First Days of Class: Who We Are, Why We Are Here

At least the first half of my career as a high school English teacher for 18 years was spent learning to be the sort of teacher I wanted to be. I often feel I should apologize to those early-career students, many of whom remain kind and even praising.

Along that journey, I came to realize that the first days of any class or course must be a clear and inviting message to my students about who we are and why we are here.

A watershed moment for me was somewhat an accident. My administration ended the long and tedious tradition of spending the first day or two issuing textbooks by having all students’ texts placed in their locker before they began the year.

With that freedom, I stopped the equally tedious roll call and dedicated myself to conducting class on that very first day in a way that told students what the class/course was going to be about.

As I start my 34th year as a teacher, now a professor teaching two first-year writing seminars as well as a couple eduction courses, I also dedicate the first days of class to practicing what I preach: incorporating one or two different strategies or changes each new course (what I call taking baby steps since no teacher should feel compelled to overhaul entirely their teaching when they feel the need to change).

Here I want examine some first-days texts and activities, not as prescriptions but as models for how any teacher may take this same larger concept of how those first days establish who you are, who your students are, and why you all are on this class journey.

Source

First, some of my new commitments are grounded in being more intentional about inclusive pedagogy, much of which will draw on the guidance of Dr. Anita Davis, Director of Diversity and Inclusion, Associated Colleges of the South, who is helping facilitate a year-long seminar for a group of faculty at my university this academic year.

These new commitments allow me to incorporate existing activities and texts in order to improve the inclusive environment of my classes as well as establishing the disciplinary grounding of the courses I teach.

Regardless of the course, I use several of these activities on the first days, but I also will include a writing-specific opening days activity toward the end.

A central message for my students in the first days is that we will be bound to texts, important texts, and then we will also be using those texts for our own discussions and to write. The key texts I currently use for the first days include the following, all of which also model for my students that we are going to explore diverse voices and writers in order to challenge and interrogate our own ideas and assumptions:

• Two chapters from Sandra Cisneros’s The House on Mango Street: “My Name” and “A House of My Own”
• A poem from Barbara Kingsolver’s Another America: “Naming Myself”
• Langston Hughes’s “Theme for English B”

Who We Are

Anita Davis opened her first seminar by explaining that she includes full name citations on her PowerPoint slides, even though most citation styles require last names only and APA hides first and middle names in initials. Davis stressed that names matter, especially if we are seeking to be inclusive.

Over the course of the seminar we also examined that roll calls can be intrusive and even stressful for students who are struggling with gender identification, establishing on that first day a hostile environment counter to our efforts of inclusion.

Part of our goal to be inclusive, we must all be better equipped when our students must name and identify themselves — issues about gender identity and pronoun preferences.

“My Name” (Cisneros) and “Naming Myself” (Kingsolver) are powerful texts for helping students think about how to introduce themselves in the context of a new learning community. I read these short texts aloud to emphasize there will be a common activity in my classes, read alouds.

Then we discuss how the speakers in the novel chapter and the poem emphasize the importance of names and of being named; both texts ask readers to consider sex/gender and race.

As well, “My Name” includes a recognition of how children/young people come to understand themselves in their names while “Naming Myself” challenges social norms of women being erased through re-naming during marriage.

These texts and activities establish that our names matter, but that naming ourselves is more complicated than some students have considered. I also want students to know that I appreciate texts, the read alouds, but that texts are not simply fodder for the sort of narrow analysis they have done in their English classes.

Finally, we introduce ourselves, first in small groups and then as a full class. This semester, I will invite students to talk about their names, and their pronoun preferences if and when this is important to them. I will also stress that our learning community must be a place where we honor confidentiality; we are free to share outside of class the topics we explore, but we should avoid naming our classmates in ways outside of class that breaks confidentiality, that fails to honor each person’s right to speak for themselves.

On the first day, we have avoided the drudgery of calling roll — and engaged in the sort of class dynamic that characterizes my classes throughout the semester. But I now will also establish an environment that honors inclusion more intentionally than I have in the past.

Why We Are Here

While the naming texts and activities are entry points for introductions and creating an inclusive learning environment, that first day also begins a journey into disciplinary expectations — why we are here.

Another first days activity I use is based on Hughes’s “Theme for English B,” but I will now include an activity, “Save the Last Word,” Davis used in our seminar.

“Theme for English B” lends itself well to any class because it investigates the power relationship between teachers and students; like the Cisneros and Kingsolver texts, Hughes also confronts the role of race in that power dynamic.

When I have used Hughes’s poem in the past, I have struggled with students shifting immediately into the literary analysis mode, eager to analyze the poem’s structure and technique to the exclusion of engaging with what the poem’s speaker is saying about power as that intersects teaching/learning, race, and age.

“Save the Last Word” is a wonderful strategy for keeping students focused on what a texts says (not the how of literary analysis) and encourages student voice in the context of that text.

My slight adaptation of the activity includes the following: (1) my read aloud of the poem, (2) asking students to read the poem again silently to themselves, (3) placing students in small groups (preferably of 3), (4) having students copy what they consider a key or challenging stanza on the front of an index card, (5) having students reflect on that stanza in writing on the back of that card, (6) after all students have done this each student shares out to the small group the key stanza so that the other two can respond to that stanza first, and finally (7) each person shares their reflection last for that stanza.

Through a whole-class discussion of “Theme for English B” following the “Last Word” activity, I will share with students why we are here: to take words, each other, and ideas seriously and carefully in the pursuit of our own growth through disciplinary moves as well as our developing literacy.

The course, like the activities around Hughes’s poem, will be both individual and collaborative as well as interrogating and investigating key ideas and concepts.

Why We Are Here (Writing Specific)

Finally, I want to touch on a first writing activity I use in order to highlight how to use the first days to stress the narrow goals of any course or class.

The first writing activity I do with students involves Cisneros’s “A House of My Own”:

• I read the passage aloud.
• Students are instructed to write their own versions of the passage, changing “house” to an object of their choice and then mimicking the passage exactly except for the content. I refuse to give more directions and urge students to trust themselves and complete a draft.
• After most of the students have a full first draft, I ask for volunteers to share their versions aloud. During the sharing I ask the others to compare their drafts to the one being shared.
• Next I ask other students to share or discuss how their version does something different in terms of mimicking Cisneros exactly.
• Always students begin to re-think their mimicking as well as how carefully they read any text for the how (technique) and the what(content).
• Finally, I invite students to revise their versions and send them to me by email for the next class meeting.

This activity stresses the importance of completing a full first draft (especially as a discovery draft not as a process to fulfill a set thesis), the value of peer conferencing and sharing drafts, and the necessity of revising all writing with purpose.

We also begin to look at the craft of language — sentence formation (the entire passage is a series of fragments), rhetorical and literacy techniques, vivid and specific details, grammatical and syntactic awareness.

One unexpected but consistent consequence of this activity is that students often email their revision to me and call the text a poem — even though Cisneros’s mentor text is a prose fiction passage from a novel.

This means the following class allows me to begin a conversation about genre awareness, how we determine the form any text takes (poetry v. prose, fiction v. non-fiction, etc.).

In short, an opening activity models why we are here and how we are going to proceed.

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Throughout my career, I have rejected traditional views of the first days of any class or course needing to be about establishing teacher authority (don’t smile until Christmas) and classroom rules or management.

Instead, I am committed to making the first days of class about who we are and why we are here while remaining true to my larger critical philosophical and ethical commitments as an educator and a human.