warriors don't cry unit - portland public schools

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Warriors Don’t Cry Unit

English 1-2 Curriculum Guide

Version 1.0: September 2009

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Table of Contents: Warriors Don’t Cry Unit

Activity Page #

Introduction to Unit 3

Unit Template with Learning Plan 4

Student Progress Monitoring 8

Academic Vocabulary 10

Pre-assessment 11

Background Building Workshop 14

Chapter Summaries Panel 16

Choice-o-meter 17

Dialogue Journal 20

Ally Narrative 22

Socratic Seminar 27

Synectics Lesson Plan 30

Role Play 34

Beginning a Graphic Novel 35

Culminating Assessment: Creating a Graphic Novel 39

Resources for Creating a Graphic Novel 41

Novel Study and Vocabulary Guide 67

Differentiation 82

Resources 83

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Introduction

Warriors Don’t Cry, the searing memoir by Melba Patillo Beals about the 1957

integration of Central High School in Little Rock, Arkansas, is a popular text in ninth

grade classes around the district for many reasons, including because of its Coming of

Age theme. With a text as rich as this one, there are many ways to approach and teach it;

this unit focuses on the role of the ally, bystander, and perpetrator when faced with an

issue of social justice. The majority of the unit leads students to consider these positions

both in the text and in their own lives, culminating in a narrative assignment where

students write about a time they faced a similar situation. In a unique expansion of this

assignment, the unit then leads students to think about how they would depict this event

in visual terms through the creation of a graphic novel of their narrative.

As you look through this unit, you’ll notice that the materials can be broken down into two parts: the first half leads students toward the narrative/graphic novel assignment,

while the second half, is a reading/vocabulary guide that leads students chapter-by-

chapter through the conflicts, themes, and vocabulary of the novel.

While this unit has been significantly overhauled, we would like to thank and

acknowledge the foundation developed by the writers of the earlier curriculum guide,

from which a number of these activities were drawn.

Written and compiled by:

Keri Troehler

Heather Straube

Nick Ross

Alicia Smith

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Warriors Don’t Cry Unit Template

Stage 1: Desired Outcomes Priority Standards: 9.03 Summarize sequence of events.

9.05 Describe the function and effect upon a literary work of common literary devices…

9.06 Draw conclusions about the author’s purpose. 9.13 Writing Modes:

Include relevant information and exclude extraneous information

Establish a situation, point of view, conflict and setting

Establish a controlling idea that takes a thoughtful, backward examination and analyzes a

condition or situation of significance.

9.15 Actively solicit another person’s comment or opinion. 9.16 Offer one’s own opinion assertively without dominating.

Understandings: Students will understand that:

An individual’s choice to act as an ally, bystander, or perpetrator impacts

individuals, their community and whole

nations.

Authors make choices that will best convey

their experience to the reader; this is

especially true in the genre of memoir.

Essential Questions:

What can we do alone and with others to

confront injustices, like racism?

How can we, as individuals and citizens,

make a positive difference in our school,

community, and nation?

How do we choose to tell our own story?

How do our decisions to include or exclude

certain elements impact the story we tell? Students will know:

the historical timeline and key personalities

in Warriors Don’t Cry

the events leading up to, the outcome and

the impact of the Brown v. Board Supreme

Court ruling

the impact of genre and literary techniques

used by Melba Patillo Beals

the elements of a narrative

the elements of a graphic novel

Students will be able to:

Read a text and identifying key events as

they occur.

Use the writing process to create a personal

narrative.

Create a graphic representation of their

narrative, including specific and relevant

events.

Discuss relevant issues using various

protocols.

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Stage 2: Assessment Evidence

Culminating Assessment (learning task)

Other Evidence

You are a writer and have recently published a

story about a time when you were an ally,

bystander or perpetrator. A publishing

company is interested in having your story

turned into a graphic novel. In order to

accomplish this, you will need to determine

and justify: 1) What events in your story are the

most important and 2) How you will best

represent them graphically?

Other Evidence:

1. Pre-Assessment – Summarize and

identify elements of a narrative.

2. Narrative – students write a narrative

about a time they were an ally,

bystander or perpetrator.

3. Picture Summary – students choose a

chapter from the memoir, illustrating

key events and justifying their

inclusion.

4. Journal – responses to the reading

5. Discussions – class discussions using

various protocols with self-evaluations/

reflections.

Stage 3: Learning Plan

Activity Title Priority Standards Page Pre-Assessment 9.03.Summarize sequence of events

9.05. Infer an author’s unstated ideas, analyzing evidence that

supports those unstated ideas and make reasonable

generalizations about text.

9.06. Draw conclusions about the author’s purpose

9.13. Use dialogue, interior monologue, suspense, and the

naming of specific narrative actions, including movement,

gestures, and expressions.

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Background

Building Workshop

9.01. Determine meanings of words using contextual and

structural clues and through the use of definition, inference,

example, restatement, or contrast.

9.02. Use the features of informational text to reach

supported conclusions.

9.05. Infer an author’s unstated ideas, analyzing evidence that supports those unstated ideas and make reasonable


9.13. Write summaries of informational texts

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Chapter

Summaries Panel

9.03. Summarize sequence of events



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Choice-o-meter




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Activity Title Priority Standards Page 9.06. Draw conclusions about the author’s purpose

9.07. Analyze characterization

Dialogue Journal 9.03. Summarize sequence of events

9.06. Draw conclusions about the author’s purpose

9.08. Describe the function and effect upon a literary work of

common literary devices


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Ally Narrative 9.13. Establish a situation, point of view, conflict, and

setting.

9.13. Include sensory details and concrete language to

develop plot and character.



gestures, and expressions

9.13. Establish a controlling idea that takes a thoughtful,

backward examination and analyzes a condition or situation

of significance.

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Socratic Seminar 9.05 Infer an author’s unstated ideas, analyzing evidence that supports those unstated ideas and make reasonable


9.13. Support interpretations of literature through the use of

textual references

9.15. Actively solicit another person’s comment or opinion. 9.16. Offer one’s own opinion assertively without dominating

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Synectics Lesson

Plan


structural clues and through the use of definition,

inference, example, restatement, or contrast.



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Role Play 9.05 Infer an author’s unstated ideas, analyzing evidence that supports those unstated ideas and make reasonable


9.13. Support interpretations of literature through the use of

textual references

9.15. Actively solicit another person’s comment or opinion. 9.16. Offer one’s own opinion assertively without dominating

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Beginning a

Graphic Novel







gestures, and expressions



of significance.

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Activity Title Priority Standards Page

Culminating

Assessment:

Creating a

Graphic Novel

about an Event



9.13. Establish a situation, point of view, conflict, and

setting.





gestures, and expressions.

9.13. Establish a situation, point of view, conflict, and

setting.



of significance.

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Study Guide and

Vocabulary

Support


structural clues and through the use of definition, inference,

example, restatement, or contrast.




9.04. Predict future outcomes supported by the text, using

contextual clues.



9.06.Draw conclusions about the author’s purpose. 9.07. Analyze characterization

9.08. Describe the function and effect upon a literary work of

common literary devices

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Student Progress Monitoring: Warriors Don’t Cry Unit

Student 9.05. Infer an author’s

unstated ideas,

analyzing evidence

that supports those

unstated ideas and

make reasonable

generalizations about

text.

9.06. Draw

conclusions about the

author’s purpose

9.13. Include sensory

details and concrete

language to develop

plot and character.

9.13. Use dialogue,

interior monologue,

suspense, and the

naming of specific

narrative actions,

including movement,

gestures, and

expressions

9.13. Establish a

controlling idea that

takes a thoughtful,

backward

examination and

analyzes a condition

or situation of

significance.

E M D n/e E M D n/e E M D n/e E M D n/e E M D n/e

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Student 9.05. Infer an author’s unstated ideas,

analyzing evidence

that supports those

unstated ideas and

make reasonable

generalizations about

text.

9.06. Draw

conclusions about the

author’s purpose

9.13. Include sensory

details and concrete

language to develop

plot and character.

9.13. Use dialogue,

interior monologue,

suspense, and the

naming of specific

narrative actions,

including movement,

gestures, and

expressions

9.13. Establish a

controlling idea that

takes a thoughtful,

backward

examination and

analyzes a condition

or situation of

significance.

E M D n/e E M D n/e E M D n/e E M D n/e E M D n/e

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Academic Vocabulary

The vocabulary used extensively in this unit:

Active Listening

Allusion

Audience

Characterization

Dialogue

Dialogue Journal

Direct Quotation

Editing

Flashback

Genre

Graphic novel

Inference

Interior Monologue

Memoir

Narrative

Panel template

Pantoum

Plot

Point of View

Revision

Sensory detail

Setting

Socratic Seminar

Synectic Graphic Organizer

Theme

Thesis

Voice

Writing process

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Pre-Assessment: Warriors Don’t Cry Unit

Student learning: the purpose of this pre-assessment is to determine your students’ present abilities to recognize the features of an effective narrative, as well as their knowledge of the

1950s and the terms: ally, perpetrator, and bystander.

