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This is the reading instruction show.

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I'm your host, Dr. Andy Johnson.

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The topic of today's podcast is the dance and the joy of reading.

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Now, I recently had the chance to be part of a local Dancing with the Stars competition

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to raise money for the American Red Cross.

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And since I had never really danced before, it took me four weeks to learn my two minute

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routine. But I can say that every minute of that four weeks was joy.

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I enjoyed learning the dance, practicing the dance, and performing the dance.

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And I saw many of the parallels between learning to dance and learning to eat.

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I saw that good dancing instruction, like good reading instruction, is born of joy.

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Which led me to ask the very reasonable question in my last podcast, where is the joy?

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This is not only a reasonable question to ask, it's a responsible question to ask.

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We must ask it.

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Where is the joy in reading?

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And where is the joy in teaching?

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Now, whenever a new science of reading law is passed, the science of reading zealots

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gather a bunch of children together for a picture and they're told to smile.

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And what you get is pictures of happy smiling children with happy parents all around them

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smiling and being happy.

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And it is wonderful.

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But it's a joy facade.

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Then the facade is the unwritten narrative that they're trying to push.

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The story is that these children were once unhappy and oppressed because of the type

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of reading instruction they were getting.

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But then a reading law was passed and now look at them.

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Glory, hallelujah.

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They've got science of reading in their heart.

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They've been saved by orthographic mapping and their lives are better because of decodable

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text and just look how happy they all are.

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How can you possibly argue with happiness?

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And why would you balance literacy devils make these happy children unhappy with your

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hell-based three killing systems?

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Except the cameras eventually go away and the rigor mortis which is structured literacy

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sets in as the children are forced to sit in reading classrooms where every centilla

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of joy has been removed.

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Everything joyful has been taken from them.

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They're forced to read quote decodable unquote books so their books are taken away from them.

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They can't engage in authentic writing so their ideas are taken from them.

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They're shoved into a one-size-fits-all reading program so their individuality is taken from

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them.

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They're told they must sound things out in the correct way to read the correct way so

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their culture is taken from them.

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And their teachers can't be creative, can't individualize instruction and can't adopt

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and adapt based on their needs so their teacher is taken away from them.

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So what are they left with?

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The schwa sound.

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They're left with the schwa sound.

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Oh, the joy of that all.

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They spend their days sitting in little chairs at kidney-shaped tables responding to meaningless

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letter patterns, nonsense words and words presented out of context.

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And they're told to sound it out.

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And so they do.

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They spend their days sounding out things like train seals and they spend their days

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not reading but decoding.

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The Scarborough's rope wrapped tightly around their little necks.

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They're told to make graphing phoneme connections and break words into syllables.

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And we ask, where is the joy in that?

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Meaningless drivel which is structured literacy is actually joy-free literacy.

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All of literacy has been de-joyed.

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Joy has been replaced by nonsense words and controlled vocabulary texts.

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Damn the man sat on a fan.

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Yes!

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Where's the joy in that?

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Where's the joy of good books?

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Where's the joy of writing?

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And where's the joy of sharing ideas about books and writing?

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Like vampires, the science of reading zealots are sucking the life out of literacy instruction.

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There is no joy except when the class ends.

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But they're decoding and who doesn't like to decode a good book, right?

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And my wife decodes the newspaper first thing in the morning.

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And I can't wait to decode a book that's been on the bestseller's list, right?

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The joy of teaching.

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Where is the joy of teaching?

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Once upon a time, teaching was a joyful, creative endeavor.

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It was creative.

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It was fun.

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You could experiment.

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You could use your knowledge to design instruction and you could be innovative.

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It was an intellectual endeavor.

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It was exciting.

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But where's the joy?

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And why are so many good teachers leaving the classroom?

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Literacy and the dance of joy to the topic at hand.

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What can dance tell us about reading instruction?

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The first thing, motivation.

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Have I mentioned joy?

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Yes, I did.

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My dance was born out of joy.

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It was something I wanted to do.

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And I didn't dance to earn points.

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I wasn't forced to dance.

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I didn't dance because someone made me.

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Learning to dance was closely aligned with my natural inclination to want to learn dance.

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And there's something to learn here, yes?

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A teacher's number one job is to help children fall in love with books.

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After that, much of reading instruction takes care of itself.

