PRTESOLGram - May2015

PRTESOL - TRANSFORMING THE LEARNING EXPERIENCE [1]
PRTESOL - TRANSFORMING THE LEARNING EXPERIENCE
Oh
No!
Graphic
Novels
in

the
Classroom?

Oh
Yes!
Rosemary
Morales
Urbina,

Ed.
D. P. 5-13
Call
for
Proposals
for
the
42

PRTESOL
Conven@on

P.14-‐15
Western
Region
Spelling

Bee
Winners
p.16
PRTESOL
Summer
Ins@tute

P.17
Diﬀeren@a@ng
Instruc@on

English
Language
Learners
By:
Carlos
Lopez,
Ed.D.
P.19
Top
5
mistakes
Spanish

speakers
make
in
English

NIKKI
p.22
Northern
Regional

Conference
P.23
PRTESL-GRAM
Puerto
Rico
Delega@on
to
the

Interna@onal
TESOL
Conven@on

in
Toronto,
Canada.

V o l . 4 2 M AY 2 0 1 5
V o l . 4 2 M AY 2 0 1 5

Is
it
just
me,
or

have
you
also

noAced
how
fast
this

year
is
flying
by?

Summer
vacaAons
are

almost
here.
Many
will
be

traveling,
some
will
be
teaching
a

summer
session,
others
will
advance

their
studies
towards
master’s
degrees
and
doctorates.

Then
again
some
will
actually
take
a
vaaAon:
rest,
relax,

reading
for
pleasure,
visiAng
friends,
and,
of
course,

“chinchorreando.”

Whatever
you’re
doing,
include
the
PRTESOL
Summer

InsAtute
-‐-‐
a
one
day
concentrated
professional

development
seminar
on
Ame
to
Create:
Using

Differen@ated
Instruc@on
in
the
Classroom
on
June
6.

This
will
be
held
at
the
PonAficial
Catholic
University
in

Ponce.
This
is
a
free
event
for
PRTESOL
members
only.

The
Summer
InsAtute
will
focus
on
DifferenAated

InstrucAon
at
each
level:
elementary,
high
school
and

higher
educaAon.
The
arAcle
on
the
five
most
frequent
mistakes
Spanish

speakers
make
is
a
great
one.
I’m
sure
examples
will

come
to
mind
of
your
students
as
you
read
each
one.

Let
me
add
just
one
more
common
mistake
I’ve
been

working
with
recently:
false
cognates.
These
are
real

words
we
have
in
both
languages
that
are
very
similar

in
spelling,
form,
and
etymology,
but
they
do
not
mean

the
same
thing.

I
had
a
great
example
just
last
month.
A
student

submiYed
as
part
of
an
assignment
a
picture
of
Mickey

Mouse
riding
a
skateboard
and
wrote
a
descripAon.

Among
the
items
described
that
Mickey
was
wearing,

the
student
included
Mickey’s
red
“casket.”
Can
you

guess
what
that
was?
The
student
was
referring
to
the

helmet,
in
Spanish
casco.

There
are
so
many
words
that
Spanish
speakers
use

incorrectly
simply
because
it
looks
or
sounds
like
the

Spanish
word.
If
you
have
examples
of
these
false

cognates,
submit
them
to
tesolgrameditor@gmail.com.

EDITOR’S
CORNER
2015

BOARD
OF
DIRECTORS

DIRECTORY
Executive Board
Vivian Rivera Maysonet
President
Rosa Roman
Vice President
Edward Torres
Past President
Execu&ve
Board

Appointed
Non-‐Vo&ng
Members
Naomi
Vega
Nieves,

Execu&ve
Secretary
Janytsie
Mora,

Membership
Secretary
Miriam
Deida

Treasurer
Regional Presidents
Eastern-
Ivan
Mundo
Northern-
Daphna Doron
Southern-
Jann
M.
Guzmán
Western-
Carol N. Moe
Public School
Representatives
Elementary:
Héctor Pérez
Public Secondary:
Josué Alejandro
Public Higher Education
Jennifer Alicea
Student:
Annerys
De
Jesus
Private School
Representatives
Elementary:
Maureen Orama
Secondary:
Vacant
Higher Education:
Irma Rodriquez
PRTESOL-‐Gram
is
a
periodical

service
to
English
language

educators
and
administrators

published
by

Puerto
Rico
TESOL,

P.
O.
Box
366828

San
Juan,
PR
00936-‐6828

NewsleOer
Staff

Editor:
Carmelo
Arbona

Circula&on:
1,000

Ar&cles
on
English-‐
language
teaching,
theory,
and

educa&on
are
welcomed.