Materials: short section of the memoir Warriors Don’t Cry , for example: pp. 12-17; 92-97; 170-

173. Note that the word “nigger” is used throughout the novel and in some of the excerpts identified. Or you could use “Initiation” by Sylvia Plath on pages 4-8 in Holt Anthology.

Time: 50 minutes

Steps:

1. Choose a 2-3 page section from the text (or another story) that demonstrates elements of

an effective narrative and includes characters who act as allies, bystanders, and

perpetrators.

2. Read aloud the short section and ask students to follow along. 3. After reading the section, direct students to complete the questions that follow.

Note: it is essential that students receive feedback on their pre-assessment (though the scoring

guide or other means) so that they know where they stand in relation to the topics and priority

standards addressed in this unit.

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Pre-Assessment: Warriors Don’t Cry Unit

1. List – in order – the five most important plot points from the section of the memoir.

2. What are the elements that the author included that make this an effective memoir?

3. What do you think is the author’s purpose in this story? How do you know?

4. Thinking back on the section, which character(s) would you identify as the following and

why (do your best with the terms even if you do not know their exact definitions):

a. ally(allies):

b. perpetrator(s)

c. bystander(s):

5. What do you know about the 1950s in the United States, specifically around the Civil

Rights Movement and the integration of schools.

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Pre-Assessment Scoring Guide

Priority

Standard

6-5

Exceeds

4-3

Meets

2-1

Does not yet meet 9.03.Summarize

sequence of

events

Writer provides a

thorough and

accurate accounting

of the most

significant and

relevant events from

the story

Writer provides a

mostly accurate

summary of the

events from the story

Some significant

elements from the

writer’s summary are missing and/or

inaccurate

9.05. Infer an

author’s unstated ideas, analyzing

evidence that

supports those

unstated ideas

and make

reasonable

generalizations

about text.

The writer makes an

insightful inference

of the author’s purpose based on a

detailed analysis of

the evidence from

the story.

The writer makes

reasonable inference

of the author’s purpose based on a

some analysis of the

evidence from the

story.

At this point, the

writer does not make

an inference about

the author’s purpose or the inference

cannot be supported

with the evidence.

9.13. Use

dialogue, interior

monologue,

suspense, and the

naming of

specific narrative

actions,

including

movement,

gestures, and

expressions.

Through a detailed

analysis, the writer

recognizes that

effective narratives

include such

elements as

suspense, dialogue,

blocking and others.

The writer

recognizes that

effective narratives

include such

elements as

suspense, dialogue,

blocking and others,

though the evidence

to support may be

limited at this point.

At this point, the

writer is not able to

articulate significant

elements from a

narrative that make it

effective.

Content

knowledge Correctly identifies

and fully analyzes

the roles that

characters in the

narrative play: ally,

bystanders,

perpetrator

Identifies and

analyzes some of the

roles that characters

in the narrative play:

ally, bystanders,

perpetrator

At this point, the

writer is not able to

identify and/or

analyze the roles that

characters in the

narrative play: ally,

bystanders,

perpetrator

Background

knowledge Response shows a

significant depth of

knowledge of the

events of integration

during the 1950s

Response shows

some knowledge of

the events of

integration during the

1950s

Response does not

demonstrate

significant

knowledge of the

events of school

integration during the

1950s

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Background Building Workshop* (adapted from Expeditionary Learning)

Historical Context for Warriors Don’t Cry

Student Learning:

I can read a text and determine important information.

I can discuss what I read with my peers.

I can illustrate or graphically connect information from various texts.

I understand the historical context for Warriors Don’t Cry.

Materials Needed: Large paper, journals, markers, copies of texts – Teaching Tolerance Spring 2004 is a good resource

(http://www.tolerance.org/teach/magazine/index.jsp?is=34).

Approximate time: 60 - 75 minutes

Steps:

1. Grouping: Assign students to groups of four.

2. Mystery Text – First Reading: Make an overhead of the following quotes for students to see

(or a political cartoon, poem, etc. – remove the title if it gives the topic away).

“All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce

any law which shall abridge the privileges or immunities of citizens of the United States; nor shall

any state deprive any person of life, liberty, or property, without due process of law; nor deny to

any person within its jurisdiction the equal protection of the laws.” --14

th Amendment to the United States Constitution, Ratified in 1868

“We conclude that, in the field of public education, the doctrine of ‘separate but equal’ has no place. Separate educational facilities are inherently unequal. Therefore, we hold that the

plaintiffs and others similarly situated for whom the actions have been brought are, by reason of

the segregation complained of, deprived of the equal protection of the laws guaranteed by the

Fourteenth Amendment.”

--Chief Justice Earl Warren, 1954

i. Have students write down what they think the text is about and draw a

line after thoughts are jotted down.

3. Activating and Sharing Background Knowledge:

i. Identify the topic for students – Brown v. Board of Education

ii. Ask students, in their small groups, to share what they know about the

topic.

iii. Ask students to create a web or visualization of their collective

knowledge/understanding of the topic on a piece of chart paper using just one of

the colored markers.

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4. Provocative Text: An article or essay on the topic. This article needs to be interesting and, if

possible, a rich narrative that offers multiple perspectives (see Teaching Tolerance Spring 2004).

All students read this article.

i. Ask students to text code the article: N for new information

ii. Ask students to add their new knowledge to their web using a different

color of marker.

5. Expert text: Hand out a different article on the topic to each member of the group. Use a

variety of formats or media here (e.g., timelines, photos, short biographies, editorial cartoons,

letters to the editor, narratives, songs, portions of a novel).

i. Again, ask students to text-code the article for new information

ii. After everyone has read, each participant shares new knowledge on chart

paper in yet a different colored marker.

iii. Have on hand extra articles, drawings, maps or photos for those who

finish early.

6. Mystery Text - Second Reading: Read/show the initial text again.

i. Ask students to go back to where they had initially written about the

quote and then were asked to draw a line; have students write about the quote

again underneath the line.

7. Debrief the experience.

i. Contrast first and second reading/showing of the mystery text: “What was it like to see the quote the second time?” “What made the experience so different?”

ii. Ask a general question about what the process was like to read

successive articles. Did they know much about the topic before? Had they been

curious about the topic? What inspired their curiosity?

8. Introduce the Essential Questions and the Memoir.

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Chapter Summary Panel

Student Learning:

I can summarize a chapter and identify the most significant events.

I can illustrate or graphically represent the most significant moment(s) from the chapter.

Materials Needed: Warriors Don’t Cry, large paper (11 x 14), other art/drawing supplies.

Approximate time: 60 minutes, then ongoing through the memoir.

Steps:

1. Prior to beginning the memoir, assign pairs (or individual if numbers do not match up) of students

a chapter (begin with chapter 2). Each pair will be responsible for summarizing the chapter and

creating a graphic panel representation to accompany the summary.

Summary should include: key characters, important events and details that would be

necessary to convey meaning.

Graphic Panel can be one major even illustrated OR can be a series of events (much like

a comic book or graphic novel).

2. Model 1st chapter with the first class. Give each student 3-4 post-its or flags. While reading use

the post-its to mark the most important events in the chapter. Advise students that they may

move post-its around as certain events become more important than others.

3. When the 1st chapter is finished, ask students to write a summary and include the 3-4 events they

have chosen and explain why.

Have students share out with each other, then share out to the large group.

4. In their groups, ask students to discuss how they might graphically represent the chapter? What

would need to be illustrated? Why? In pairs, have students draw a panel.

5. Share out of the panels and explain decisions made about what was included/excluded.

6. Students will present their chapter summary/graphic representation each week. This work will

also be tied to Melba’s Choice-o-Meter.

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Choice-o-meter

Student Learning:

I can use spatial and mathematical skills to complete a graph as it applies to content in the story

I can identify Melba’s most important choice in each chapter I can evaluate the nature (positive/negative) and severity (1-5) of each choice based on my

understanding of Melba, the historical time period, social issues, and students’ preexisting knowledge/moral standards

I can identify the order and nature of a growing and changing situation/conflict

I can recognize the subjective and changing nature of our decisions/choices

I can use effective speaking skills to discuss my evaluations/graphs

Materials Needed:

- Large, visible poster of sample Choice-o-rometer to be collectively completed after each

Chapter and left on the wall for the duration of the unit

- Day One: A piece of 8” X 14” paper for each student (graph paper works well, too, but one must

write very small) WITH the directions printed on the back

- Day One: A ruler for each student

- Day One: A pencil and pen for each student

- Each Day:

o Journals, the book, and visual Panels created by pairs per chapter. These should be

displayed across the room in a chronological (chapter by chapter) order.

