Organizing school staff into meaningful teams and ensuring members have access to one another by addressing the issues of propinquity and time are essential structural issues that principals must address in a PLC. Changing structures, however, is never enough. In order to build and sustain the culture of collaboration focused on learning and results, principals must provide leadership and support to ensure their faculties use the team time wisely.
This chapter will focus on two important steps principals can facilitate to help transform a group of teachers into a high-performing team.
1. Engage teams in identifying collective commitments to guide collaboration.
2. Engage teams in working collaboratively to achieve SMART goals.
See “Critical Issues for Team Consideration” for the list of eighteen critical issues teams must address as they engage in the PLC process.
See “Why Should We Collaborate?” for a sampling of the research on collaboration.
Visit go.solution-tree.com/plcbooks to download these reproducibles.
Blossom Hill, Gallo, Chilean and so on and on; each bloodrich with the taste of what happened and what might have happened. Next one for the kiss, first kiss and last and those between – they’re all nested together like layers of crystal, the intense and the perfunctory, the brush of the lips and the biting, the sucked, the tongued-in, the ones that shake in the seizure of orgasm, the goodnight, the goodbye, the burrowing into your neck,
I could go on but they’re all one, petals of a single rose that keeps flowering. And this third rose is the heart, dilating and contracting as you open the door or the letter, pick up the phone, listen or are disappointed. (For ‘you’ also read ‘I’.)
Frivolous fourth is for the lipstick: Cool Cinnamon,
Ruby Kiss, Fireball and the rest, an evening’s stage lighting applied with a painter’s art then wrecked with abandon or squandered on hands, tissues, glasses, cheeks, the unnoticed margins of where you went and what you did; and twinned fifth and sixth, these for your nipples, firming to buds one by one between my lips, raspberry or coral, round them the delicate frosted peach of your breasts, the skin awakened to a frisson by my touch, a shudder of cool air or, in sleep, by the spiderweb fringe of nightmare trailed across your dreamflesh until I comfort you, fitting body to body and murmuring, murmuring.
Philippa Pearce’s Tom’s Midnight Garden is one of the finest stories for children to be published in Britain since the war. It was a Carnegie Medal-winner in 1958, it has been many times reprinted, and it is now widely regarded as a modern classic. It exemplifies in a particularly clear way each of the three themes we have outlined in the introductory chapter above. We try to account for the moving quality and beauty of this work in terms of the emotional and imaginative states of mind that it makes real, and we interpret these mental states through the modes of thinking of (broadly) Kleinian psychoanalysis. The story also describes the way in which a child of modern times comes to enter imaginatively into the lives of a period two generations ago. The story explores in quite complex ways the balance of gain and loss involved in this process of change. Thirdly, the story achieves its effect in part through its intense power of metaphor. The story involves its readers in understanding that loving communication between children and adults often takes place through the medium of language and story-telling itself. In these ways this story is a perfect exemplar of the view of children’s fiction we want to develop through this whole book.
Order and Repetition. No matter how many alternate paths my work takes, I always seem to return to order and repetition. These twin elements are with me as an underlying touchstone of inspiration.
In my current series, I take this concept of order and repetition and introduce a semblance of disarray without ever really abandoning the grid-like structure. The use of colors may seem arbitrary, yet they are chosen and arranged to give structure and movement to the randomness I have imposed on the grid. The use of encaustic enhances the effects that I can create with texture and color. I am drawn to its warmth, to its tactile quality. I love the physical demands of working with wax and I am challenged by its constraints.
“Order and Repetition. No matter how many alternate paths my work takes, I always seem to return to order and repetition.”