Submissions
must
be
in

MSWord
format,
double-‐
spaced,
no
longer
than
five

pages,
and
should
follow
APA

or
TESOL
Quarterly
style.
All

entries
are
subject
to
edi&ng

for
style,
space,
and
other

professional
considera&ons.
Copyright
No&ce
Ar&cles
may

be
reproduced
for
classroom

use.
Quota&ons
up
to
twenty-‐
five
(25)
words
are
permiVed
if

credit
to
the
author
and
the

TESOLGRAM
are
included.
In

other
situa&ons,
wriVen

permission
is
required.
www.facebook.com/prtesol

twiOer@puertoricotesol

2015
PRTESOL
PRESIDENT
Vivian
Maysonet
Rivera
Dear PRTESOL members,
PRTESOL, as well as
many non-profit organizations, is
struggling to survive economic
challenges that we face today.
We thank every member, Past
President, and Life Time
member for being part of the
TESOL family and constantly
attending our professional
development activities and
promoting membership among
c o l l e a g u e s a n d f r i e n d s .
Regardless of difficult times that
affect teachers in Puerto Rico
and their jobs, PRTESOL will
continue working and adjusting
to our members’ needs.
This is why our 2015
A n n u a l C o n v e n t i o n ,
“Transforming the Learning
Experience for Life-Long
L e a r n e r s t h r o u g h
CREATIVITY,” will be at
Universidad Sagrado Corazón in
San Juan, November 20-21,
2015. The registration fee is
more accessible for members
and exhibitors that join us. The
2015 PRTESOL Convention was
well promoted in Toronto,
Canada during the International
Convention. I thank Coronel
Efrain Soto and Victor Quiñones
for their help during the
promotion. It was fun and the
n e t w o r k i n g p r o c e s s w a s
impressive!
The TESOL International
Convention in Toronto, Canada
was wonderful! The workshops
were very informative and
pertinent to the challenges that
we teachers face every day
while instructing and educating
our students. The Puerto Rican
group stood out because of its
active participation during the
Convention. Many international
members expressed great
interest in visiting our island
November 20 - 21 as presenters
for the PRTESOL Annual Event.
T h e C a l l f o r P r o p o s a l s ,
Preregistration Form, and
Documents for Awards and
Scholarships have been sent to
the general membership. Feel
free to share the information with
your colleagues.
The PRTESOL Western
and Northern Chapters had their
Annual Conferences and
members were very pleased with
the workshops and plenary
speakers present. I invite you to
stay connected with your
Chapter. Besides the Chapter
Conferences, each Chapter will
offer one FREE activity for
members only. Do not miss the
empowering experiences offered
by each Regional Chapter.
Contact hours are given after
each event.
The Summer Institute,
“ T i m e t o C r e a t e ! U s i n g
Differentiated Instruction in the
English Classroom”, will be June
6, 2015 at Universidad Pontífica
in Ponce, for members only. We
expect to see you there!
I n o u r p r e v i o u s
publication we invited every
member to send pictures and a
brief description of what is going
on in your classroom. Publish
your work as a teacher. Share
your ideas with the TESOL
community! Remember that you
must be a member to publish.
Once again, I thank you for the
support and ask you to help
PRTESOL continue serving you
by promoting membership and
attending the events.
Sincerely,
Vivian Rivera Maysonet
PRTESOL President
prtesolpresident2015@gmail.com.

PUERTO RICO TESOL

Puerto
Rico
Teachers
of
English
to
Speakers
of

Other
Languages
(PRTESOL)
is
a
nonprofit

organiza&on
founded
in
1969
with
the
purpose

of
developing
and
improving
the
teaching
of

English
in
Puerto
Rico.
PRTESOL
was
one
of
the

first
affiliates
of
TESOL
Interna&onal.
Since
then,

we
have
organized
six
chapters
that
represent

the
geographical
regions
of
the
Island.

Regional
chapters
organize
several

conferences
and
ac&vi&es
throughout
the
year
leading
up

to
our
annual
conven&on
that
takes
place
during

November.
All
of
these
professional

development
ac&vi&es
allow
teachers
to
be
up-‐
to-‐date
with
the
current
trends
in
the
teaching

of
English,
to
share
knowledge
and
experiences,

and
to
network
with
other
professionals
in
the

field.

