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EDTP635 Lesson Plan

UMGC — MAT Program

Name Vincent Mick

NCTE Teacher Standard I Element 1: Candidates are knowledgeable about texts—print
Standards and non-print texts, media texts, classic texts and contemporary texts,
including young adult—that represent a range of world literatures,
historical traditions, genres, and the experiences of different genders,
ethnicities, and social classes; they are able to use literary theories to
interpret and critique a range of texts.

Standard V Element 2: Candidates use data about their students’ individual

differences, identities, and funds of knowledge for literacy learning to
create inclusive learning environments that contextualize curriculum and
instruction and help students participate actively in their own learning in
ELA.
Grade / Course 12th / English
Unit Race, Intersectionality & Violence Across Cultures
Lesson Topic Analyzing Race in Othello scenes 1.3 + 2.1
Time Allotted 50 minutes
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Unit Spans one academic quarter. Unit will address forms of racialized/
(explained) intersectional violence in O (film, 2001), Othello (play, 1604) Loving (film,
2016), and In the Time of the Butterflies (novel, 1994). Texts to be viewed/
read in that order.

Week 1: Prep for race/intersectionality. Week 2: O. Weeks 3, 4, 5, and part

of 6: Othello. Also part of Week 6: Loving. Weeks 7, 8, and 9: In the Time
of the Butterflies.

Supplementary texts to be determined. The “centrally designated task” for

this unit is an analytical project comparing the treatment of racialized/
intersectional violence in two different cultures. The task will be completed
within the text set of O, Othello, and Loving.

UNIT ENDURING UNDERSTANDING: DISCIPLINARY

• Readers establish and communicate their interpretations of literature
through arguments supported by textual evidence.

UNIT BIG IDEAS: TOPICAL

• The social construction of race.
• Individual, institutional, and internalized racism.
• Intersectionality.
• Racialized/intersectional violence and its consequences.

UNIT ESSENTIAL QUESTIONS: TOPICAL

• How should we talk about race when we talk about race?
• How do different cultures understand the importance of race? Of
intersectionality?
• What forms of racialized/intersectional violence operate in different
cultures?
• What are the consequences of racialized/intersectional violence?
• What does it mean to center racialized/intersectional voices?
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Context for LESSON’S PLACEMENT WITHIN UNIT

Learning
This lesson is planned for Monday, September 21st—the first day of Week
4 in the 9-week unit (the 2020 academic year begins August 31st). Students
previously overviewed race/intersectionality in Week 1 and completed a
race reflection personal narrative for Monday, September 7th. Students
were introduced to the unit's summative assessment in Week 2 (Appendix
A). They viewed the movie O (2001) in Week 2 and compiled notes for
scene analyses using graphic organizers with film terms. The film serves as
one potential text for the summative assessment and familiarizes students
with Othello's plot. This familiarity relieves some pressure from students
when encountering Shakespeare’s language. It also allows us to focus on
that language. Students completed Act 1 of Othello in Week 3. They wrote
journal entries in response to prompts for scenes 1.1 and 1.2 and wrote
analytical paragraphs in response to one of 3 tiered prompts for scene 1.3.
Paragraphs were due the night before this lesson. By this point in the unit,
students have a strong familiarity with the play’s plot, have studied 14 race
vocabulary terms, and are accustomed to writing regularly about what they
are reading.

TECHNOLOGY AVAILABLE / ROOM ARRANGEMENT

This lesson assumes availability of a Promethean board and a 1:1 ratio of

school-issued Chromebooks.

The lesson assumes 24 students in the class. The room’s desks will be pre-
arranged in six pods of four to minimize transition time between the peer
review and small group discussion. As students enter the room, they will be
greeted and given a copy of the bellringer race vocabulary quiz with the
following information on their copy: their name and the number of their
pod for this lesson. This procedure gives me the ability to pre-arrange their
small groups (discussed below in “Adaptations”).
Curriculum • CCR.RL.1: Cite strong and thorough textual evidence to support
Standards analysis of what the text says explicitly as well as inferences drawn
from the text, including determining where the text leaves matters
uncertain
• CCR.W.1: Write arguments to support claims in an analysis of
substantive topics and texts, using valid reasoning and relevant and
sufficient evidence.
• CCR.W.9: Draw evidence from literary or informational texts to support
analysis.
 !4