Approximate Time:

- 15-20 minutes after Chapter One

- 5-10 minutes for each subsequent Chapter. This can be done in the middle of a class or as a final

moment after the completion of an in-class reading of a chapter.

Steps:

1. (5 minutes) Teacher explains the chart using a large poster sample of the Choice-o-

rometer with directions on the back of the 8 X 14 paper.

Teacher asks the pair in charge of Chapter One: What do they think was Melba’s biggest choice or decision in the chapter?

How does the pair answer this question: Was it positive or negative? How did you

decide this, based on what evidence?

On a scale from 1-5, how positive or negative was her choice (with 5 being the

highest score and one being the lowest)? (See the graph example included here to

fully visualize this.)

Teacher demonstrates how to chart the pair’s evaluation by asking them where they think the score should go on the poster graph. Teacher draws and labels the pair’s score. EACH Chapter’s score must include a clear TITLE to indicate which choice we are talking about.

2. (10-15 minutes) Students draw the chart:

Teacher demonstrates each step to take in making the chart on the board or other

medium. Teacher asks students to follow her step by step.

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DIFFERENTIATION may include having a pre-drawn copy for students who are

significantly challenged visually or spatially

3. 5-10 minutes after each chapter: Follow-up

The pair in charge of that Chapter adds information to the large classroom Poster and

presents, or leads a short debate on, their evaluation.

Each student graphs one of Melba’s major decisions per chapter, either before or

after the Pair in charge of that chapter shares their findings.\

OCCASIONALLY: Ask students to answer verbally or in writing…

Do you agree or disagree with Melba’s decision?

Would you have done it differently? Why?

Have you ever experienced a situation that asked you to make a similar

decision? What happened? Would you have done it differently knowing

what you know- about yourself or the other person/people?

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Melba’s Choice-o-meter

Warriors Don’t Cry Student Handout

Why are we graphing Melba’s major choices?

We all have to make important choices in our lives, even if it seems we don’t have a lot of control at times. The protagonist of the memoir, Warriors Don’t Cry, is no different. She has

hopes and fears. Some things motivate her and others distract her from her goals. Other people,

and the news, influence and help her change her decisions. Sometimes she makes positive

choices and sometimes she makes negative ones. Of course, you might think you have made a

good choice in a particular situation, while someone else is sure your choice was a bad one.

In this chart, you are asked to judge Melba’s choices and to judge them fairly. How would Melba judge that decision she made? Would she agree or disagree with you? Based on her goals and

hopes, are you sure you have rated her choice fairly? Keep Melba, her family and the entire

community in mind as you rate her choice after each chapter. Is this choice better for the entire

community in the long run, even if it seems painful or stressful at the time?

Make it!

1. Use the entire page to draw a graph that looks just like the poster example.

2. Use a pencil at first. Go over the graph and any words in pen afterwards, when you are

sure the graph is accurate.

3. Follow teacher directions or have you and your partner help each other to make sure you

both get it right. Let’s not waste paper. 4. Add the Chapter One “choice” and score to your own 8 x 14 graph. Make sure to clearly

write the words (the choice Melba made) AND the score. Are you sure the score is at the

exact place you want it to be? Check your number and location. Pencil first. Pen second.

Graph it after each Chapter! And, be ready to defend your argument! You may be asked to

write about your own choices without warning!

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Dialogue Journal

Student Learning:

I can identify significant moments from the text.

I can identify ally behavior from characters.

I can respond to a text and reflect on the author’s purpose.

Materials Needed: Journal

Approximate time: 20 Minute Set-up, Ongoing

Steps:

1. Have students create a two-column journal. Handout the “Dialogue Journal” guidelines.

2. As students are reading, have them identify:

Two passages that they feel are important and would be able to discuss. Include page

# and the passage.

Two examples of “Ally” behavior from the text. Include the page # and brief explanation of the behavior.

3. Students should keep information from the memoir in one column, and their responses in the

other column.

The text says…

(include chapter and page #) I think…

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Warriors Don’t Cry

Dialogue Journal Guidelines

As you read, identify:

Two passages that they feel are the most significant moments and would be able to

discuss. Include page # and the passage.

Two examples of “Ally” behavior from the text. Include the page # and brief

explanation of the behavior.

Respond to the passages you collect: How do they relate to the Essential Questions?

How do they relate to your own experience (or not)?

Example:

The text says…

(include chapter and page #) I think…

p. 31 “What I’m afraid of most is that they won’t like me and Little Rock won’t become like Cincinnati.”

p. 29 “Maybe going to Central High School isn’t such a good idea after all. It is costing my family a lot of agony and energy, and I

haven’t even attended one day yet. Will Grandma always have to sit up guarding us?

She can’t go on sitting there forever. What will become of us? Maybe I should start my

plan for moving to Cincinatti. Please give

me some sign of what I am to do.”

Allies:

Two people who sat next to Elizabeth

Eckford

Marissa, who stopped the man from

raping Melba.

I moved to a new town from 8th grade to

9th grade and started at a new high school,

where everyone new one another. I

remember that I was thankful I knew at

least one person. However, no one else

liked her. Imagine…the one person you know and everyone else can’t stand her. That wasn’t a good start.

Now a days, you hear all sorts of stories

of people being robbed or mugged or

attacked – they scream, and yet, no one

does anything. It’s scary, but it’s also hard to imagine not trying to intervene in

some way.

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Ally Narrative Introduction

Student Learning:

I can define an ally, bystander, target, and perpetrator.

I can describe a time in which I was an Ally, Bystander, Target, or Perpetrator.

I can use the writing process, specifically Pre-Writing, to create a narrative that has strong

character descriptions, a distinct setting, and dialogue.

Materials Needed: Journals, Overhead/Elmo, etc.

Approximate time: 60 minutes

Steps:

1. List the following words for students: Ally, Bystander, Target, Perpetrator. Ask students to 1)

define each of the words and 2) draw a graphic that might help show how the words are

connected or related to each other.

2. Have students discuss in small groups before sharing out in large groups. Create a class

definition for each term.

3. In journals, have students begin to brainstorm the various instances that they played the role of an

ally, bystander, target, or perpetrator. Begin by brainstorming your own experience for the

students to see as a model.

Ally Bystander Target Perpetrator

4. Have students pair up and discuss the experiences that they’ve logged.

5. Ask students to circle the most significant experience or the one that they remember most vividly.

6. Have students begin to write about that experience. Begin with identifying who was there

(Characters), when was it and where it took place (Setting), and what was said (Dialogue).

DETAILS!

7. Optional Exit Slip – Ask students to define each of the terms.

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Ally Narrative - Drafting

Student Learning:

I understand the criteria for the narrative.

I can use the writing process, specifically Drafting, to create a narrative that has strong character

descriptions, a distinct setting, and dialogue.

Materials Needed: Journals, Overhead/Elmo, etc.


Steps:

1. Introduce students to the Narrative assignment criteria. Key criteria for this narrative are:

Character, Setting, and Dialogue. Inform students of the stage in the writing process: Drafting.

2. Ask students to go back to their initial writing response and brainstormed list. In pairs, have

students share with their partner who the main ‘characters’ were in their experience and where it

took place. If they can remember the gist of what was said, share that, too.

3. Students will be given time to work on their drafts. Rough Draft Due______________.

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Warriors Don’t Cry

Narrative Writing Assignment

Warriors Don’t Cry is the story of nine children who were “brave in the face of danger,” but as Patillo-

Beals tells the story, she had many moments of doubt. In the spirit of her story, think about your own life.

When have you had to stare adversity in the face and conquer it?

Each of us has experienced times of adversity, when things were tough or challenging. Think about how

those events shaped your life. Some ideas from Melba’s life might include the following:

A time you were treated unfairly

or witness someone else who

was treated unfairly

(Target/Bystander/Ally).

A time you treated someone else

unfairly (Perpetrator).

An ally: someone who’s acted on your behalf or a time you

stood up for someone else

A time you felt left out/excluded

Someone who believed in you

A teacher who treated you fairly

or unfairly

A time that you feared for your

life

A time you witnessed racism

Steps in the assignment: 1. Brainstorm various times in your life when you were faced with a decision to be either an ally,

bystander. This could also include a time you were the target of an injustice or perhaps were the

perpetrator of an injustice.

2. Choose one of those instances and briefly address: Who was there, what happened, how old were

you, how did the incident or experience resolve itself – how did it end?

3. Write an opening paragraph that begins in the middle of the action. Take us to the precise

moment when the event or experience was happening. Who was there? Who said what? What

happened?