Our
goal
is
to
support
English
professionals

and
focus
on
improving
the
teaching
of
English

in
Puerto
Rico.
PRTESOL Summer Institute
Differentiated
Instruction
Elementary, high
school and higher
education.
June 6 from 8 to 4.
Pontifical Catholic
University, Ponce
Campus
Contact credits
available
PRTESOL members
only. Join today.
See membership form
in this issue.
PRTESOL REGIONS SOUTHERN NORTHERN WESTERN EASTERN
! !

42nd
Annual
Conven&on
Nov.
20-‐21,
2015
San
Juan,
Puerto
Rico

at
Universidad
del
Sagrado
Corazón
Transforming
the
Learning

Experience
for
Life-‐Long

Learners
through

CREATIVITY

Oh
No!
Graphic
Novels
in
the
Classroom?

Oh
Yes!
Rosemary
Morales
Urbina,
Ed.
D.
If
you
do
not
know
the
difference
between

Maus
and
Mickey
Mouse,
you
are
not
the
only
one.

A
year
ago
I
was
in
the
same
situaAon
unAl
I
was

fortunate
to
be
invited
by
a
colleague
to
the

seminar
on
Graphic
Storytelling
sponsored
by
the

English
Department
of
the
College
of
HumaniAes
of

the
University
of
Puerto
Rico
at
Rio
Piedras.
Dr.

MaYhew
Smith,
from
Case
Western
University,
was

the
guest
speaker.
It
was
at
this
seminar
where
I

was
reminded
of
the
impact
comics
and
graphic

novels
can
have
on
readers
of
all
ages.

Even
though
I
grew
up
reading
comic
books

in
Junior
High
School,
such
as
Archie,
Jus1ce
League

of
America,
Wonder
Woman,
Teenage
Romance,

Ac1on
Comics,
among
others,
I
had
forgoYen
all

about
them.
Now
I
remember
sibng
by
the
big

window
on
the
top
floor
of
my
grandmother’s

apartment
in
The
Bronx
on
Sunday
acernoons

reading
a
stack
of
comic
books
bought
at
the
corner

candy
store
for
10¢
apiece.

However,
visual
parodies,
saAres,
poliAcal

cartoons,
and
candid
cartoons
have
been
around

for
centuries.
Yet
it
was
the
ascent
of
the

newspaper
industry
in
the
late
19th
century
that

brought
comics
into
everyday
American

households.
From
the
funny
pages
in
newspapers

emerged
magazines
devoted
singularly
to
comics

and
superhero
stories
unAl
the
first
graphic
novel

was
published
(In
“History
and
Basics,”
para.
3).

The
term
“graphic
novel”
was
first
coined
as

a
markeAng
tacAc
by
comics’
legend,
Will
Eisner,

who
published
A
Contract
with
God
in
1978,
the

first
modern
graphic
novel.
Actually,
prior
to
this

publicaAon,
the
first
“picture
novel,”
It
Rhymes
with

Lust,
by
Drake
Waller
came
out
in
1950
and
Harvey

Kurtzman,
the
creator
of
Mad
Magazine,
(Baby

boomers,
who
grew
up
reading
comic
books,
may

remember
Mad
Magazine
in
the
‘50s
and
‘60s),

published
his
collecAon
of
four
graphic
short

stories,
Atled
Jungle
Book
nine
years
later
in
1959

(Thompson,
2015).

But what is a graphic novel? Simply defined, it is a
book-length comic telling a single, continuous
narrative from first page to last. It could also be a
collection of short stories or individual comic strips
with sequential visual art, most of the time with text
that are often told in a series of rectangular panels.
Nevertheless, the term comics, does not necessarily
mean that all comics and graphic novels are funny.
They are concerned with drama, adventure,
character development, striking visuals, politics, or
romance (In “History and Basics,” para. 1).
ScoY
McCloud
(1993),
the
American

cartoonist
and
comic
theorist,
affirms
that
the

definiAon
of
the
graphic
novel
is
“juxtaposed

pictorial
and
other
images
in
deliberate
sequence

intended
to
convey
informaAon
and/or
produce
an

aestheAc
response
in
the
reader”
(In
“Graphic

Novels
in
Middle
&
High
School
Classrooms”
para.

1).
It
is
also
an
original
book
length
story,
either

ficAon
or
nonficAon
in
comic
book
style
or
a

collecAon
of
stories
that
have
been
published

previously
as
individual
books,
while
Colón
(2009)

states
that
“…SequenAal
Art
in
the
form
of
comics
is

a
valid
means
of
storytelling”
(p.
4).