Lesson • Evaluate evidence in a peer’s scene 1.3 paragraph for thoroughness and
Objectives relevance.
• Select relevant and sufficient evidence in Iago’s speech in scene
2.1.290-316 to support a claim about whether and how race factors into
Iago’s revenge.
• Participate actively/appropriately in discussions about literature.
Materials • Chromebooks
• Promethean Board
• Google Forms exit ticket
• Digital text: https://www.emcp.com/previews/AccessEditions/
ACCESS%20EDITIONS/Othello.pdf
• Race Vocabulary Term of the Day (for bellringer)
• Race Vocabulary Quiz (for bellringer; covers last week's 5 terms-of-the-
day)
• Peer Review Guidelines for scene 1.3 paragraphs (delivered Friday,
September 19th)
Proactive Students will have been introduced to the classroom's behavioral
Behavior expectations through the syllabus in Week 1. A simplified version of these
Management expectations will be physically posted in the classroom as part of my
comprehensive behavior management plan.

In addition, by Week 4 students will have come to experience the high

expectations I have of each of them. They will have become familiar with
the kind of instructional supports I offer (e.g., discussion questions, journal
prompts). These expectations and supports enhance student engagement.
Student engagement is the lynchpin of behavior management.

Finally, the lesson has been designed using principles of Universal Design
for Learning. I will elaborate on the lesson's relation to UDL in my lesson
reflection. Here I simply will note that UDL enhances student engagement
and therefore builds sensitivity to behavior management into curricular
design.
Provisions for The lesson combines individual, whole class, and small group work. The
Student lesson begins with an individual bellringer. The next activity is a “We Do”
Grouping whole class review of a sample analysis of scene 1.3. After this modeling,
students complete an independent evaluation of a peer’s scene 1.3
paragraph. The lesson ends with a small group discussion of scene 2.1. I
will pre-assign groups as mentioned in “Context for Learning” and
explained in “Adaptations.”
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Warm-Up / Students complete a hard copy quiz on the previous week’s race
Opening vocabulary terms-of-the-day. If students are regularly keyed up at the end
1:40-1:45 of the day, the quiz quickly focuses them because it introduces stakes to the
first minutes of class. While I would prefer to be 100% paperless, the
process of getting out computers, booting up, and accessing an online quiz
takes too long and does not start the class with a “settled” vibe.

The quiz will instruct students to turn the quiz over to indicate that they
have completed the quiz. It will also indicate that, once their quiz is turned
over, they may get out their Chromebooks and begin to take notes on the
current lesson's race term-of-the-day. It will also remind them to note
which document they have been assigned to peer review later in class.

This race vocabulary quiz procedure is something they will have done on
Monday of Weeks 2 and 3 as well.
Motivator / The model evaluation (1:48-1:58) and peer review (1:58-2:13) parts of this
Bridge lesson are structured as reviews of the previous lesson’s material. The
1:45-1:48 previous lesson was on scene 1.3, and the paragraphs for the model
evaluation and peer review are on scene 1.3. Therefore the model
evaluation and peer review technically commandeer the work of a
motivator/bridge.

As a consequence, I will use the time between 1:45-1:48 strictly to review

the lesson's objectives and the guidelines we will use during the model
evaluation and peer review. These objectives and guidelines will be stated
verbally and projected on the Promethean board.

The signal for the end of the warm-up and the beginning of the bridge will
be a funny sound effect, which I will broadcast through the Promethean
system and vary daily. This signal is a way to introduce a bit of humor into
the classroom. The variety of the signal is a way to get attention through
the unexpected. The controlled nature of the signal is one way to model for
the class clown that humor can have a time and place and is best when it
propels rather than disrupts the class’s momentum.
 !6

Procedural 1:48-2:00 (“We Do”): Model evaluation of a sample paragraph for scene
Activities 1.3. The paragraph I will use will have been written by the class’s gifted
(including student and will be part of their compacted curriculum contract for this
transitions) unit. Students will access the paragraph through Peergrade. They will read
1:48-2:23 it and answer questions about it using the Peer Review Guidelines (see
Appendix C). I will use direct questioning to walk the class through an
evaluation of the paragraph.