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And in that classic movie, Wayne's World 2, Wayne says to Garth, book the bands and

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they will come.

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The same with reading.

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Bring the books and they will read.

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Have lots of good books that are of interest to students at their independent level or

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below and children will read.

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They will want to read.

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Align reading instruction with children's natural inclinations and dispositions and

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developmentally appropriate task and teaching and learning will be effortless.

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Students will be motivated to read if reading is motivated.

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Hmm.

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Imagine that.

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And I can see your are you saying that everything has to be fun?

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You ask.

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And I say absolutely not.

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All of reading doesn't have to be fun.

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But that doesn't mean that none of reading can be fun.

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If we empower creative, intelligent, knowledgeable teachers, they can use their

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creativity, intelligence and knowledge to align instruction with children's interests

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and natural inclination.

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The second thing I learned was about practice.

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Now, I come from a music background and an athletic background and from choir and band

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and wrestling.

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I know that to learn anything, you have to practice and to get better at anything.

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You have to practice every day.

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And a little practice every day is much better than a lot of practice on one day.

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And a little practice where you're focused and engaged is much better than a lot of practice

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when you're disengaged and not on task.

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These are just some of the basics of human learning.

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So practice.

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I did.

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I practice my dance routine every day.

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My instructor made a video that enabled me to practice at home or in my office or even

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in the airport.

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And the home practices weren't long, but I touched the dance every day.

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I practiced my dance every day both at home and at school, not because I had to, but because

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not because I was going to be tested on it, but because I wanted to.

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I wanted to dance.

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I wanted to get better.

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To get better at anything you must practice.

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Reading volume is strongly correlated with reading achievement.

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Now we can't do a controlled experimental study because we know how important reading

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is and we can't deprive a control group of the right to read.

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But children need to practice reading.

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Children need to be immersed in good books.

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They need to be read to and they need to read every day.

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Every day children need to read starting in pre-K and they need to practice reading every

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day in grades one through 12 and beyond.

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And as a matter of fact, Nancy Atwell suggests that 70 to 80% of reading class be used for

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reading practice.

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And here children would choose the books that they wanted to read.

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That's called self-selected reading.

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And she recommends that 20 to 30% of reading class be used for skills instruction.

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So instead of calling it reading class, we should call it reading practice because just

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like wrestling practice, there needs to be some skills work, but children need to practice

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their skills in authentic reading and wrestling contexts.

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Now real reading science has determined that children need to read and to read a lot in

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order to become good readers.

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And that's a research-based fact.

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It's been well established.

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So allowing children to read could be said to be a research-based reading task.

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Reading strategy.

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Real reading science has found that.

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Now go spend time in a structured literacy science of reading classroom and keep track

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of the activities you see taking place and how much time is spent on each.

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And create a pie chart in your head of the types of activities and how much time.

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And you will find that 80 to 100% of the time is spent on things other than self-selected

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silent reading practice.

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Children are allowed to get a book to read once they finish their all important work.

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But here's the thing.

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Reading good book should be the work of reading class.

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That's why they should call it reading practice instead of reading class.

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Just like choir practices and band practices and wrestling practice and piano practice

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and any other practice, you need to spend time practicing the thing in order to get

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better at the thing.

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Now back in the day, they used to call student teaching practice teaching.

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It was recognized that someone coming out of a teacher preparation program was far from

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a finished teaching product.

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So they needed demonstration and modeling, guided practice and scaffolding and a gradual

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release of control and then independent practice.

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Those are the elements of good skills instruction that applies to dance, to reading and to learning

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to teach.

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The third thing I learned is called dance dyslexia.

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Now, the dance studio was a very positive place.

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I loved being there, filled with the dreams and the joys of children.

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And the dance teachers took them where they were at.

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They took me where I was at.

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My dance teacher didn't make me feel deficient because I was below average on some dance

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measure.

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Because of my total lack of dance, I'd be considered dance illiterate or a dance dyslexic

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or dance learning disabled.

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Like young children coming to school without certain kinds of school related experiences,

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we tend to classify them and define their potential based on school ways of measure.

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And I'm sure if you did a brain imbing study and compared my brain to a real dancer, you'd

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find that different areas of the brain light up.

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And if dance were like reading, you'd say, aha, dance dyslexia is a brain disorder.

