AUTHORS NAME ____Elizalyn Perez_____________________

DATE __11/16/17______________

SINGLE SUBJECT LESSON TEMPLATE

For info on how to complete this form, see http://lessoninstructions.weebly.com

BACKGROUND INFORMATION
1. TITLE OF LESSON- The Danger of a Single Story

2. CURRICULUM AREA & GRADE LEVEL- PLA English 12

3. DATE OF LESSON/TIME NEEDED- 11/16/17 60 Minutes 3rd lesson in a 4 week unit on Culture

4. RESOURCES:
Powerpoint presentation
Chromebooks
Google classroom
TED Talk, The Danger of A Single Story.
The danger of a single story | Chimamanda Ngozi Adichie. (2009). Retrieved from
https://www.youtube.com/watch?v=D9Ihs241zeg&t=436s
Transcript of Ted Talk

CENTRAL FOCUS OF LESSON

5. CA CONTENT STANDARD(S):
Common Core ELA
2.2 Write responses to literature:
c. Support important ideas and viewpoints through accurate and detailed references to the text
and to other works.

6. CA ELD STANDARD(S): Expanding

5. Listening actively: Demonstrate comprehension of oral presentations and discussions on a
variety of social and academic topics by asking and answering questions that show thoughtful
consideration of the ideas or arguments with moderate support.

7. BIG IDEA/ENDURING UNDERSTANDING:

Having just one view of another culture does it an injustice.
You have to embrace the similarities your culture has with other cultures
Every person is unique and has unique qualities to bring to the community
8. ESSENTIAL QUESTIONS: Open-ended, arguable questions that organize the purpose of learning
What are the dangers of a single story?
Are single-stories all dangerous?
How do stereotypes start?

EVIDENCE OF LEARNING
9. OBJECTIVE(S) OR LEARNING GOAL(S): Choose one: Cognitive, Affective, Psychomotor or Language
Development
Content (Cognitive)- After having a discussion about stereotypes and watching The Danger
of a Single Story, students will be able to write four reflective responses supporting ideas and
viewpoints shown to them in the video.
ELD (Cognitive)- After having a discussion about stereotypes and watching The Danger of a
Single Story, students will be able to answer four reflective prompts demonstrating
comprehension of the video and showing thoughtful consideration of the ideas.

10. ASSESSMENT(S): Formative- Students will answer four reflective prompts individually after
watching the Ted Talk, The Danger of a Single Story.

INSTRUCTIONAL AND LEARNING TASKS

Underline or highlight the differentiation strategies for specific students.
Amai- EL Celdt 3
Kathy- IEP
Iris- Quiet and Shy

11. INSTRUCTIONAL TASKS: Teacher Steps
1. Anticipatory Set
a) Teacher writes the word stereotype on
the board and asks the class whats the
definition. After some discussion, class
creates a definition with the teacher's
help. (5 mins)
b) Teacher asks students to discuss within
their tables the following questions: How
do stereotypes start? How have others
stereotyped you? How have you
stereotyped others? (5 mins)
c) Teacher then asks each table to give their
examples and answers. (3 mins)
d) Teacher then wraps up the discussions
and introduces the Ted Talk and some
12. LEARNING TASKS: Student Steps
1. Anticipatory Set
a) Students discuss with each other what
they think the word stereotype means.
b) Students discuss with their group mates
the questions the teacher has posed to
them.
c) Each table gives their answers and
examples.
d) Students listen as the teacher introduces
the Ted Talk and some background
information on the speaker.
2. State Purpose
a) Students listen as teacher explains how
the video fits in with their culture unit.
 background information on the speaker.
(1 mins)
2. State Purpose
a) Teacher explains how this video pertains
to the Culture unit. (1 min)
3. Input - Modeling
a) Teacher gives an example of a stereotype
about one of their own personal cultures.
(2 mins)
b) Teacher plays video giving I.E.P. students
and E.L. students a transcript of the video. 5. Independent Practice
Handout given to EL student also has
vocabulary words and definitions at the
bottom. (20 mins)
4. Check for Understanding/Guided Practice
a) Once video is finished, Teacher asks class
what does Chimamanda Adichie mean by
a single story? What are some single
stories you have about people from other
countries? What about single stories
about Californians? How about single
stories about different school groups?
What about PLA? What about yourself? (5
mins)
3. Input - Modeling
a) Students listen as teacher gives an
example of a stereotype pertaining to
their own personal culture.
b) Students watch the video quietly, knowing
that there will be questions to answer at
the end.
4. Check for Understanding
a) Students have a discussion with the
teacher about the posed questions.
a) Students take out their chromebooks and
open google classroom to the document
called Danger of a Single Story
Reflection.
b) Students listen as teacher explains the
assignment and what's expected of them.
c) Students begin to fill out document.
6. Closure/Beyond
a) Students listen as the teacher tells them
the assignment is due by midnight
tonight.