4. Begin to formulate the rest of your narrative essay.

Your essay should be at least two-pages in length. Be sure to focus on and include the

following elements that will be used to determine your grade:

Dialogue

What are the characters saying?

Do they have a “voice print”?

Character Description

What does the character look like? Smell like?

What is the character wearing? Can we tell their age?

Are they bossy? Shy? Mean? What actions help support their description?

Setting Description

Where does the story take place?

What does it look like?

Blocking

What are the characters doing while they are talking? Where are they located?

Figurative Language

Did you use metaphors and similes – comparisons?

Did you use personification – giving human qualities to non-human things?

Did you describe things in new and interesting ways?

Interior Monologue

25

What is going on inside the character’s head?

What is the character thinking while the action is happening?

Ally Narrative - Revision

Student Learning:

I can use the writing process, specifically Revision, to improve my narrative and insure that it has

strong character descriptions, a distinct setting, and dialogue.

Materials Needed: 1

st Draft of Ally Narrative, Journals, Overhead/Elmo, etc., “Narrative Revision – Self Evaluation”


Steps:

1. Pass out the Narrative Revision. Review the levels of proficiency.

2. Have students read their drafts out loud. This will assist them in catching any grammatical or

syntax errors.

3. After they have read their drafts out loud, they should use the rubric to self-assess where they

currently feel they are in the process. Use the “Narrative Revision Self-Evaluation.”

4. Direct students to use the information from the Self-Evaluation to make distinct changes between

their 1st and 2

nd Drafts. 2

nd Draft due___________________.

Ally Narrative – Wrapping it Up

Since students will be taking the Ally Narrative and turning it into a graphic novel, there are two options

to take with the 1st draft. Teachers can have students take the draft through the writing process from this

point, including editing and final ‘publication.’ However, students can take a completely revised, yet unedited, draft forward with the work on the novel. It is dependent on teacher choice and student needs.

A final criteria has been included which does include conventions. The CIM Scoring Guide could also be

used.

26

Narrative Scoring Guide

Criteria Exceeds Meets Does not yet meet

Character

9.13. Include

sensory details

and concrete

language to

develop (plot

and) character.

The story has characters

who are developed. A

physical description, along

with information about

their background and

actions are included.

The story contains

characters. However, their

descriptions might need

further development.

Perhaps the writer includes

physical descriptions, but

does not go beyond.

The story contains

characters, but they have

not been developed and do

not seem ‘real.’

Setting

9.13. Establish

a situation,

point of view,

conflict, and

setting

The setting is well-

described so as to allow the

reader to visualize the

places in their minds.

Vivid details relating to the

senses help create the

setting.

The setting is described,

however there has not been

a keen attention to details

that is present. The reader

does not necessarily ‘see’ the location.

The setting is mentioned

briefly and further details

are missing.

Dialogue

9.13. Use

dialogue,

interior monologue…

The characters in the story

speak to another. The

dialogue is realistic and

helps to create the

characters and move the

plot forward.

The characters in the story

occasionally speak. The

dialogue is occasionally

realistic. The choices to

include dialogue do not

necessarily move the story

forward.

There is little dialogue or

the dialogue does not help

to move the story forward.

It is dialogue for dialogue’s sake.

Theme

9.13. Establish

a controlling

idea that takes

a thoughtful,

backward

examination

and analyzes a

condition or

situation of

significance.

The analysis of the

significance of the event in

the narrative is insightful

and fully explained in light

of all participants: ally,

bystander, and perpetrator.

The injustice described is

fully articulated.

There is some analysis of

the significance of the

event, though it may be

somewhat limited in some

places or areas. The

narrative is appropriate to

the topic of an injustice.

The narrative includes little

reflection or analysis of the

event, which may be only

somewhat related to the

topic of an injustice.

What are the next steps in moving towards proficiency in each of the above areas?

27

Socratic Seminar

Students Learning:

I can develop and discuss my ideas, perspectives and arguments based on the essential questions.

I can identify significant portions of a text and support my decision with reason and logic.

I can demonstrate my understanding of plot, character, and theme.

I can make connections between concepts and themes between works that I’ve read.

Materials Needed:

Photocopies of the Text or Memoir

Essential Questions

Study Guide Questions/Basic Questions provided in “Additional Resources”

Photocopies of the “Socratic Seminar Speaking Guidelines” handout Pencils

Approximate Time: 30-60 min.

Steps:

Set up: Arrange desks or chairs into an inner and an outer circle. Direct half of the students to seat

themselves in the inner circle, and half on the outer. Leave two empty seats opposite each other on the

inner circle. These "hot seats" should be easily accessible to students seated on the outer circle.

Establish Norms: Students generate, then agree, by consensus, to a set of norms designed to help cultivate

a safe, honest, and respectful discussion of ideas. See “Socratic Seminar-Speaking Guidelines” handout for a model.

Prewriting: Students note initial thoughts, comments, questions and / or relevant quotes. They should do

this on a copy of the text if possible. (2-3 minutes)

Pair and Share: With an emphasis on listening, students pair up to discuss the products of their prewriting.

(2-3 minutes)

Partner Presentations: In turn, inner circle members present, as accurately and completely as possible, the

ideas of their partners. (5-10 minutes)

Open discussion with "hot seats."

Based on comments made during partner presentations, inner circle students discuss the ideas. Direct

them to use the sentence frames on the “Socratic Seminar Speaking Guidelines” handout.

Those seated on the outer circle are responsible for observing and recording their partner’s participation in the seminar on the “Partner Observation Tally Sheet.” If students on the outside feel so compelled,

they may move to a hot seat to contribute to the discussion. (15-20 minutes)

For the second half of the discussion, students seated on the outer circle exchange seats with those who

have begun on the inner circle.

Closing comments: All students write down a closing comment on the discussion. Each student on the

inner circle presents his or her closing comment to the group. (5-10 minutes)

28

Time Considerations: In 50 minute periods, allow two days for the discussion. One half of the class

participates from the inner circle one day, the other half the next day.

Additional Considerations: Give consideration to which students are placed in the inner and outer groups.

There are pros and cons to organizing the groups with students who readily contribute to discussions and

those who are more reserved. Often, by beginning the seminar with the more reserved students in the

middle, they will frequently express ideas they’re usually reluctant to share.

29

Socratic Seminar

--Speaking Guidelines—and Observations

--Use “I” messages.

-Examples: I disagree because…

I believe that…

--Use the texts to prove your point.

-Examples: According to the text …

The author states…

--Ask each other questions and follow up questions.

-Examples: Could you explain what you mean by…?

Could you rephrase you what you said?

--Summarize what others have said in your own words.

-Examples: What I’ve hear so far is…

I just heard you say…

--Invite others to speak.

-Examples: What do you think?

I saw you nod your head. Do you agree?

--Respect the speaker

-Examples: Do NOT have side conversations.

Take the seminar seriously.

--Observation Tally Sheet—

Your Name:____________________ Your Partner’s Name:____________________

# of

comments # of

questions

asked

# of times

invited others

to speak

2-3 most interesting comments/ideas

# of

references

to the

texts

# of

summaries

of what

others said

# of times

disrespectful

to speaker

30

Synectics Lesson Plan

Lesson One: Building Understanding through Using a Graphic Organizer

Synectics is a strategy that allows students to explore and test a word (an ideology, philosophy or other

complex term) by using metaphors and a graphic organizer. To compare one idea or an object with

another idea as its substitution can serve as a conduit for a fuller, richer understanding of a complex idea.

A few things to remember with using Synectics include (Barbara Murray’s “There is no frigate like reading a book”, 2001):

A. Students must finally select an object or machine familiar to them and their world; they can select

several but ONE is best to be taken from their diagram brainstorm

B. Students should explore the relationships in the concept BY using a comparative metaphor that

has parts or segments to it that are very similar to parts of the concept

C. Process is as important as product (it is an artistic process and not finite)

D. It is very important that the concept/term has extremely similar facets or parts to the metaphor

used for fuller comprehension.

Student Learning:

I can explore the meaning segregation and integration

I can share, debate and continue to redefine my definitions of segregation and integration

and apply it to my own life and the book

I can use a metaphor to help me better understand the definitions of segregation and

integration.

Materials Needed:

- Photocopies of Synectics Graphic Organizer Handout, with a copy of the handout on both the

back and front to cover both concepts

- Pair/triad copies of text, Warriors Don’t Cry and their Journals

Approximate Time: 25 to 110 minutes

- 5 minutes for teacher to model Synectics usage; 5-15 minutes per word

- OPTIONAL: Add 20-50 minutes per concept to extend the metaphor by:

A) Playing charades using the metaphor; B) drawing, painting or diagramming the

metaphor as it relates to the concept (like segregation); or, C) conducting a skit

showing the metaphor and asking students to make connections between metaphor

and concept

- 10-20 minutes to apply/discuss the meaning of these words to student worlds today

Lesson One Steps:

1) Give a copy of Synectics Graphic Organizer Handout with the diagrams and ask them NOT to

write on them yet. Tell them they will need a pencil so they can erase and rewrite information as

they go in a few minutes.