2:00-2:13 (“You Do”): Students will peer review a fellow student’s

paragraph for scene 1.3. They will access and respond to their peer’s
paragraph through Peergrade. This platform has the capacity to anonymize
both the giver and receiver of feedback. Students will use the Peer Review
Guidelines to complete this activity. I will pre-assign who peer reviews
whose paragraph based on the previous evening’s submissions.

At 2:13 I will play a sound effect to signal the end of the peer review.

2:13-2:23: In their pre-arranged pods students will discuss Iago’s speech in

scene 2.1.290-316. Their journal for scene 2.1 will prepare them for this
discussion (see Appendix D for journal prompt). The goal of the discussion
is to analyze the language of Iago’s speech to argue whether and how race
is or is not a factor in Iago’s revenge.
 !7

Adaptations Student who clowns

Clowning is best thought of as a behavior not a personality (Ruch, Platt, &
Hofmann, 2014). Proactive behavior management is therefore how this
lesson will address clowning. If clowning still manifests, surface
management strategies should be effective. To the extent that clowning
may indicate a lack of engagement, I also will not place this student in a
pod with other students who may be disengagement risks (e.g., students
who prefer athletics over academics).

Student who is shy, overweight and new

The instructional support of the journal prompt should help this student
feel confident to participate. I also will place her in a pod with the
opinionated female leader.

Student who is an opinionated female leader

I will place her in a pod with the shy student. I also will place her in a pod
with a student who is particularly good at analysis. Students who are
opinionated may require help backing up their opinions. One of the
musicians may be a particularly good candidate for a pod partner, given
that music is a language that requires the ability to analyze.

Students who read 2 grades below

The instructional support of the journal prompts should help these students
navigate Shakespeare’s text by focusing their attention on key passages.
The digital text should also help with its footnotes. Finally, previously
watching the movie O will relieve pressure from reading the text for plot.

Student who is hearing-impaired and conscientious

The pod arrangement allows for close proximity during small group
discussion. I also will place this student in a pod closest to where I am
stationed. However, this lesson does not rely heavily on teacher-focused
auditory delivery. Depending on the severity of the student's impairment, I
will incorporate any assistive technology to amplify the student’s auditory
experience as dictated by the student's IEP.
 !8

Adaptations Student who is gifted with ADHD

(continued) If a gifted student is in 12th Grade English, they should be in an AP course.
However, I assume the hypothetical school for this lesson does not offer AP
coursework—hence the need for an adaptation. Given the student's gifted
status, I have opted to compact the student out of many of the in-class
portions of this unit (Finley, 2017). Compacting will allow them to engage
more thoroughly on AP-track assignments to prepare for the AP exam (I
understand students can take the AP exam even if their school does not
offer AP courses). The student would still read Othello but at an accelerated
rate and with different assignments. This arrangement would have been
established at the beginning of the school year with the student, their
parents/guardians, and administrators. The arrangement also would involve
a compacting contract with a highly structured sequence of readings and
assignments (down to the day). This structure will help with the student's
ADHD. For this lesson, I imagine the student working independently in the
school library. Relocation to the quiet space of the library also will help
with the student’s ADHD. See Appendix G for example of what student
would be working on for this lesson.

Student who uses a wheelchair

I will place this student in a pod with the most space around it. I also will
be sure that the pod arrangement does not compromise communal traffic
areas.

Students who prefer athletics to academics

The film O will have provided these students with an engaging point of
entry to Shakespeare. The film translates Othello to a high school context;
the protagonist plays on the basketball team. I also will maintain high
expectations of these students so as not to reify the distinction between
athletics and academics. Finally, I will gamify the lesson by using ski slope
ratings (green circle, blue square, black diamond) to indicate the degree of
difficulty of the tiered prompts for their scene 1.3 paragraphs.