5. Independent Practice
a) Teacher asks students to take out their
chromebooks and open up google
classroom, open the assignment called
Danger of a Single Story Reflection. (2
mins)
b) Teacher then explains the assignment and
how each question should be answered.
Hands out a sentence starter list to EL
students. (5 mins)
c) Teacher tells students to answer
questions and fill out document. It is due
by midnight tonight. (14 mins)
6. Closure/Beyond
a) Remind students that reflection prompts
are due by midnight on google classroom
and to keep in mind their answers
because the week after Thanksgiving
break we will be using them within their
next assignment. (1 min)

REFLECTION AFTER THE LESSON: Overall, how did the whole class achieve the learning goals? In
particular, how did your special needs and English learners achieve the learning goals? To what degree
were your assessments helpful in determining students understanding? To what degree did the lesson
engage students? What did you do differently from one class to the next? What will you do differently next
time you teach this lesson?
CLASS PROFILE: CONTEXT FOR LEARNING INFORMATION
Respond to the prompts below (no more than 4 single-spaced pages, including prompts) by typing your responses within the brackets following
each prompt.
Do not delete or alter the prompts. Pages exceeding the maximum will not be scored.

About the School Where You Are Teaching

1. In what type of school do you teach? (Type an X next to the appropriate description; if other applies,
provide a brief description.)
Middle school: _____
High school: ____X_
Other (please describe): _____

Urban: _____
Suburban: ___X__
Rural: _____
2. List any special features of your school or classroom setting (e.g., charter, co-teaching, themed
magnet, remedial course, honors course) that will affect your teaching in this learning segment.
This specific course is part of the personalized learning academy, where all my students have
the same history and math teacher.

3. Describe any district, school, or cooperating teacher requirements or expectations that might affect your
planning or delivery of instruction, such as required curricula, pacing plan, use of specific instructional
strategies, or standardized tests.
Personalized learning does not include homework or assigned readings. This is different but it
allows me to be a bit more creative when it comes to lesson planning, since their isnt a set curriculum.
Also these particular classes, because they were part of the trial run, dont have a set curriculum. So my
co-teacher and I have more wiggle room when it comes to creating the curriculum.

About the Class

1. What is the name of this course? 12th grade PLA English
2. What is the length of the course? (Type an X next to the appropriate description; if other applies,
provide a brief description.)
One semester: _____
One year: ___X__
Other (please describe): _____
3. What is the class schedule (e.g., 50 minutes every day, 90 minutes every other day)?
The class is 50 minutes everyday.
4. Is there any ability grouping or tracking in subject area? If so, please describe how it affects your class.
5. Identify any textbook or instructional program you primarily use for subject area instruction. If a
textbook, please provide the title, publisher, and date of publication.
My co-teacher and I loosely use the ERWC guides to create lesson plans but a lot of our
readings are supplemental articles and websites we find.
6. List other resources (e.g., electronic white board, graphing calculators, online resources) you use for
subject area instruction in this class.
Every student has a chromebook. We also use a projector.

About the Students in the Class

1. Grade-
level composition (e.g., all seventh grade; 2 sophomores and 30 juniors):
2. Numbe
r of
students in
the class: 2nd period-25
males: 2nd period- 12 females: 2nd period-13
3. Complete your Class Profile & the Summary of your Students with Special Learning Needs Chart

