At Supercamp I got really excited about learning, and learning in better, more efficient ways. Especially working with at-risk children, I need to make up for lost time and present/facilitate the best I can. Quantum Learning, the curriculum/basis of Supercamp is fantastic. I recommend any teacher look into it. Here are some internet resources:
www.qln.com
www.jensenlearning.com
I believe that EricJensen was part of founding Supercamp (but don’t quote that). He has a really great book called “Teaching With Poverty In Mind” which is in my pile of yet to do (once I do, I am sure I will post information about it). Tony Buzan also has some neat books (he’s the guy who created Mind Mapping) like “Head First.”
Picking wiser brains than mine, I asked my mentors from Supercamp to write down their favorite books on the subject. Here are some good ones I am/have checked out:
“Drive” by Dan Pink
“Outliers” and “Tipping Point” and “Blink” by Malcolm Gladwell (I am about half-way through “Outliers,” it is a fun and interesting read)
but my favorite is the Talent Code by Daniel Coyle. Which I will proceed to give you a summary/best quotes and ideas list that takes two pages. Just passing on the good info
. So take it or leave it.
Ten-year, Ten-thousand-hour rule (Ericsson “Cambridge handbook of expertise and expert performance”) says that every expert in every field is the result of around 10,000 hours of committed practice. Herbert Simon and Bill Chase added the ten year rule that says world-class expertise in every domain requires roughly a decade of committed practice. So: Deep practice X 10,000 hours (over 10 years)= world-class skill.
Deep practice isn’t just practicing, but when all of your concentration is in it (An example is “The girl who did a month’s worth of practice in six minutes” a study by Gary McPherson and James Renwick). It requires:
1. Chunk it up (like one line of piano music until it is perfect): absorb the chunk as a whole entity and slow it down until you really feel/master/grasp that chunk.
2. Repeat it: use it or lose it
3. Learn to feel it: get into alpha (learning) state and once you master that chunk, focus and remember what it felt like to do it right: don’t settle for anything less—make that your standard/target.
Besides all this time and practice, world class skills begins with ignition. Getting the idea planted in you that you can do this. Most often, genius runs in packs because one person succeeds and others look and say I want that—if they can do it, so can I. This is the ignition of the possibility of actuality. The idea that they can do it jumps the success rate.
“It is not as simple as saying I want X. It is saying something far more complicated: I want X later, so I better do Y like crazy right now.” It is like the story of Tom Sawyer painting the fence: how did he flip the ignition switch to make the other kids want to do his work? He gave the signal that those people over there are doing something terrifically worthwhile. In short, it is about future belonging: the desire to connect ourselves to high-achieving groups. Ignition switch says “See someone you want to become? Better get busy. Want to catch up with a desirable group? Better get busy. (Cohen and Walton)
Studies were done about the large amount of world-changers who lost parents at a young age. Losing a parent is a primal cue: you are not safe and that they need to create that safety. Of the top ten fastest people in the world, none of them are first or second born—but third or later. The primal cue is you’re behind—keep up! With the rest of the family. Whatever primal cue flips the ignition switch, in all world-class skills, it was flipped. In Tom Sawyer’s case, he helped the switch by sending primal cues of the EXCLUSIVITY of painting the fence as well as the SCARCITY. His gestures and body language echo the same messages.
So why the sudden burst of the Renaissance? The way they worked under apprentice, all in a close-nit group, set off the cue of better get busy and I did it, so you can too. Same thing on the island of Curacao, where little league baseball is the big thing. One guy from there made the big leagues showed them they could do it—it flipped the switch. For the Z-boys (a successful group of skateboarders, shown in the movie Lords of Dogtown) Their coach, Engblom, says “When it came to skateboards, we got all systematic about it, practiced a couple hours a day, four hours a week. There’s no instant gratification, man. Everything boils back down to training; doing it over and over. I never said much. I would just be mellow and say ‘good job dude’ and sometimes do something to up the ante, toss in a little carrot, you know, like “I heard so-and-so did that trick last week.” And then they’d all be trying like crazy to do that one, because they wanted to be part of the equation. Here’s the deal. You’ve got to give kids credit at a younger age for feeling stuff more acutely. When you say something to a kid, you’ve got to know what you’re saying to them. The stuff you say to a kid starting you—you got to be super careful. What skill-building really is, is confidence-building. First they got to earn it, then they got it. And once it gets lit, it stays lit pretty good.”
They told the story about two schools running a violin program. In one, they had money for each kid who wanted to learn to have a violin. In the other school, it was a lottery, because the violins were scarce. When it was scarce, and only those who won could play, the program was successful, whereas in the other it just puttered out. KIPP (Knowledge is Power program –Feinberg and Levin) drives in these cues:
- You belong to a group
- Your group is in a strange and dangerous new world
- That new world is shaped like a mountain, with the paradise of college at the top
“We say college as often as people in other schools say um.” It is made valuable. Classrooms are named after the college the teacher went to. The name of the grade is the year they will enter college, they go and visit colleges for class trips. KIPP shows that character might be more like a skill—ignited by certain signals, and hones through deep practice. “What we do is like lighting a switch,” says a KIPP teacher. “It’s extremely deliberate. It’s not random; you have to stand behind what you do, to make sure every single detail is pushing the same way. Then it clicks. The kids get it, and when it starts, the rest of them get it too. It’s contagious.”
Characteristics of great coaches: “mostly older; many teaching for thirty or forty years. They possessed the same sort of gaze: steady, deep, unblinking. The listened far more than they talked. They spent most of their time offering small, targeted, highly specific adjustments. They had an extraordinary sensitivity to the person they were teaching, customizing each message to each student’s personality. Coaching is a long, intimate conversation, a series of signals and responses that move toward a shared goal. A coach’s true skill consists not in some universally applicable wisdom that he can communicate to all, but rather in the supple ability to locate the sweet spot on the edge of each individual student’s ability, and to send the right signals to help the student reach toward the right goal, over and over.” They have:
- The matrix: deep connections to the information so that they can access it from many different ways, depending on the needs of the students.
- Perceptiveness: able to see the problem, correct it, and help the student FEEL the right way to go about it.
- GPS: give out blips of info to guide to the next turn like a GPS
- Theatrical honesty: finding the connection with the student, having fun with it, getting into it theatrically—give them a good show
Summing it up: Ignition (with master coaching) to deep practice (10,000 hours over 10 years) to talent.
“When something goes wrong, ask WHY five times.”
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