Students who are musicians

If musicians have enhanced auditory skills, they may enjoy listening to the
play as they read it. I will provide the class with links to audio versions of
the play for their reading at home. However, I also don't want to take this
adaptation too literally (e.g., assuming musicians need music in an English
class). Rather, I would like to think of musicians’ facility with reading
music as an asset to help them analyze Shakespeare’s language. Musicians
are skilled at analyzing and synthesizing musical notes. They therefore may
be good candidates for grouping with the opinionated leader who may need
help analyzing/synthesizing evidence to back up opinions.
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Adaptations Students of different races

(continued) The content of this unit is its own adaptation for students of ra cial
minorities. The adaptation is at the curricular level through UDL rather
than in real-time differentiation.

Students of different reading abilities

Shakespeare levels the field for readers below/above grade level. I
previously referenced strategies for readers below grade level. I do not
think readers above grade level require an adaptation for Shakespeare, as
the language is challenging for college readers. However, the tiered journal
prompts provide advanced readers an opportunity to push themselves.
Assessment Formative assessments include 1) direct questioning during the “We Do”
model, 2) teacher observation during the “You Do” peer review and small
group discussion, 3) peer-to-peer feedback during the peer review and
small group discussion, and 4) the exit ticket.
Summary / 2:23-2:26: Students will complete an exit ticket using their Chromebooks
Closure and Google Forms. The exit ticket will address both the peer review and
2:23-2:30 small group discussion. Please see Appendix E for exit ticket.

2:26-2:29: I will briefly highlight some things that I observed during their
small group discussions and will remind them of their homework for the
following day (reading scenes 2.2 and 2.3 and completing the journal
prompt for scene 2.3).

2:29-2:30: This last minute is not just the end of a lesson but the end of
their entire school day. The way this particular class ends can set the tone
for the rest of their afternoon and evening. Consequently, I want to
incorporate 60 seconds of meditative breathing as a way to seal their school
day. The breath work is something we will do regularly. It addresses their
social-emotional learning. And it keeps the last minute of their day from
focusing on the clock as it ticks toward 2:30. Students will have come to
respect this as a routine and will not be spending the last minute gathering
their things.
Generalization / This lesson does not have much wiggle room. I cannot anticipate
Extension opportunities within this lesson for a student to complete an extension
during class time. However, Appendix F provides an activity related to the
language of scene 2.1. It is an activity designed to continue developing
students’ facility with vocabulary through the study of usage and
etymology.
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Review / Read scenes 2.2 and 2.3 in Othello and complete journal prompt for scene
Reinforcement 2.3.

Appendix A: Summative Assessment Options

Please note: the options here are provided only for context. They are not communicated as they
would be communicated to students. Delivery of these options to students would require more
detailed scaffolding and is beyond the scope of this Lesson Plan.

Analytical Project Options (to be completed with Othello text set)

1. Select topic related to race/intersectionality and write essay analyzing topic’s treatment in
Othello + either O or Loving.
2. Select topic related to race/intersectionality and write annotated bibliography of secondary
sources addressing topic’s treatment in Othello + either O or Loving. A source’s annotation
must summarize the source, analyze the source, and put the source into conversation with
other sources in the bibliography. If completed individually, bibliography must include 6
sources (3 per text). This project may be completed with a partner. If completed with a
partner, bibliography must include 10 sources (5 per text/culture).
3. Select topic related to race/intersectionality and curate annotated pictography of 10 Instagram
images. Images must relate to topic’s treatment in Othello + either O or Loving (5 images per
text). An image’s annotation must summarize the image, analyze the image, and put the
image into conversation with other images in the pictography.
4. Select topic related to race/intersectionality and create an annotated videography of 6 TikTok
videos. Video must relate to topic’s treatment in Othello + either O or Loving (3 videos per
text). This project may be completed as part of a group (up to 3 people). A one paragraph
executive summary must accompany each video. The paragraph must summarize the video,
analyze the video, and put the video into conversation with other videos in the videography.
 !11

Appendix B: Race Vocabulary Quiz and Term-of-the-Day

Race Vocabulary Quiz

1) Brief and commonplace verbal, behavioral, or environmental indignities, whether intentional

or unintentional, that communicate hostile, derogatory, or negative prejudicial slights and
insults toward any group. This is the definition of ______________________________.
(answer: microaggression)
2) The sense of always looking at one’s self through the eyes of others, of measuring one’s soul
by the tape of a world that looks on in amused contempt and pity. This is the definition of
_____________________. (answer: double consciousness)
3) A form of microaggression in which the offender regards race as a non-issue and therefore
cannot act in a racially sensitive manner. This is the definition of
________________________. (answer: colorblindness)
4) To put or keep someone in a powerless position within a society or group is to
___________________. (answer: marginalize)
5) The voluntary or involuntary process by which a minority adopts the values and behaviors of
a majority group. This is the definition of _____________________. (answer: assimilation)

When you have completed this quiz, please turn the quiz over. Once you have turned your quiz
over, you may get out your Chromebook and begin to take notes on today’s race vocabulary.