a. Create a Class Profile with information on each of your students. Use Chart below.
Student Student EL/IEP/504 Plans: Le Interest Supports, Accommodations, Modifications,
Name Label & Classification,Nee arn s Pertinent IEP Goals
Level: EL, d Readiness ing
IEP or 504 Pr
ofil
e
Amai, per 2 EL CELDT 3 Nursing *Havent received IEP information on her just
IEP Listening-2 yet.
(Early *B, C, D for previous years of high school.
Intermediate) *Have lesson plans written and orally read.
Speaking-5
(advanced)
Reading-2
(Early
Intermediate)
Writing-4
(Early Advanced)
Julie, per 2 IEP Auditory Soccer *Receives specialized academic instruction in a
Processing separate classroom, vocational assessment;
deficiency counseling, guidance, and career assessment
(not a separate classroom)
Kathy, per 2 IEP Language and Culinary *Requires extended time on assignments and
Speech deficiency Arts tests.
*In language and speech development class.
*In a college awareness class.
*In a career awareness class.
*Receives specialized academic instruction in a
 separate classroom.
Megan, per IEP Other Health Creative *Collaboration and consultation between
2 Impairment Writing general education and special education staff
(anxiety, *Visual supports and graphic organizers
depression) *Additional time for tests up to 50% as
requested by student
*Pair verbal and visual cues for clarification on
classroom assignments
*Repetition and/or clarification of
directions/instructions/expectations
*Opportunities to take tests either orally or in
writing as requested and arranged by student
in advance and retake tests under 70%
-take test in a separate setting.
-use notes and graphic organizers for
performance tasks
-allowed to do performance tasks with SAI
teacher when requested
*additional time for written assignments and/or
lengthy projects
*one page of handwritten notes, teacher
approved, to be used for tests taken in
alternate setting
Ben N/A N/A N/A Reading
Writing,
Baseball
Gabby N/A N/A N/A Makeup
Culinary
Arts
Brian N/A N/A N/A Business
Soccer
Music
Derek N/A N/A N/A Politics
Criminal
investigatio
n
Jennyfer N/A N/A N/A Military
Reading
Reynaldo N/A N/A N/A Gaming
Art
Anival N/A N/A N/A Photograp
hy
Peter N/A N/A N/A Comedy
Rap music
Javier N/A N/A N/A Music
N/A
Armando N/A N/A Scary
movies
Photograp
hy
N/A
Brenda N/A N/A Makeup
N/A
Edwin N/A N/A Soccer
N/A
Iris N/A N/A Writing
N/A
Nora N/A N/A Reading
N/A
Michael N/A N/A Scary
movies
Music
N/A
Janet N/A N/A Teaching
 N/A
Carlos N/A N/A Music
Singing
N/A
Ashley N/A N/A Entertainm
ent
N/A
Kayleeana N/A N/A Photograp
hy
Art
N/A
Yarely N/A N/A Makeup

b. Complete the chart below to summarize required or needed supports, accommodations, or

modifications for your students that will affect your instruction in this learning segment. As needed, consult
with your cooperating teacher to complete the chart. Some rows have been completed in italics as
examples. Use as many rows as you need.

Consider the variety of learners in your class who may require different strategies/supports or
accommodations/modifications to instruction or assessment (e.g., English language learners, gifted
students needing greater support or challenge, students with Individualized Education Programs [IEPs] or
504 plans, struggling readers, underperforming students or those with gaps in academic knowledge).

Students with Specific Learning Needs

IEP/504 Plans: Numb Supports, Accommodations, Modifications, Pertinent IEP
Classifications/Need er of Goals
s Stude
nts
Auditory Processing 1 Visuals and written directions, extra time on work
Problems
Other Health Impairment 1 Extra time on work
Language and Speech 1 more reading outloud activities
problems

Other Learning Needs Number Supports, Accommodations, Modifications

of
Students
Struggling Writers Most Grammar practice, writing practice, spelling practice
Struggling Readers Most Reading Outloud, orally read instructions, visual cues.
 Transcript of Ted Talk

The Danger of a Single Story - Transcript Courtesy of TED By Chimamanda Adichie

Transcript: I'm a storyteller. And I would like to tell you a few personal stories about what I like to

call "the danger of the single story." I grew up on a university campus in eastern Nigeria. My mother

says that I started reading at the age of two, although I think four is probably close to the truth. So I

was an early reader. And what I read were British and American children's books. I was also an early

writer. And when I began to write, at about the age of seven, stories in pencil with crayon

illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was

reading. All my characters were white and blue-eyed. They played in the snow. They ate apples.

(Laughter) And they talked a lot about the weather, how lovely it was that the sun had come out.