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And then, I'd be sent to an expensive one size fits all dance program and give an explicit

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instruction in dance sub skills.

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That's if dance were like reading.

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But my teacher took me where I was.

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I wasn't viewed in terms of what I couldn't do.

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I wasn't measured by my distance from average.

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And I was allowed to make mistakes.

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I could be less than perfect.

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I was allowed to engage in successfully successful approximation.

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And I danced.

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The dance wasn't perfect, but it was perfect for me.

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Our reading classes need to be places of safety where children can still dream, where they

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can read without being made to feel like failures.

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They need to read, not fail.

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In some reading classes, all children learn is that their failures.

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The instruction should be built on what children can do.

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Literacy learning should be based on children's social cultural context using the types of

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language and experiences with which they're familiar.

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And children should not be asked to decode, but to read.

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They shouldn't be asked to transcribe or fill in the blanks, but to write.

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The fourth thing I learned is called whole dancing, just like whole language.

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Humans learn best any complex skill from whole to part to whole.

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We learn complex skills best if we are immersed in the activity first, that's the whole.

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Then we learn the skills in the context of that activity, that's the part.

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And then we're able to practice, that's the whole.

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Whole to part to whole.

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Now I learned my dance not as a series of moves or steps, but seeing the individual moves

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in the context of the whole dance.

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Humans learned to read best if they're immersed in the active reading first, then learn the

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reading sub skills as they're ready.

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Awake just a darn minute there, he said, how do you get kids to be immersed in reading

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if they can't read?

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He asked.

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And I said, how do they practice reading if they can't read?

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Yeah.

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Well, let me tell you this.

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Every kid knows how to tell a story.

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Every kid can tell you things.

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Every kid has been exposed to language and even if a kid grew up with wolves, that kid

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was exposed to wolf language.

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Every kid can read the first day of kindergarten.

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Yes, they can.

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They may rely more on picture clues than letter clues, but every kid can read.

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We teach them the steps, but always in the context of the dance.

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It's all about the dance.

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Using strategies like language experience activities, sentence strips, choral reading,

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echo reading, and shared reading.

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Every child can read the first day of kindergarten.

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Yes, they can.

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Oral communication and retelling is an important and developmentally appropriate part of reading

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development.

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Reading is not representing the text accurately.

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Reading is not decoding.

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Reading is not sounding out words.

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Reading is creating meaning with print.

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The fifth thing, context.

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The thing I learned about dance is that not only do you have to learn stuff, but you have

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to remember stuff.

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First, you have to learn how to do the moves.

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Then you have to remember when the dance moves occur and in what order.

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And you're not learning just a single dance move.

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You're learning many dance moves in the context of a dance.

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And when I forget what came next, my dance teacher would say, let the music tell you

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what to do.

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Context is important.

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I wasn't doing a series of individual moves.

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I was doing a dance.

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And dance moves within the context of a dance.

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We never encounter single words floating in space.

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They're always found in the context of a label, a sign, or a sentence.

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And when a child doesn't recognize a word and stops, we often say, sound it out, as

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if they hadn't thought of that before.

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Instead, we should tell the child, let the music tell you what to do.

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What word makes sense there?

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The dance.

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Children know how to dance.

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They hear the music and they move.

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They've seen adults do this.

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They understand every child can dance.

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However, as I've learned in this formalized way of dancing, there are dance moves that

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must be learned.

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Dance and specific dance steps, they must be learned.

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But developmentally appropriate dances are taught in order to enable all dancers to reach

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their full dance potential.

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And younger children learn from older children.

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And the dancing of young children looks much different than that from older children.

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And we don't expect error-free dancing when we begin.

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And when we dance, when we really dance, it's out of joy.

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Rarely do we dance to earn rewards or avoid punishments.

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We dance.

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We dance to music and not a set of steps learned in isolation.

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And there's a social element to it, joy.

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The dance of literacy.

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We have much to learn from dance.

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Now I came back and I practiced every week my dance.

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I didn't have any rewards or punishments.

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I practiced because I loved it.

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I was excited to do the dance.

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And there was much to learn here about teaching, reading.

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I wanted to dance.

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I looked forward to it.

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I had people cheering me on.

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So should be reading instruction.

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It should be born of joy.

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This has been the Reading Instruction Show.

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I am your host, Dr. Andy Johnson.