Daily Race Vocabulary Term

Ally: Someone who makes the commitment and effort to recognize their privilege (based on
gender, class, race, sexual identity, etc.) and work in solidarity with oppressed groups in the
struggle for justice. Allies understand that it is in their own interest to end all forms of
oppression, even those from which they may benefit in concrete ways.
 !12

Appendix C: Peer Review Guidelines

Open Peergrade and click on the document you have been assigned to peer review. Read your
peer’s paragraph once. Then read it again. During your second reading:

1) Answer the question the writer asked about their paragraph.

2) Complete the following statements about the paragraph.
• I am most convinced by…
• I would like to hear more about…
• I am confused by…
• A piece of further evidence you might consider is…
• A piece of counterevidence you might consider is…

Appendix D: Writing Prompts

Analytical paragraph prompts for scene 1.3

Green Circle (start value: 100): Recall that Othello’s name is not mentioned in scenes 1.1 or 1.2.
How is Othello addressed/described in scene 1.3 (and by whom)? Analyze the language used to
address/describe him in scene 1.3. What meanings does this language convey?

Blue Square (start value: 105): Recall “microaggression” as one of our race vocabulary terms.
Argue for/against the Duke’s court as a setting in which microaggressions are enabled (scene
1.3). Cite specific textual evidence to support your answer.

Black Diamond (start value: 110): Recall “double consciousness” as one of our race vocabulary
terms. Find relevant evidence in scene 1.3 to develop a claim about Othello’s double
consciousness. Explain how specific language in this scene supports your claim.
 !13

Appendix D: Writing Prompts (continued)

Journal prompt for scene 2.1

Green Circle (start value: 100): Identify your favorite lines from Iago’s speech (lines 290-316)
and analyze the language of those lines. Why are you drawn to them? How do they contribute
meaning to this particular speech? Why is it impactful that the lines are written this way?

Blue Square (start value: 105): How do the reason(s) Iago gives for revenge (lines 290-316)
confirm or change your understanding of the role of race in this play? Cite specific textual
evidence to support your answer.

Black Diamond (start value: 110): Take one of the race vocabulary terms we have studied and
find relevant evidence in Iago’s speech (lines 290-316) to support the vocabulary term’s
relevance to this play. Explain how specific language in the speech supports this term’s
relevance.

Journal prompt for scene 2.3

Green Circle (start value: 100): Identify your favorite lines from Iago’s speech (lines 266-276)
and analyze the language of those lines. Why are you drawn to them? How do they contribute
meaning to this particular speech? Why is it impactful that the lines are written this way?

Blue Square (start value: 105): How does Iago’s understanding of reputation (lines 266-276)
relate to the role of race in this play? Cite specific textual evidence to support your answer.

Black Diamond (start value: 110): Take one of the race vocabulary terms we have studied and
find relevant evidence in Iago’s speech (lines 266-276) to support the vocabulary term’s
relevance to this play. Explain how specific language in the speech supports this term’s
relevance.
 !14

Appendix E: Exit Ticket

1) What did you find most helpful about giving feedback during peer review?
2) Did the question the writer asked you to answer about their paragraph seem relevant? Off
target? That is, was the help the writer asked for the help the writer needed?
3) Given your small group discussion, what question would you most like to ask the other pods
when we start class tomorrow?

Appendix F: Extension Activity

In scene 2.1 lines 61-62, Cassio says Othello “hath achieved a maid / That paragons description.”
1) Using only etymonline.com, define “paragon.”
2) According to etymonline.com, what part of speech is paragon?
3) What part of speech is “paragons” as it is used in the clause “that paragons description”?
4) Using only etymonline.com, develop a definition of “denominalization.” Show your work
and explain how the word “denominalization” relates to Shakespeare’s use of the word
“paragons.”