2) Introduce the idea of synectics and give an example as to how to use the model/handout (for

example, engage the class in trying to compare a concept, like hero quest or empathy, to random

objects until the class can come to an understanding of one perfect metaphor for the concept, i.e.

the hero quest is a roller coaster or a four course meal)

31

3) Create groups of 2-3 depending on teacher desire.

4) Put the word segregation on the board for all to see, and ask students to write the word in the

middle of the handout.

5) Give pairs 5 minutes to brainstorm possible metaphors, examples, or even definitions. Tell

students they may use the memoir or their Journals for examples. Groups report back to class

and debate and rework all elements on the handout as a class. The point is to have fun and come

to a collective understanding, and hopefully ONE metaphor. Important: Make sure to come to a

shared understanding of what the concept IS NOT (an opposite metaphor or idea) and why it is

not that object or idea (i.e. I would say that the hero quest is not a rock that does not move or

change, nor is it a straight brick road from point A to point B, for it is circular and winding

instead).

6) Spend several minutes asking for examples from their lives and the book that show real life

examples of segregation. Given these examples, is the metaphor(s) correct? Rework.

7) Conduct OPTIONAL

8) When the class is ready, possibly after 10-20 minutes, switch to the word integration and repeat

steps 1 – 7 above

Lesson 2: Synectics Assessment & Application of Concepts

Student Learning:

I can demonstrate my understanding of segregation and integration and how these words apply to

my own life and the memoir.

Materials Needed:

- Photocopies of Quiz: What are Segregation and Integration (double sided for each word) OR

questions placed on an overhead/white board and student lined paper

- Individual copies of text, Warriors Don’t Cry, to find and use examples on Quiz

- Photocopies of Synectics Quiz Scoring Guide

Approximate Time: 15-25 minutes to take the quiz…Differentiate by having student dictate

Steps:

1. Introduce the quiz. Review if you’d like.

2. Administer the quiz.

3. Discuss the answers.

32

Quiz: What are Segregation and Integration?

Warriors Don’t Cry Unit

Name:

Teacher: Fill in the blank with the word you want to examine.

1. What is __________________________________________? Define it.

2. What is it not?

3. List 3-4 examples from the book Warriors Don’t Cry.

4. How has ___________________________________ affected your life or the community? How

does it continue to affect you or the community? Be specific.

33

SYNECTICS QUIZ SCORING GUIDE

Student Name Word:________________________

1- Shows little if any understanding.

2- Shows simple understanding, but no detail.

3- Has a few details to support understanding.

4- Detailed understanding with a few missing parts.

5. Detailed understanding.

1. Student showed they understood the concept of segregation.

1 2 3 4 5

2. Student included various examples of segregation from Warriors Don’t Cry.

1 2 3 4 5

3. Student can define segregation in a coherent way.

1 2 3 4 5

4. Student can identify what segregation is not.

1 2 3 4 5

5. Student can identify how segregation has or continues to affect his/her life.

1 2 3 4 5

SYNECTICS QUIZ SCORING GUIDE_____________________________________

Student Name Word:________________________

1- Shows little if any understanding.

2- Shows simple understanding, but no detail.

3- Has a few details to support understanding.

4- Detailed understanding with a few missing parts.

5. Detailed understanding.

1. Student showed they understood the concept of integration.

1 2 3 4 5

2. Student included various examples of integration from Warriors Don’t Cry.

1 2 3 4 5

3. Student can define integration in a coherent way.

1 2 3 4 5

4. Student can identify what integration is not.

1 2 3 4 5

5. Student can identify how integration has, or continues, to affect his/her life.

1 2 3 4 5

34

Integrating Central High School Role Play

Student Learning:

I can read a text and determine important information.

I can assume the point-of-view of one of the key players in the Central High dilemma.

I can offer my opinion and listen respectfully.

Materials Needed: Roles for each group

Student journals

Approximate time: 60 -75 minutes

Steps:

5. The materials and resources for this activity are located at the Rethinking Schools website.

Follow the link below to view the role description, format and structure of the role play.

http://www.rethinkingschools.org/brown/warr183.shtml

6. Debrief. Have students respond in their journals to the following questions:

What was the outcome of the role play? Do you agree or disagree with the

outcome?

Was it easy or difficult for you to play your role? Explain.

35

Beginning the Graphic Novel

Students Learning:

I can create a graphic representation of my narrative, including specific and relevant events.

Materials Needed:

Transparency and photocopies of “Graphic Novel Assignment.”

Student journals.

Photocopies of Maus I pp. 9-23 and student samples.

Steps:

1. Pass out copies of “Graphic Novel Assignment.” Review with class. (5 min) 2. Show student examples on the overhead. Pass out a few photocopies of student samples to class

to circulate while you highlight key features on the overhead. (10 min)

3. Review Graphic Novel class materials and clean-up expectations (to be developed as you see fit).

(5 min)

4. Post the following journal topic: What are your initial reactions having found out about the

Graphic Novel unit? Students should free write about this for 10 min. Explain to them that their

reflections will be an important part of their final graphic novel. See student examples on walls.

In the journal, students should pay specific attention to note what the classroom looks like.

Setting is important and they will have to recreate it in their graphic novel later. (10 min)

5. Read Maus I pp. 9-23. In journal, students should record 3 page layouts that they could use in

their graphic novels.

6. Post student examples on walls.

Graphic Novel Terminology and Character Drawing

Students Learning:


Materials Needed:

-Photocopies of “Graphic Novel Terminology”, “Political Figures in Cartoons”, “Popular Comic Strips”, How to Draw Stupid, and Maus I.

Steps:

1. Pass out copies of “Graphic Novel Terminology.”

2. Have students identify key terms in reading from Maus I on overhead. (15 min)

3. Pass out copies of “Political Figures in Cartoons” and “Popular Comic Strips.” Identify key features of drawing (exaggerated features, simple drawing, little/no shading). (5 min)

4. Pass out How to Draw Stupid. Review. Develop initial sketches of main characters in journal. Ask

students to note how do these sketches reflect their characterization? (20 min)

5. Direct attention to student samples on walls for those who need more examples

36

Graphic Novel Outline

Students Learning:


Materials Needed:

-Transparency and photocopies of one student’s narrative. -Photocopies of Persepolis pp. 1-9.

-Student journals

Steps:

1. Pass out copies of one of the students’ narratives. 2. On overhead, demonstrate how to turn student narrative into an outline for the graphic novel.

This is VERY simple and VERY rough. On the left column, write the numbers 1 through 20

vertically. Next to each number, describe the action that will happen on each page in bullet point

format. The emphasis here is on students formulating an initial idea of how their graphic novel

will play out. Students will NOT be held to following the outline exactly in their final product.

(10 min)

3. Students should make their own outlines in their journals. (20 min)

4. Read Persepolis pp. 1-9. In journal, students should record 3 page layouts that they could use in

their graphic novels. Direct students to pay particular attention to the reasons why the author

chooses certain page layouts.

Work Period Expectations

Students Learning:


Materials Needed:

-Photocopies of “Panel Templates.”

-Pencils

-Pencil sharpeners

-Erasers

-Rulers

-Journals

Steps:

1. Develop work period expectations with class. (stay on-task, leave room the way you found it,

etc.) (10 min)

2. Begin working on graphic novel (students should have 2 pages done by the end of today,

depending on timing).

37

Rough Draft

Students Learning:


Materials Needed:


-Pencils

-Pencil sharpeners

-Erasers

-Rulers

-Journals

Steps:

Work periods. Periodically give time for students to make journal entries on their progress in

making the graphic novel, and any triumphs or tribulations they’ve encountered along the way. They should continually reflect on the learning targets. These journal entries should be

represented in their graphic novel (see student samples).

Final Draft

Students Learning:


Materials Needed:


-Pencils

-Pencil sharpeners

-Erasers

-Rulers

-Journals

-Pens

Steps:

1. Begin final draft process. Students will ink their rough drafts, then erase any pencil lines

remaining.

38

Assembling the Graphic Novel

Students Learning:


Materials Needed:

-Photocopies of “Assembling the Graphic Novel.”

-Blank Legal Size paper.

-Graphic Novel final drafts.

Steps:

1. Pass out copies of “Assembling the Graphic Novel.”

2. Demonstrate how to assemble on according to the directions. I usually use a student’s sample.

Publication Party

Students Learning:


Materials Needed:

-Photocopies of students’ graphic novels. -Party supplies.

