunities to respond with teacher support and that teachers need to follow up on the students responses.

Feedback is one of

the most powerful

influences on

learning and

achievement, but

this impact can be

either positive or

negative (Hattie &

Timperley, 2007).

To craft teacher

feedback that leads

to learning, put

yourself in the

students shoes

(Brookhart, 2007).

Learning is more

likely to be fostered

when feedback

focuses on features

of the task (success

criteria) and

emphasizes

learning goals

(Kluger & DeNisi,

1996).

Ineffective FeedbackGood work.Well done!Needs more effort!C+ or 67%

Effective FeedbackYour paragraph has a clear and engaging topic sentence. Provide at least three details from the text to support your opinion.

ILLUSTRATION:

13.

Further Reading:

Brookhart, S. M. (2007). Feedback that fits. Educational Leadership. 65(4), 5459.

Hattie, J. & Timperley, H. (2007). The power of feedback. Review of Educational Research. 77(1), 81112.

Kluger, A. & DeNisi, A. (1996). The effects of feedback interventions on performance: A historical review, a meta-analysis and a preliminary feedback intervention theory. Psychological Bulletin. 119(2), 254284.

Nicol, D. & Macfarlane-Dick, D. (2006). Formative assessment and self-regulated learning: A model and seven principles of good feedback practice. Studies in Higher Education. 31(2), 199218.

14.

SECTION 3: QUESTIONING

Through questioning, teachers gather evidence about their students current level of knowledge and skills, as well as their attitudes, interests and learning preferences. Strategically planned questions guide students thinking on a topic, and focus theirefforts to achieve learning goals. The evidence of learning gathered from questioning can provide teachers with information they need to differentiate instruction. Further, questioning makes students thinking visible so teachers can detect confusions and misconceptions.

Considerations:

Classroom interactions that model effective questioning have the following characteristics:

A safe emotional climate Students need to feel confident that their responses will be listened to respectfully and accepted by their teacher and peers. A risk-free environment, where mistakes are seen as learning experiences, will encourage students to share their thinking.

A focus on the learning goals Questions should be designed to help students achieve the learning goals, and to help the teacher identify students misconceptions and challenges.

Variety There are numerous frameworks, or taxonomies, to help categorize questions by type. Blooms Taxonomy identiies questions on a range from lower-order to higher-order. A very simple organizer refers to questions as closed or open. Closed questions have a limited number of acceptable responses (Blosser, 1994), and can be used to check understanding and recall of facts. Open questions anticipate a wide range of acceptable responses (Blosser, 1994), and often require students to demonstrate higher-order thinking skills such as analysis, synthesis and evaluation. They have no single correct answer, but rather, encourage students to explore their thinking on a topic or issue. Research shows that up to 80% of teachers questions are closed or related to management of the classroom.

Think time Waiting three or more seconds before eliciting a student response, and before speaking after a students response, results in substantial benefits for student learning.

There can certainly

be no change in

understanding unless

the question holds

the possibility of an

answer with personal

meaning for the

student. The more

you know about

students backgrounds,

interests and

experiences, the

greater chance you

have of choosing a

question that holds

that possibility

(Morgan & Saxton,

1994).

More effort has to

be spent framing

questions that are

worth asking; that is,

questions which ex-

plore issues that

are critical to the

development of

students

understanding

(Black et al., 2003

p. 42).

11.

Probing Teachers who use questioning effectively build on students initial responses to seek more information, clarify thinking or extend the answer to engage the students to think more deeply.

Planning Effective questioning results from strategically planning a variety of questions to elicit information about what students are thinking. When planning questions, teachers should anticipate students responses, particularly those that demonstrate misconceptions or challenges.

Further Reading:

Blosser, P. (1991). How to Ask the Right Questions. Arlington, VA: National Science Teachers Association.

Marzano, R., Pickering, D., & Pollock, J. (2001). Classroom Instruction that Works: Research-Based Strategies for Increasing Student Achievement. Alexandria, VA: ASCD, 112117.

Ministry of Education. Professional Learning Guide: Questioning. Connecting Practice and Research in Mathematical Education. Available; http://www.edu.gov.on.ca/eng/studentsuccess/lms/questioning.pdf

Morgan, N. & Saxton, J. (1994). Asking Better Questions: Models, Techniques and Classroom Activities for Engaging Students in Learning. Markham, ON: Pembroke Publishers.

Rowe, M. (1986). Wait time: Slowing down may be a way of speeding up! Journal of Teacher Education. 37(1), 4350.

Saphier, J., Haley-Speca, M. & Gower, R. (2008). The Skillful Teacher: Building Your Teaching Skills. Action, MA. Research for Better Teaching, Inc.

12.

From: Julian Kingston [mailto:juliank@rom.on.ca] Sent: September 4, 2009 2:42 PM To: Orchard, Susan (EDU) Subject: Release for Dead Sea Scrolls lesson plans

Dear Susan Orchard

The ROM grants the Ontario Ministry of Education permission to use the images and text within the lesson plans and appendices currently titled *The Dead Sea Scrolls - Grade 8 Language and The Arts (Drama)* and "Dead Sea Scrolls:Law Codes - Grade 11 World History to the Sixteenth Century" on the Ontario Educational Resource Bank (OERB) Website for educational purposes.

Sincerely,

Julian Kingston Head, Education and Programs

Dead Sea ScrollsDead_Sea_Scrolls_Lesson_Grade_8[1]Guiding QuestionsCritical LearningCurriculum ExpectationsLearning Goals

Instructional ComponentsMaterialsNext Lesson Connection

TerminologyLiteracy StrategiesDrama Strategies

Appendix_A_Time_Capsule[1]Appendix_A_T-charts[1]Appendix_B-Objects_from_Jerusalem_2_of_4[1]Appendix_B-Objects_from_Qumran_3_of_4[1]Appendix_B-Objects_from_Sepphoris_1_of_4[1]Appendix_B-Sample_Scrolls_4_of_4[1]Appendix_C_-_DeadSeaScrolls-Words_that_Changed_the_World[1]Appendix_C_Double-Entry_Journal[1]Appendix_D-What_is_their_story[1]Appendix_E_-_Drama_Definitions[1]Appendix_E_Drama_Conventions[1]Appendix_F_Literacy_Strategies[1]Appendix_G_Strategy_Implementation_Continuum[1]Copyright[1]