Baird
and
Johnson
(2007),
as
cited
in
Griffith

(2014,
p.
182),
argue
that
“a
successful
graphic

novel
starts
with
a
stellar
story
told
with
words
and

pictures
that
augment
the
story,
providing
insight

that
text
alone
cannot
do,
”
whereas

Gallo
and

Weiner
(2004),
determine
the
following
in
Griffith

(2014,
p.
182):
A
well-‐done
graphic
novel
offers
the

immediacy
of
the
prose
reading
experience
,

with
the
pictures
and
the
words
working

simultaneously,
making
a
graphic
novel
not

only
something
one
reads
but
something

one
sees
as
well,
like
reading
and
watching

a
movie
at
the
same
Ame.
Since
most
of
our
students
are
savvier
than

we
are
in
terms
of
graphic
novels,
allow
me
to
brief

you
about
the
importance
of
Japanese
comics
in

their
lives.
Japan
has
an
extensive
and
rich
history

of
graphic
arts,
such
as
painAng,
printmaking,

calligraphy,
and
more
recently,
serial
art,
including

comic
books
and
animated
films.
The
last
two
are

due
to
well-‐established
comics
publishing

companies
and
drawing
studios
where
Japanese

readers
of
all
ages
can
choose
from
a
wide
variety

of
high-‐quality
comics,
which
contribute
to
the

expansive
collecAon
of
readers
in
Japan
(In

“Importance
of
Japanese
Comics,”
para.
1).

Comics
or
manga,
the
Japanese
word
for

comics,
have
developed
in
Japan
as
much
as
in
the

United
States,
just
more
rapidly.
While

underground
comix
found
a
more
extensive

audience
acer
the
introducAon
of
graphic
novels
in

the
1980s,
in
Japan

sophisAcated,
mature

comics
for
adult
readers

have
thrived
since
the

1950s.
(By
the
way,
comix

is
an
alternate
spelling
of

comics
that
deliberately

differenAated
arAsts
from

the
United
States
from

the
prevailing
Comics

Code
–obeying
comic

books).
In
the
English-‐
speaking
world,
manga

can
refer
to
Japanese

comics
or
to
any
comics

that
follow
the
visual

standards
of
Japanese

comics,
no
maYer
where

they
are
from.
Manga

and
anime
ocen
share
an
impressive
style
that
is

almost
apparent
in
the
arAsAc
handling
of
the

human
figure,
such
as
“exaggerated
facial

expressions
and
proporAons
to
convey
emoAon,

focus
on
the
eyes,
and
use
of
‘speed
lines’
to
evoke

swic
movement”
as
stated
by
Lyga
and
Lyga
(2004,

p.
163).
Another
disAncAon
of
Japanese
comics
is

that
they
read
right
to
lec,
( )
not
lec
to

right
as
we
do,
and
start
at
the
back
of
the
book
to

the
front
cover
just
like
normal
Japanese
books
(In

the
“Importance
of
Japanese
Comics,
para.
4).
As
a

maYer
of
fact,
if
you
open
the
first
page
on
a

manga
book,
a
big
stop
sign
reminds
you
to
turn
to

the
last
page
of
the
book
to
begin
reading.

We
can
all
agree
that
reading
is

unquesAonalbly
criAcal
to
young
adult
readers’

success
in
school
and
life
in
general,
but
not
all

educators,
librarians,
and
school
officals
are
aware

that
graphic
novels
offer
appealing
and
engaging

visuals
that
enAce
reluctant
readers,
visual

learners,
and
readers
who
may
back
off
from

tradiAonal,
dense,
and
extensive
books.
Graphic

novel
reading
can
help
overcome
the
staAsAcs
that

reveal
low
reading
competencies
in
students
(In

“Graphic
Novel
Resources
for
Educators,”
para.3).
• NaAonally,
25%
of
eigth
graders
scored

below
the
NaAonal
Assessment
of

EducaAonal
Progress
standard
in
reading

proficiency.
•Only
52%
of
high
school

graduates
tested
on
the

2011
ACT
met
the
reading

readiness
benchmark.

•The
average
15-‐24
year

old
American
spends

almost
2
hours
each
day

watching
TV,
but
only
7

minutes
of
their
leisure

Ame
reading.

•Country-‐wide,
20%
of

adults
operate
at
minimal

literacy.