Steps:

Party, pass around each other’s graphic novels, etc.

39

Culminating Task - Graphic Novel Assignment

Assignment:

You are a writer and have recently published a story about a time when you were an ally, bystander or

perpetrator. A publishing company is interested in having your story turned into a graphic novel. As

graphic novels are becoming more popular, yours has a chance at being distributed and sold at bookstores

throughout the nation. In order to accomplish this, you will need to determine and justify: 1) What events

in your story are the most important and 2) How you will best represent them graphically? The final

project should be at least 20 pages long in black ink.

Journal: You will be responsible for keeping a journal documenting the process of creating your graphic novel. In

it, you should record your thoughts and experiences—notable or seemingly insignificant—as you work.

This will be used in creating your graphic novel and will be due with the final draft.

Outline:

To help lay out your graphic novel, you will need to create an outline of your story. This will look like

the outlines we sometimes create for our essays. It does NOT have to include pictures.

Rough Draft:

A rough draft of your graphic novel will be due in pencil. It should look like your final draft (with frames

and pictures), but does not need to be illustrated as thoroughly.

Final Draft:

Your final draft should not only retell your story, but also your own triumphs and tribulations in creating

your graphic novel. It should be engaging, creative, informative, and something you are proud of.

Due Dates:

Outline ____________

Rough Draft ____________

Final Draft ____________

40

Culminating Assessment Scoring Guide

Exceeds

Expectations

Meets

Expectations

Does Not Yet Meet

Expectations

Visual

Representation

9.13. Include

sensory details

and concrete

language to

develop plot and

character.

The product contains

visually appealing panels

that use detailed images that

provide the reader with a

context of the event. The

dialogue balloons and layout

are effective in developing

characterization and plot.

The product contains panels

with appropriate visual

images. The product’s use of color, image, layout and

dialogue balloons works

well to appropriately

represent the heroic event.

The product contains

inadequate panels that do

not fully capture or

communicate the event. The

product does not thoroughly

reflect the elements of art

needed to enhance the

reader’s understanding of the event.

Theme

9.13. Establish a

controlling idea

that takes a

thoughtful,

backward

examination and

analyzes a

condition or

situation of

significance.

The narrative has a clear

theme or a controlling idea

about a social justice issue

that runs throughout the

piece as it thoughtfully

analyzes and reflects on the

significance of the event

described.

While the piece may have a

controlling idea, it may not

be clear. There is an attempt

to analyze and reflect on the

importance of the social

justice event described.

There is not a recognizable

theme or controlling idea in

the narrative that relates to a

social justice issue. The

writer has not analyzed the

significance of the event.

Narrative

Elements

9.13. Use

dialogue, interior

monologue,

suspense, and the

naming of

specific narrative

actions, including

movement,

gestures, and

expressions.

The narrative includes

successful use of several

key elements of an effective

narrative (suspense,

dialogue, and blocking) that

make for a compelling and

highly readable story.

The narrative includes some

use of the elements of an

effective narrative

(suspense, dialogue, and

blocking) that make for a

readable story.

The narrative does not

include many aspects of an

effective narrative –

dialogue, suspense, or

blocking.

41

Study Guide and Vocabulary Support

The following pages contain a General Study Guide and Vocabulary Guide. Both provide support for

various student groups who may require more scaffolding or reading support.

About the Study Guide

The Study Guide is designed for the abridged version of Warriors Don’t Cry but also includes the

corresponding chapters to the unabridged version.

This Guide has several purposes: 1) To guide teachers in the themes and questions that we think are

important to the memoir; 2) To give teachers Basic Questions per chapter to be used as simple daily

discussion tools, and in assessing student knowledge as well as whether or not students read and/or can

recall facts from a particular chapter; and, 3) To provide Discussion/Writing prompts students can use

during Socratic Seminars, other formal discussions, informal writing reflections, the Warriors Don’t Cry Journal, and in the final Writing Assessment at the end of the reading part of this unit.

Basic Questions may be given individually as Question of the Day when students enter the classroom,

with or without notice. They can also be used as Exit Slip questions when students leave. Lastly, they can

be used in Chapter quizzes.

The Overall Reading Discussion/Writing Response Questions are divided into 6 sections based on

themes/chapters created by the Facing History and Ourselves (Witness to History” Series, 1992,) located online. We have taken the liberty of including or rewriting the questions from FH and indicate when the

idea or questions come from this source (FH). If it is a direct quote, we indicate this with FHQ.

Feel free to copy and paste Basic Questions to create student handouts, teacher discussion points, or

quizzes and assessments. Yet, one will need to give credit to Facing History & Ourselves when using

Discussion/Writing Questions.

Lastly, it would make sense in this Unit to use chapter questions with the Vocabulary & Terms teacher

guide included in the Unit.

42

Reading 1: Defining Segregation (FHQ)

Chapters 1-3, pages 1-32 (abridged)

Chapters 1-4, pages 1-45 (unabridged)

CHAPTER ONE BASIC QUESTIONS:

Describe 1-2 main characters so far. Who are they?

Who is narrating (telling) the story and what is her point of view?

How did Melba get better from her childhood illnesses?

What word is used in the first chapter, and throughout the book, that many people find offensive.

(ANSWER: nigger) How do you feel about the word?

In 2-3 sentences, describe where Melba grew up.

Melba says in Chapter 1, ‘it’s a white world’ in Arkansas during the 1950’s. List 2-4 events so far that

might show what exactly she means.

CHAPTER TWO BASICS:

Describe the setting (neighborhood, house, etc) so far in the memoir.

What do you think is Melba’s point of view? What motivates her to do things? Explain.

What is Melba's grade and what is her age in May 17, 1954?

Who is the stranger that confronts her and what does he try to do? Is he successful? Why, or why not?

What does Grandma do that shocks Melba, because Grandma always tries to save and keep things?

Why doesn't Melba's family or the community call “the law” (the police) when Melba or others are targeted?

What big secret does Melba NOT tell her family?

CHAPTER THREE BASICS:

Who goes with Melba to her new school? What do think will happen next?

Who does Melba write to for comfort and guidance? Why do you think she writes to him?

What is Melba afraid will happen at her new school?

Overall Reading 1 Discussion/Writing Response Questions:

Should we confront racism?

What can individuals and groups do to confront racism?

What are the obstacles that get in the way of individuals (and groups) trying to change racism?

43

Theme: Segregation’s relationship to Melba and Others (FH) Melba writes, “Black folks aren’t born expecting segregation…Instead the humiliating expectations and traditions of segregation creep over you slowly stealing a teaspoonful of your self-esteem each day.” (p 3, abridged; p 6 unabridged) How does Melba learn those expectations and traditions? What does she know

about segregation by the time she has reached the age of eight? What has she learned by the age of

twelve? ( FHQ)

How do the “humiliating expectations and traditions of segregation” shape the attitudes and actions of the adults in Melba’s family? How do these “expectations and traditions” affect the way Melba views their

ability to protect her and themselves from mistreatment? (FHQ)

In 1954, when Melba is just thirteen, a white man tries to rape her. How do the adults in Melba’s family respond to the incident? Why do you think they decide not to call the police? What do they fear? How do

those fears keep family from bringing the attackers to justice? How do they affect the way Melba see

herself and others? (FHQ)

What does Melba’s account suggest about the way racism affects everyone in a society- those who are

considered privileged as well as those who are targets of racism? What does it suggest about the way

racism threatens democracy? (FHQ)

Theme: Melba’s choice to attend Central High (FH) What prompts Melba to raise her hand when a teacher asks if she would like to attend Central High? Why

do you think she doesn’t tell her family that she has volunteered? What does she fear? (FHQ)

How do Melba’s parents and grandmother respond to the news that she had been chosen..? What did they say? Why do you think they allowed her to attend despite those fears? (FHQ)

How did school and community and school leaders prepare for the desegregation of Central High? Whom

did they consult? Whom did they leave out of the process? How important do you think these decisions

will be? (FHQ)

What would you have done differently in planning for the desegregation of Central High?

Theme: Stories used by author to introduce family members How does Melba use anecdotes and other stories to introduce her family members? (FH)

Give 2-3 examples of Melba’s stories that focus on her mother and grandmother.

Why do think that so many stories do focus on both Melba’s mother and her grandmother? (FHQ) Reading 1- Other

How do you think or feel about the book so far and Melba’s choices?

Describe 2-5 ways that the author and her family make choices when confronting racism in Little Rock.

What different choices would you make? (FHQ)

As Melba prepares for her first day at Central High, what does Melba seem to be most excited about?