(Laughter) Now, this despite the fact that I lived in Nigeria. I had never been outside Nigeria. We

didn't have snow. We ate mangoes. And we never talked about the weather, because there was no

need to. My characters also drank a lot of ginger beer because the characters in the British books I

read drank ginger beer. Never mind that I had no idea what ginger beer was. (Laughter) And for

many years afterwards, I would have a desperate desire to taste ginger beer. But that is another

story. What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a
story, particularly as children. Because all I had read were books in which characters were foreign, I

had become convinced that books, by their very nature, had to have foreigners in them, and had to

be about things with which I could not personally identify. Now, things changed when I discovered

African books. There weren't many of them available. And they weren't quite as easy to find as the

foreign books. But because of writers like Chinua Achebe and Camara Laye I went through a mental

shift in my perception of literature. I realized that people like me, girls with skin the color of

chocolate, whose kinky hair could not form ponytails, could also exist in literature. I started to write

about things I recognized. Now, I loved those American and British books I read. They stirred my

imagination. They opened up new worlds for me. But the unintended consequence was that I did

not know that people like me could exist in literature. So what the discovery of African writers did

for me was this: It saved me from having a single story of what books are. I come from a

conventional, middle-class Nigerian family. My father was a professor. My mother was an

administrator. And so we had, as was the norm, live-in domestic help, who would often come from

nearby rural villages. So the year I turned eight we got a new house boy. His name was Fide. The

only thing my mother told us about him was that his family was very poor. My mother sent yams

and rice, and our old clothes, to his family. And when I didn't finish my dinner my mother would

say, "Finish your food! Don't you know? People like Fide's family have nothing." So I felt enormous

pity for Fide's family. Then one Saturday we went to his village to visit. And his mother showed us a

beautifully patterned basket, made of dyed raffia, that his brother had made. I was startled. It had

not occurred to me that anybody in his family could actually make something. All I had heard about

them is how poor they were, so that it had become impossible for me to see them as anything else

but poor. Their poverty was my single story of them. Years later, I thought about this when I left

Nigeria to go to university in the United States. I was 19. My American roommate was shocked by
me. She asked where I had learned to speak English so well, and was confused when I said that

Nigeria happened to have English as its official language. She asked if she could listed to what she

called my "tribal music," and was consequently very disappointed when I produced my tape of

Mariah Carey. (Laughter) She assumed that I did not know how to use a stove. What struck me was

this: She had felt sorry for me even before she saw me. Her default position toward me, as an

African, was a kind of patronizing, well-meaning, pity. My roommate had a single story of Africa. A

single story of catastrophe. In this single story there was no possibility of Africans being similar to

her, in any way. No possibility of feelings more complex than pity. No possibility of a connection as

human equals. I must say that before I went to the U.S. I didn't consciously identify as African. But in

the U.S. whenever Africa came up people turned to me. Never mind that I knew nothing about

places like Namibia. But I did come to embrace this new identity. And in many ways I think of myself

now as African. Although I still get quite irritable when Africa is referred to as a country. The most

recent example being my otherwise wonderful flight from Lagos two days ago, in which there was

an announcement on the Virgin flight about the charity work in "India, Africa and other countries."

(Laughter) So after I had spent some years in the U.S. as an African, I began to understand my

roommate's response to me. If I had not grown up in Nigeria, and if all I knew about Africa were

from popular images, I too would think that Africa was a place of beautiful landscapes, beautiful

animals, and incomprehensible people, fighting senseless wars, dying of poverty and AIDS, unable

to speak for themselves, and waiting to be saved, by a kind, white foreigner. I would see Africans in

the same way that I, as a child, had seen Fide's family. This single story of Africa ultimately comes, I

think, from Western literature. Now, here is a quote from the writing of a London merchant called

John Locke, who sailed to west Africa in 1561, and kept a fascinating account of his voyage. After

referring to the black Africans as "beasts who have no houses," he writes, "They are also people
without heads, having their mouth and eyes in their breasts." Now, I've laughed every time I've read

this. And one must admire the imagination of John Locke. But what is important about his writing is

that it represents the beginning of a tradition of telling African stories in the West. A tradition of

Sub-Saharan Africa as a place of negatives, of difference, of darkness, of people who, in the words of

the wonderful poet, Rudyard Kipling, are "half devil, half child." And so I began to realize that my