Appendix G: Activity for Gifted Student

Paragraph development is an integral part of the AP curriculum. The AP curriculum actually

recommends slowing students down to master paragraphs (vs. assigning big writing assignments
before they have the skill to complete them). For this lesson, I therefore would ask the gifted
student to peer review at least 5 of their classmates’ paragraphs in Peergrade. The benefit here is
two-way: classmates have an opportunity to receive additional feedback from a gifted reader, and
the gifted reader has an opportunity to hone the skill of analyzing paragraphs at an accelerated
rate.
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Reflection

I reflect on adaptation strategies/rationales above in “Adaptations.” Consequently, I

would like to use this space to reflect on my attempt to design a lesson through the principles of

Universal Design for Learning (The IRIS Center, 2009). These principles guide how material is

represented, how learning is expressed, and how students are engaged. At the end of this

reflection, I comment briefly on pacing.

In terms of how material is represented, this lesson provides multiple examples of

analysis, focuses student attention on key points, and activates background knowledge. We

analyze student writing together; students analyze student writing independently; and small

groups analyze Shakespeare’s writing (the paragraphs during peer review also analyze

Shakespeare’s writing). The lesson emphasizes key points in the play by focusing students’

attention through writing prompts for scenes 1.3 and 2.1. The peer review guidelines also focus

student attention. Finally, the lesson activates background knowledge through its peer review.

Students rely on what they already know about scene 1.3 to guide them through their response to

a peer’s paragraph.

In terms of how learning is expressed, the lesson provides multiple ways for students to

practice skills; it also provides multiple formative assessments. We practice analysis together as a

class, independently, and together in flexible groups. The peer review offers peer-to-peer

feedback but also gives me an opportunity to observe how students analyze writing. Direct

questioning during the “we do” segment and the exit ticket also give me an opportunity to adjust

instruction.
 !16

In terms of how students are engaged, the lesson is premised on tiered levels of challenge

through its writing prompts for scene 1.3 (The IRIS Center, 2010). The lesson also incorporates a

heterogeneous variation of flexible grouping to maximize the assets of each student.

One way in which I feel like a novice teacher is with pacing. The last time I was in a high

school classroom was 1996! The Montgomery County (MD) curriculum guide is helpful for

gaining a broad-brush sense of pacing. However, at a more usable week-to-week level, I really

have a hard time picturing how much time to spend on a single Shakespeare play. The teacher I

interviewed for field experiences said four weeks feels like a rush for her 9th graders. Elsewhere

online I see mention of 5 weeks. Complicating the question of how to pace Shakespeare is the

question of how to read Shakespeare. On the one hand, I repeatedly see calls for reading

Shakespeare together in class. However, Othello is a 12th grade text in MCPS, and MCPS

stipulates that students should be driving their own learning as much as possible throughout their

senior year. I tried to balance the difficulty of Shakespeare with the priority of student

independence by focusing student attention through writing prompts. Students would read the

text on their own, but they would respond to it with the assistance of scaffolding.

Ultimately, I feel as though I’m erring on the side of a too ambitious pace with the play.

However, Shakespeare’s play is not itself a big idea or essential question for this unit. The play

provides us an opportunity to entertain the big ideas and essential questions. When considered

this way, the question of whether the pace of the play is too fast is somewhat moot. The unit is

not about doing the play justice. It is about doing the big ideas and essential questions justice.
 !17

References

Finley, T. (2017). Teaching a class with big ability differences. Retrieved from https://

www.edutopia.org/article/teaching-class-big-ability-differences-todd-finley

Ruch, W., Platt, T., and Hofmann, J. (2014). The character strengths of class clowns. Frontiers in

Psychology, 5. Retrieved from https://www.frontiersin.org/articles/10.3389/fpsyg.

2014.01075/full

The IRIS Center. (2009). Universal Design for Learning: Creating a learning environment that

challenges and engages all students. Retrieved from https://iris.peabody.vanderbilt.edu/

udl/

The IRIS Center. (2010). Differentiated instruction: Maximizing the learning of all

students. Retrieved from https://iris.peabody.vanderbilt.edu/module/di/