Graphic
novels
have

the
advantage
of
teaching

young
adults
the
same

objecAves
as
regular

books
do,
i.e.,
new

vocabulary,
“book
language,”
and
stories
and

informaAon
about
their
world
and
at
the
same

Ame
spark
their
imaginaAon.
According
to
Weiner

(2004),
as
cited
in
(In
“Schooland
Libraries”
para.

1),
“researchers
concluded
that
the
average

graphic
novel
introduced
readers
to
twice
as
many

words
as
the
average
children’s
book”
(p.
61).

One
of
the
Best

Manga
of
All
Time
Great
Romance

Manga
Read
Best
Manga

Anime
Author
Full-‐Metal

Alchemist
Vol.1
Maid-‐sama
Vol.

01
Black
Butler

Vol.
01

(hYp://www.goodreads.com/genres/manga)


The
list
of
advantages
of
reading
graphic

novels
is
lengthy.
As
it
appears
in
(In
“Graphic

Novels
in
Middle
and
High
School
Classrooms,”

para.
4),
graphic
novels:
1. Are
great
for
engaging
reluctant
readers

and
ESL
students
2. Are
great
for
increasing
reading

comprehension
and
vocabulary
3. Can
serve
as
a
bridge
between
low
and
high

levels
of
reading
4. Provide
an
approach
to
reading
that

embraces
the
mulAmedia
nature
of
today’s

culture,
as
2/3
of
a
story
is
conveyed

visually
5. Provide
scaffolding
for
struggling
readers
6. Can
serve
as
an
intermediary
step
to
more

difficult
disciplines
and
concepts
7. Present
complex
material
in
readable
text
8. Help
students
understand
global
affairs
9. Help
to
develop
analyAcal
and
criAcal

thinking
skills
10. Offer
another
avenue
through
which

students
can
experience
art
11. Can
be
as
simple
or
complex
as
any
other

literature
12. Are
astoundingly
popular
with
kids
and

young
adults
In
other
subjects,
graphic
novels
make
it
easier

for
readers
to
comprehend
and
become
more

involved
in
subject
concepts.
For
example,
as
found

in
(In
“Graphic
Novels
in
Middle
and
High
School

Classrooms,”
para.
5)
the
various
subjects
that

graphic
novels
are
an
important
part
of
educaAonal

reading
are:

• English:
Help
students
idenAfy
literary
terms

and
literary
techniques,
develop
dialogue

wriAng
skills,
and
serve
as
a
bridge
to
classic

literature.
• History:
Help
students
provide
historical
events

in
more
accessible
format
and
a
visual
historic

record.
• Global
Studies/Current
Events:
Help
students
to

understand
global
issues
and
events
easier,
and

help
students
idenAfy
a
face
on
individuals

from
other
cultures.
Conforming
to
Alverson
(2014),
graphic
novels

are
teaching
tools
that
educators
should
be
aware

of
as
research
in
graphic
novels
reveal.
Not
only
are

they
useful
to
teaching
new
vocabulary,
visual

literacy,
and
reading
skills,
they
also
“offer
some

solid
advantages
in
reading
educaAon,”
posits
Jesse

Karp,
an
early
childhood
and
interdivisional

librarian
as
cited
in
(Alverson,
2014).
Karp
also

states
that
they
“reinforce
lec
to
right
sequence.

The
images
scaffold
word/sentence
comprehension

and
a
deeper
interpretaAon
of
the
story.
The

relaAve
speed
and
immediate
enjoyment
build

great
confidence
in
new
readers”
(para.
2).
“For
weak
language
learners
and
readers,

graphic
novels’
concise
text
paired
with
detailed

images
helps
[them]
decode
and
comprehend
the

text,”
asserts
Meryl
Jaffe,
an
instructor
at
the
John

Hopkins
University
Center
for
Talented
Youth,

Online
Division
and
the
author
of
several
books
on

using
comics
in
the
classroom,
as
cited
in
(Alverson,

2014).
Jaffe
also
adds,
“Reading
is
less
daunAng,

with
less
text
to
decode.
While
vocabulary
is
ocen

advanced,
the
concise
verbiage
highlights
effecAve

language
usage.
In
addiAon
she
states,
“For
skilled

readers,
graphic
novels
offer
a
different
type
of

reading
experience
with
modeling
concise
language

usage.”
Jaffe
conAnues
to
say
that,
“Research

shows
that
our
brains
process
and
store

informaAon
faster
and
more
efficiently
than
verbal

informaAon.
Pairing
[graphic
novels]
with

tradiAonal
prose
texts
is
an
excellent
means
of

promoAng
verbal
skills
and
memory”
(para.
5).
Graphic
Novel TradiAonal
Text
Ronell
Whitaker,
an
English
teacher
in