American roommate must have, throughout her life, seen and heard different versions of this single

story, as had a professor, who once told me that my novel was not "authentically African." Now, I

was quite willing to contend that there were a number of things wrong with the novel, that it had

failed in a number of places. But I had not quite imagined that it had failed at achieving something

called African authenticity. In fact I did not know what African authenticity was. The professor told

me that my characters were too much like him, an educated and middle-class man. My characters

drove cars. They were not starving. Therefore they were not authentically African. But I must

quickly add that I too am just as guilty in the question of the single story. A few years ago, I visited

Mexico from the U.S. The political climate in the U.S. at the time, was tense. And there were debates

going on about immigration. And, as often happens in America, immigration became synonymous

with Mexicans. There were endless stories of Mexicans as people who were fleecing the healthcare

system, sneaking across the border, being arrested at the border, that sort of thing. I remember

walking around on my first day in Guadalajara, watching the people going to work, rolling up

tortillas in the marketplace, smoking, laughing. I remember first feeling slight surprise. And then I

was overwhelmed with shame. I realized that I had been so immersed in the media coverage of

Mexicans that they had become one thing in my mind, the abject immigrant. I had bought into the

single story of Mexicans and I could not have been more ashamed of myself. So that is how to create

a single story, show a people as one thing, as only one thing, over and over again, and that is what
they become. It is impossible to talk about the single story without talking about power. There is a

word, an Igbo word, that I think about whenever I think about the power structures of the world,

and it is "nkali." It's a noun that loosely translates to "to be greater than another." Like our economic

and political worlds, stories too are defined by the principle of nkali. How they are told, who tells

them, when they're told, how many stories are told, are really dependent on power. Power is the

ability not just to tell the story of another person, but to make it the definitive story of that person.

The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest

way to do it is to tell their story, and to start with, "secondly." Start the story with the arrows of the

Native Americans, and not with the arrival of the British, and you have and entirely different story.

Start the story with the failure of the African state, and not with the colonial creation of the African

state, and you have an entirely different story. I recently spoke at a university where a student told

me that it was such a shame that Nigerian men were physical abusers like the father character in my

novel. I told him that I had just read a novel called "American Psycho" -- (Laughter) -- and that it

was such a shame that young Americans were serial murderers. (Laughter) (Applause) Now,

obviously I said this in a fit of mild irritation. (Laughter) I would never have occurred to me to think

that just because I had read a novel in which a character was a serial killer that he was somehow

representative of all Americans. And now, this is not because I am a better person than that student,

but, because of America's cultural and economic power, I had many stories of America. I had read

Tyler and Updike and Steinbeck and Gaitskill. I did not have a single story of America. When I

learned, some years ago, that writers were expected to have had really unhappy childhoods to be

successful, I began to think about how I could invent horrible things my parents had done to me.

(Laughter) But the truth is that I had a very happy childhood, full of laughter and love, in a very

close-knit family. But I also had grandfathers who died in refugee camps. My cousin Polle died
because he could not get adequate healthcare. One of my closest friends, Okoloma, died in a plane

crash because our fire trucks did not have water. I grew up under repressive military governments

that devalued education, so that sometimes my parents were not paid their salaries. And so, as a

child, I saw jam disappear from the breakfast table, then margarine disappeared, then bread

became too expensive, then milk became rationed. And most of all, a kind of normalized political

fear invaded our lives. All of these stories make me who I am. But to insist on only these negative

stories is to flatten my experience, and to overlook the many other stories that formed me. The

single story creates stereotypes. And the problem with stereotypes is not that they are untrue, but

that they are incomplete. They make one story become the only story. Of course, Africa is a

continent full of catastrophes. There are immense ones, such as the horrific rapes in Congo. And

depressing ones, such as the fact that 5,000 people apply for one job vacancy in Nigeria. But there

are other stories that are not about catastrophe. And it is very important, it is just as important, to

talk about them. I've always felt that it is impossible to engage properly with a place or a person

without engaging with all of the stories of that place and that person. The consequence of the single

story is this: It robs people of dignity. It makes our recognition of our equal humanity difficult. It

emphasizes how we are different rather than how we are similar. So what if before my Mexican trip