Why? What does she fear? What do you think her FIRST DAY will be like? (FH)

44

Reading 2: Becoming a “Warrior” (FHQ) Chapters 4-8, pages 33-68 (abridged)


CHAPTER 4 BASIC QUESTIONS

How do Melba's neighbors respond to her going to her new school?

Was the first day at Central High a success, or not? Explain. What might Melba say?

What are the pros (possibilities) if Melba goes back to Central High after day one? What are the cons (or

negative possibilities)?

Who calls Melba on the phone, if it wasn't the young man, Vince, she likes?


Usually Melba's grandmother does not allow Melba to wear makeup and dress too fancy. Why, in this

chapter, does she let her do these things?

President wants the local Little Rock, Arkansas courts to do something about the federal troops at the

school. What is that and why does he want this to happen?


Why does the U.S. Federal (national) government go to court in Arkansas anyways?

Why are Melba and the other eight African American students asked to go to court?


How does the group of people outside of Central High respond to the nine students arriving to school?

What about when they try to leave school?

Who threatens to lynch, or hang, the African American students? Does anyone get lynched?

Was Melba and her peers' second day at school a success? Why or why not? Explain.

What do the angry mobs do and say to the students and others?


Who comes to assist the nine students? How do they try to help them?

Was deciding to go back to Central High and easy or difficult decision for Melba? Did she go in this

chapter?

Do any adults from the school target the nine students? What do they do?

Do any school adults play Melba's ally? How so? What does he/she do?

Do any school adults play bystander and do nothing? Who? Does this hurt or help the cause for

integration?


Theme: How secrets influence Melba’s view of herself and her family (FH)

45

What...secrets has Melba kept over the years? How do secrets shape the way she sees herself and her

family? (FHQ) How do you think these secrets have (or will affect her? (FH)

Can you think of a time in your life when keeping a secret was a smart thing to do? Why?

Can you think of a time when your choice to keep a secret or tell a secret had serious consequences? Did

you regret your decision? Why, or why not?

Theme: Becoming a “warrior”(FH) There is a situation building in Melba’s life. Please explain the many sides to the situation. How are her choices influencing the outcome?

Melba’s grandmother likens Melba to a “warrior on the battlefield for your Lord.” What is a warrior?

How is one a “warrior for one’s Lord” different from other warriors? (FHQ)

Reading 2 Theme: How the crisis in Central High affects people in Little Rock and beyond (FH) What types of media (newspaper, tv, radio) are included in Melba’s story? Why does she include these types of media and information in the book?

What role does the media seem to play in the crisis? How important is that role? (FHQ) What point of

view or angle does the media add to the story? How so?

Other Reading 2 General Questions List ways the author and her family confront racism in Little Rock in these chapters. (FH)

In this section of the book, Melba reflects on the meaning of the word freedom. How are her experiences

at Central High changing the way she looks at the word freedom? What does the word freedom mean to

you? (FH)

What do you predict Melba’s first day at central High will be like.

Reading 3: Inside Central High (FHQ)




See Basic Questions in Reading 2


See as Basic Questions in Reading 2


Theme: The role of leaders in crisis (FH)

How do the adults- the principal, vice principal, teachers- respond to the arrival of African American

students? How does this effect have on Melba and the other African American students?...on the white

students? (FHQ)

46

At the end of the first day at Central High, Melba decides to include two white men in her prayers. Who

are the two men? What makes them different from the other white men and women Melba meets that

day? (FHQ)

Theme: Individuals respond to change (FH) What are 2-3 ways different white students respond to integration at Central High? (FH)

What role does peer pressure play in how white students respond to African American students? (FH)

Explain 2-3 different ways adults at central High respond to integration. What factors may be influencing

them to make those kinds of choices? Prejudice? Fears? Fears of what? (FH)

Theme Reading 3: Melba begins to change (FH) Melba’s says she feels both proud and sad when she is escorted into school by federal troops (page 95...). (FHQ) What do these feelings say about who she thinks she is- as an individual and as a citizen? (FH)

What are events in the story so far add to her feeling that she can make a difference? That her opinions

matter? (FH)

What experiences get in the way of her confidence?

Reading 4: Responses to Desegregation (FHQ)




What decisions does Melba make about how to act or carry her body that she thinks will help her be a

stronger warrior?

What happens to Melba that the woman clerk at school refuses to believe?

Danny suggests that Melba learn a very important skill? What is the skill? Do you agree she should learn

the skill? Why, or why not?


List 2-4 events in the entire memoir that show how Melba is not feeling “normal” or she wants to feel “normal”.

Who was the first young man Melba dated?

How did her first date go?

Briefly describe one big way Melba is targeted at school in this chapter. Then, describe one way others

play her ally.


What does Melba do or tell herself, so she can become a warrior in this chapter?

Minnijean really wants white students to like her at Central High. What one thing does she feel she must

do to gain their acceptance?

47

How do the other eight students feel about her plan?

What holiday does Melba experience twice in this chapter? Which version of the holiday does she enjoy

more and why?


Who attends Melba's birthday and how does it go?

How old is Melba turning?

What does Minnijean do in the cafeteria that gets her in trouble at school? Was her punishment fair? Why

or why not?


Theme: Why change at Central High was a slow, often painful, process (FH) Study Melba’s diary entries. How do these show how her attitude is changing? How important are small

gestures- a smile, a friendly gesture- during this time? (FH)

Theme: Effects of Melba’s experiences at Central High (FH) On page 109 there is a diary entry. What does the diary say about how Melba feels about school? How is

she feeling about the choices she is making? (FH)

List two examples that show how Melba’s feelings are changing. (FH)

Theme for Reading 4: The effects of integration on Melba and the other African American students

(FH) How do Melba’s relationships with her old friends change? Why do these friendships change? Why do

you think her old friends are unwilling to hang out with her? (FH)

How do Melba and the other eight African American students respond to the stresses at Central High?

(FHQ)

What do the NAACP members want Melba and other students to do when they get harassed? Why do

they want this? Are Melba and others able to do what they wish? Why or why not? (FH)

Theme for Reading 4: The effects of integration on Melba (cont...)

Minnijean is taunted by boys at school. How does she respond to this? Does she do this out of strength or

weakness? Did she make the right decision? (FH)

Discuss the word “integration”. What does it mean to Melba?

How does the author use newspaper headlines? Why do you think she does that? Do they help or hurt

your understanding of the plot? (FH)

Reading 4- Other Questions:

Think of a time you were insulted or a target. Describe the experience. Explain what you did and why you

made that choice. Do you think you made the right choice? (FH)

48

Reading 5: Responses to Harassment (FHQ)




List 1-2 examples of community support for Melba or the other eight African American students during

this holiday vacation.

What was at least one of Melba’s New Year’s resolutions?


Describe 1-2 ways that the “segregationalists” at Central High carefully plan, in a systematic way, how they will target Melba and the others. What do they plan to do? What do they do?

What are Melba’s ideas about suicide in this chapter?

On page 164 Grandma India says to Melba, “’Dignity is a state of mind, just like freedom. These are both precious gifts from god that no one can take away unless you allow them to.’” What advice does Grandma India then give Melba about how to make choice about how she

responds to her harassers?

CHAPTER 15 QUESTIONS

Briefly describe TWO ways Link helps warn Melba about possible attacks and acts of hatred and

discrimination.

CHAPTER 16 QUESTIONS

Does Melba trust Link, or not? Explain.

Why does Link call Melba all upset? What does he complain about?


Theme: Melba’s developing strategies for responding to harassment Describe several strategies Melba and other African American students choose to use with those that

harass them. What are the advantages of them? What are the negative aspects? (FH)

When Melba’s grandmother suggests she be stronger than the people that harass her, do her suggestions

work or not? Explain. (FH)

Theme Reading 5: Community support and the nine students (FH) Why are other African American individuals and community groups so negative and critical about the

nine students’ efforts to integrate Central High? (FHQ) How does this affect Melba? (FH)

Theme: To take a stand against injustice (FH)

Why do you think Link secretly helps Melba avoid or trick those who target her? What risks is Link

taking by offering his kind of friendship? What risks does Melba take in accepting and trusting his

friendship? (FH)

Why are Melba’s mother and grandmother suspicious of Link? (FH)

49

Theme: To take a stand against injustice

Why does Link want Melba to tell the press (the news) that the situation at Central High is improving?

(FHQ) What does he hope will happen if Melba reports this? How does Melba respond? What would you

have done if he had asked you this request? What would you have done if you were in Link’s situation? (FH)

What does it mean to have a friend for you? How does Melba learn to accept a whole different kind of

friendship in Link? Could you accept it? Explain.

Reading 6: Legacies (FHQ)

Pages 183-226 (abridged)

Pages 262-312 (unabridged)


See Reading 5 Basic Questions


Who is Mrs. Healey? How does Link feel about her? How does she feel about Link?