I had followed the immigration debate from both sides, the U.S. and the Mexican? What if my

mother had told us that Fide's family was poor and hardworking? What if we had an African

television network that broadcast diverse African stories all over the world? What the Nigerian

writer Chinua Achebe calls "a balance of stories." What if my roommate knew about my Nigerian

publisher, Mukta Bakaray, a remarkable man who left his job in a bank to follow his dream and start

a publishing house? Now, the conventional wisdom was that Nigerians don't read literature. He

disagreed. He felt that people who could read, would read, if you made literature affordable and
available to them. Shortly after he published my first novel I went to a TV station in Lagos to do an

interview. And a woman who worked there as a messenger came up to me and said, "I really liked

your novel. I didn't like the ending. Now you must write a sequel, and this is what will happen ..."

(Laughter) And she went on to tell me what to write in the sequel. Now I was not only charmed, I

was very moved. Here was a woman, part of the ordinary masses of Nigerians, who were not

supposed to be readers. She had not only read the book, but she had taken ownership of it and felt

justified in telling me what to write in the sequel. Now, what if my roommate knew about my friend

Fumi Onda, a fearless woman who hosts a TV show in Lagos, and is determined to tell the stories

that we prefer to forget? What if my roommate knew about the heart procedure that was performed

in the Lagos hospital last week? What if my roommate knew about contemporary Nigerian music?

Talented people singing in English and Pidgin, and Igbo and Yoruba and Ijo, mixing influences from

Jay-Z to Fela to Bob Marley to their grandfathers. What if my roommate knew about the female

lawyer who recently went to court in Nigeria to challenge a ridiculous law that required women to

get their husband's consent before renewing their passports? What if my roommate knew about

Nollywood, full of innovative people making films despite great technical odds? Films so popular

that they really are the best example of Nigerians consuming what they produce. What if my

roommate knew about my wonderfully ambitious hair braider, who has just started her own

business selling hair extensions? Or about the millions of other Nigerians who start businesses and

sometimes fail, but continue to nurse ambition? Every time I am home I am confronted with the

usual sources of irritation for most Nigerians: our failed infrastructure, our failed government. But

also by the incredible resilience of people who thrive despite the government, rather than because

of it. I teach writing workshops in Lagos every summer. And it is amazing to me how many people

apply, how many people are eager to write, to tell stories. My Nigerian publisher and I have just
started a nonprofit called Farafina Trust. And we have big dreams of building libraries and

refurbishing libraries that already exist, and providing books for state schools that don't have

anything in their libraries, and also of organizing lots and lots of workshops, in reading and writing,

for all the people who are eager to tell our many stories. Stories matter. Many stories matter. Stories

have been used to dispossess and to malign. But stories can also be used to empower, and to

humanize. Stories can break the dignity of a people. But stories can also repair that broken dignity.

The American writer Alice Walker wrote this about her southern relatives who had moved to the

north. She introduced them to a book about the southern life that they had left behind. "They sat

around, reading the book themselves, listening to me read the book, and a kind of paradise was

regained." I would like to end with this thought: That when we reject the single story, when we

realize that there is never a single story about any place, we regain a kind of paradise. Thank you.

(Applause)

1) Obligated-caused by law or conscience to follow a certain course

2) Impressionable-easily impressed or influenced
3) Chinua Achebe-a Nigerian novelist, poet, professor, and critic. His first novel Things Fall Apart, often
considered his best, is the most widely read book in modern African literature.
4) Camara Laye-was an African writer from Guinea. He was the author of The African Child (L'Enfant
noir), a novel based loosely on his own childhood
5) Raffia-leaf fibers of the raffia palm tree; used to make baskets and mats etc.
6) Patronizing-speaking down to others as if you are superior
7) Namibia-a country in Southwest Africa
8) Incomprehensible-difficult to understand
9) Synonymous-same or nearly the same
10) American Psycho- a movie about a handsome, young urban professional, Patrick Bateman (Christian
Bale), lives a second life as a gruesome serial killer by night.
11) Adequate-having the requisite qualities or resources to meet a task
12) Malign-speak unfavorably about

Danger of a Single Story Reflection

1. What are some stereotypes or assumptions people have had about you as a
person? It could be related to your race/ethnicity, gender, where youre
from/hometown, home life, financial status, physical features, etc.

2. What are some prejudices or assumptions you may have had about others?

3. What is the danger of an incomplete-single story? How could that affect how
you treat a person?

4. Why is it important to recognize similarities between yourself and others?

 Danger of a Single Story Reflection

1. What are some stereotypes or assumptions people have had about you as a
person? It could be related to your race/ethnicity, gender, where youre
from/hometown, home life, financial status, physical features, etc.
Some stereotypes or assumptions that people have had about me are.

2. What are some prejudices or assumptions you may have had about others?
Some prejudices or assumptions I have had about others are...

3. What is the danger of an incomplete-single story? How could that affect how
you treat a person?
The danger of an incomplete single story is
It could affect how you treat a person by...

4. Why is it important to recognize similarities between yourself and others?

It is important to recognize similarities between yourself and others
because...
Rubric

Incomplete (0) Minimal (2) Sufficient (4) Superior (6)

Content and ELD Response Response Response Response

demonstrates a demonstrates a demonstrates a demonstrates an
lack of reflection minimal reflection general reflection in-depth reflection
on the question on the question on the question on the questions
asked. Examples asked. Examples, asked. Appropriate asked. Clear,
are not when applicable, examples are detailed examples
provided.Writing is are not provided or provided, as are provided, as
unclear and are irrelevant to applicable.Writing applicable.
disorganized. the is mostly clear, Writing is clear,
Thoughts ramble assignment.Writing concise, and well concise, and well
and make little is unclear and/or organized with organized with
sense. There are disorganized. good excellent
numerous spelling, Thoughts are not sentence/paragrap sentence/paragrap
grammar errors. expressed in a h construction. h construction.
logical manner. Thoughts are Thoughts are
There are more expressed in a expressed in a
than five spelling, coherent and coherent and
grammar errors. logical manner. logical manner.
There are no more There are no more
than five spelling, than three spelling,
grammar errors. grammar, errors.
 Planning Commentary

1. What do you know about your students everyday experiences, cultural and language
backgrounds and practices and interests?
Majority of my students come from hard-working, low income, spanish families. Most of
them have been reclassified and have family members that only speak spanish. I
noticed that a lot of my students are interested in soccer and cosmetology. I also know
that I have one E.L. student with a Celdt level 3, but is a level 2 in reading and listening
and also has an I.E.P. (her I.E.P. information was not given to us even though we
pestered others for it). I also have 3 other I.E.P. students. One has auditory processing
deficiency, the other has a language and speech deficiency, and the last suffers from
depression.
2. Describe and justify instructional strategies/supports for whole class and 3 focus students.
Instructional Strategies for whole class:
Class discussions- This lesson revolves around using discussions to encourage
student participation and helps students connect their learning to their
personal lives. By doing this, I make it easier for me to see if students are
understanding the content orally before I assign a writing assignment.
Modeling- In order for my students to understand what kind of answers I want for
the discussion questions asked, I provide answers pertaining to my life.
Not only does this give them a base example it also gives them a glimpse
into my life, which is always exciting for them.
Instructional Strategies for focus students:
Amai (E.L./I.E.P.)
For Amai, I created a version of the Ted Talk Transcript that has
underlined vocabulary words with their definitions given at the end. This
support takes into account that I know she has a low CELDT level in
listening and reading. I also created a version of the reflection questions
that has sentence starters. Although she has a high CELDT score in
writing, Ive noticed in her previous assignments she still struggles with
starting her answers. These starters make it easier for her to structure
her answers.
Kathy (I.E.P)
For Kathy, Ive provided her with a transcript of the Ted Talk. Ive noticed
 on previous occasions she has a hard time taking in anything spoken.
Ive had to repeat myself multiple times. She has a language and speech
deficiency, so the discussion aspects of this lesson push her to practice
speaking to her peers.
Iris (Quiet/Shy)
Iris is a very good students who turns in well thought out, written work, but
she is very quiet and shy. To address her shyness Ive added table group
discussions, which gives her a little nudge to open up to her peers more
(without putting her on the spot).

3. Explain how you adapted/differentiated assessment.

The reflection questions at the end are meant to test to see if my students can apply the
concepts introduced in the video to their own lives. The discussion questions I posed to them after
the video are essentially simplified versions of the reflection questions. So everyone was given
examples and time to think about their answers before I introduced the reflection questions. This
benefitted everyone. To make it easier for my E.L. student I added sentence starters to her questions,
so she could better structure her answers.