Who is able to graduate in this final chapter? What has to happen to make sure he can graduate without

being targeted?


Theme: The effects of racism on the choices Link makes (FH) Why does Link feel responsible for Mrs. Healey? Why do you think his parents do not feel as responsible

for her welfare? (FHQ)

How does Link’s relationship with Mrs. Healey affect his attitude toward African Americans? (FHQ)

How does racism shape Link’s friendship with Melba? (FHQ) Can that be called a real friendship in your eyes? Explain. (FH)

To what extent does Link take a stand against racism? (FHQ) Is he effective or not? Are his actions

understandable if you think about racism in Little Rock during the 1950’s? Explain. Do you agree with his actions?

Theme: The importance of Ernest Green’s graduation (FH) The people at graduation clap for other graduates, but not for Ernest. Why do you think are they silent?

How does that make you feel? (FH)

Why is Ernest Green’s graduation from central High School important to African Americans in Little Rock? Why do the segregationalists care so much? (FH)

Why do you think the family invites two non-family members to graduation, a black reporter and Dr.

Martin Luther King Jr, even though they were told only to invite family? Why do you think they both

decide to come? What is the importance of a little graduation after all? (FH)

Reading 6 Theme: The consequences of choices

50

What have Melba and the other African American students achieved after all? How have they made a

difference in Little Rock? In cities across the nation? To the people around the world? (FH)

Why is Melba so committed to returning to Central in September? (FHQ) Would you go back?

51

Vocabulary & Terms: Warriors Don't Cry (abridged) Teacher Handout

Week One Readings: Students will explore vocabulary words by keeping a running list of interesting or

challenging words or terms in their Journals. Students will individually complete 10 Word Webs (see

page 5 of this document) by using the dictionary and completing the webs on separate paper. Students

will, as a class, use a class brainstorm strategy like Synectics to develop working definitions of

“segregation” and integration”.

Week Two Readings: Students will be given a Vocabulary List of 10 words on Monday. Students will be

given multiple opportunities to understand and study word meanings and usages. Students will be quizzed

on the words’ meanings on Friday.

Week Three Readings: Students will be given a Vocabulary List of 10 words on Monday. Students will

be given multiple opportunities to understand and study word meanings and usages. Students will be

quizzed on the words’ meanings on Friday.

CHP TERMS VOCABULARY

1 Memoir (Genre)

Target

Bystander

Ally

Perpetrator

Racism & Bias

Metaphor

(of the carousal,

p. 4)

Civil Rights Mvm.

Characters

Narration

Point of View

segregation integration

confining ominous

picaninny chastising

apprehension

Metaphor must be addressed during the Synectics Lesson Plans……

The word “nigger” should be carefully

addressed and

discussed as a class.

Explore “segregation” and “desegregation” somewhere within Reading 1. Use the Synectics Lesson Plans, or another class brainstorm method, to

explore the complex nature of these words in the book and in student lives.

CHAPTER TERMS VOCABULARY

2 Brown v Board

of Education

NAACP

Rosa Parks

boycott

quivering looming

insistent sauntered

pondered justices

tolerable weary

persimmon

52

Thurgood

Marshall

Hades (Allusion)

Setting & Plot

Motivation


3 Inference

Active Listening

(during

Discussion #1)

restore agony

contemplation poaching


4 black ass

National Guard

Governor

Faubus

Situation &

Conflict

Encircle bayonets

maneuvered pondering

riveted quartered

vile resigned

hulking pretense

conscious revved


5 Federal

Constitution

federal grotesque

mischievous initiated

devoted respite

bouquets summoned


6 preliminary emphatically gauntlet


7 Shorthand

Dwight

Eisenhower

KKK

treacherous subsided

distorted rampage

harrowing disheveled

resembled “mulling over”

momentum


8 beckoned meekly

eerie persistence

53

decidedly


9 hecklers resigning

scampered archrival

taunted descended

convoy frenzy


10 Lynchings

(and Historical

Allusion,

i.e. African

American

experiences with

lynching)

disseminating implored

dither fiasco

overshadowed hostility


11 gabardine composure

deteriorated polarized

visible adamant

rhetoric prodding

exclude relish

enraptured contorted

meticulous


12 bitch (p. 142) sacred entrapment

barrage console

insidious wavering

entrapment jovial


13 Mahatma

Gandhi

vigilance


14 electrifying uncontrollably

systematic federalized

turmoil indignities

substance galloping

amid


54

15 inquire retaliated

hoodlums Hallelujah


16 Supreme Court heartened indignant

veneer sophisticated

rummaged


17 Disobedience

Civil

Disobedience

reluctant tuberculosis

clusters makeshift

ragged brimming


18 mahogany triumphantly

persistent luxurious

consoled conscious

baccalaureate tainted ravages

55

Possible Skill Based Activities or Extensions

Teacher conducts 10-15 minute mini-lessons on

spelling rules while studying a particular word that

contains that rule. Most commonly apparent in this

book are:

Suffixes

- ous and - ious

-tion and - sion

-ly

Skills are practiced in Narrative writing.

Students can independently create WORD WEBS* by

using a dictionary & a graphic organizer that includes:

- the word (in the center of diagram)

- the definition

- an antonym

- a synonym

- the word accurately used in a full sentence

- a metaphor as a comparison word

(OPTIONAL)

Teacher and class use the Synectics graphic organizer

on “segregation” and “integration” as well as any other complex ideologies or terms. See Synectics Lesson

Plan.

Vocabulary Quizzes on Fridays after a week of

vocabulary review if this is your focus.

Impromptu Usage of CONTEXT CLUES During In-

Class Reading: Teacher stops all-class oral reading.

Teacher asks students to individually write down a

chosen word in their Journals and guess the meaning.

Students must keep their guess private until after the

activity. Students must also write what clues led them

to their guesses of the word’s meaning. Discuss and read on!

Students keep a running WORD LIST in their

Journals as they read the book. Teacher occasionally

asks students for words and allows students to use

reference materials or class discussion to aid in the

understanding of student generated words.

These words may be either very difficult or merely

interesting and exciting to the student.

*See Word Webs Lesson Plan teacher handout

56

Differentiation

This unit for Warrior’s Don’t Cry allows for a number of differentiation activities. One of the

ways to differentiate is to group students based on background knowledge. Some students

already will have extensive context about the Civil Rights movement and the events in Little

Rock, while some will be unfamiliar with the topic. These flexible groups can research different

topics related to the Civil Rights movement and present to each other. The vocabulary section of

the reading guide is another place where you easily will be able to differentiate based on a pre-

assessment of the vocabulary terms. Last, the culminating project itself – a graphic novel version

of a personal narrative – is an example of how a learning task can be differentiated by learning

style and interest. It is entirely possible that you may want some students to work only on the

written narrative, while others will move on to the graphic representation, based up learning

style.

57

ADDITIONAL RESOURCES

Supplemental Texts for Background Building Workshop & Socratic Seminars

NY Times Article, “High Court Bans School Segregation; 9-0 Decision Grants Time to Comply”

http://www.nytimes.com/learning/general/onthisday/990517onthisday_big.html

NY Times Article, “Can a Law Chance a Society?”

http://www.nytimes.com/learning/teachers/featured_articles/20070702monday.html

Teaching Tolerance

“An American Legacy”

http://www.tolerance.org/teach/magazine/features.jsp?p=0&is=34&ar=485

“Timeline of School Integration”


“State of the Union, Circa 1954”


“Brown v. Board: Where are we now?”


PBS – The Rise and Fall of Jim Crow Laws

“Brown v. Board of Education, 1954”

http://www.pbs.org/wnet/jimcrow/stories_events_brown.html

PBS – Supreme Court Brown v. Board

http://www.pbs.org/jefferson/enlight/brown.htm

PBS – VIDEO “Brown v. Board of Education”

http://www.youtube.com/watch?v=TTGHLdr-iak

PBS – “Eyes on the Prize” Video and Related Documents

http://www.pbs.org/wgbh/amex/eyesontheprize/story/03_schools.html

The College Board – 50th Anniversary Video Clip

http://www.youtube.com/watch?v=OqYDSyV8qW8&feature=related

Rethinking Schools – 50th Anniversary Issue with Articles

http://www.rethinkingschools.org/archive/18_03/18_03.shtml

In addition, we have included a link to the Facing History and Ourselves Curriculum that supports

Warriors Don’t Cry. This resource contains historical and background information, along with various

learning experiences that would complement this curriculum packet. From the link below, click

“Download.” You will be asked to enter in basic information, but the curriculum is free and outstanding.

Facing History and Ourselves

http://www.facinghistory.org/resources/publications/warriors-dont-cry