Dwight
D.
Eisenhower
High
School
in
Illinois,

discovered
that
by
teaching
with
a
graphic
novel,

he
was
able
to
teach
his
students
the
concept
of

inference.
He
asserts
that
readers
infer
what

happens
between
panels.
“I
had
my
kids
write
out

the
completed
acAon
of
a
page
or
two
using

descripAve
prose.
They
demonstrated
two
things:

One,
their
ideas
about
what
acAons
connected
the

images
we
can
see
in
each
panel.
Two,
how

effecAve
comics
can
be
at
communicaAng

informaAon”
as
cited
in
(Alverson,
2014,
para.

8).
Conforming
to
Griffith
(2010),
graphic

novels
are
also
beneficial
for
book
talks
and

sparking
reading,
which
I
feel
could
moAvate

teachers
to
establish
graphic
novel
books
clubs
in

their
schools
and
have
their
students
produce
their

own
graphic
short
stories.
Teachers
could
also

perhaps
design
a
course
on
graphic
novels
alone.

Griffith
(2010)
also
wants
educators
to
note

the
results
of
other
research
conducted
with
this

new
graphic
format.
According
to
Griffith,
the

following
researchers
revealed
their
findings:

Schneider
(2005)
found
that
high
school
special

educaAon
students
“self-‐reported”
that
graphic

novels
moAvated
them
to
read
and
helped
them
in

reading
comprehension
and
MacDonell
(2004)

established
that
pleasure
reading
is
criAcal
for

English
Learners
and
many
chose
graphic
novels
for

pleasure
reading.
Poerschke
(2005)
asserted
that

students
requested
more
manga
comics
for
their

library.
Monnin
(2008)
affirmed
that
a
teacher
and

a
student
read
the
images
differently
and
that

graphic
novels
provided
new
opportuniAes
for

developing
in-‐school
literacies,
while
Hammond

(2009)
concluded
that
high
school
seniors

responded
to
graphic
novels
in
many
of
the

tradiAonal
ways,
but
adjusted
their
normal
reading

process
to
include
image
analysis.

With
the
large
number
of
results
from

studies
with
graphic
novels,
new
literacy
terms

have
emerged
(Griffith,
2010,
p.
185).

• Image
literacy:
a
complex
understanding
of

image
within
a
context
(Messaris,
1994;

Buckingham,
2003).
• Media
literacy:
graphic
novel
reading
related
to

Internet
and
new
technology
literacies

(Alvermann
&
Hagood,
2000).
• Semio1c
modes:
connecAng
graphic
novels
to

the
study
of
signs
and
symbols
(Norton,
2003).
• New
literacies
studies:
the
opportunity
to

examine
and
understand
the
kinds
of
literacies

created
by
new
technologies
and
graphics

(Schwartz
&
Rubenstein-‐Avila
(2006).
• Mul1ple
modali1es:
the
process
of

comprehending
a
fused
text/illustraAon
format

(McPherson,
2006).
• Kress
(2008)
fused
mul1ple
modali1es
into

mul1modality
and
mul1modal
reading:
a

comprehension
process
that
becomes
a
type
of

reading
and
thinking.

If
graphic
novels
have
been
around
for

decades
and
have
so
many
posiAve
features
for

student
learning
and
developing
literary
and

literacy
skills,
why
haven’t
they
been
vital
part
of

the
curriculum
in
the
ESL
classroom?
There
are

several
factors
for
this
circumstance,
according
to

Jecé
Lacourt
(2012,
p.
19):

1. Insufficient
support
from
educaAon
book

publishers.
Pseudo
comics
are
seen,
but
not
the

comics
in
their
full
splendor.

2. Personal
prejudice
from
non-‐readers
of
comics.

Parents
and
teachers
may
feel
that
educaAon

shouldn’t
be
enjoyed
by
students.

3. Difficulty
in
incorporaAng
comics
to
the
main

curriculum.
Educators
may
not
know
the

benefits
of
graphic
novels
and
how
to
evaluate

them.
4. Educators
and
parents
may
object
to
foul

language,
drug
use
in
characters,
graphic

details
of
war
and
pain,
and
images
of
violence

(Alverson,
2014.)
HartneY
(2014)
and
Ehrlich
(2013)

recommend
these
strategies
adopted
from
expert

readers
of
graphic
novels
before
selecAng
one
for

the
classroom
to
avoid
rejecAon
from
school

officials
and
parents.
First,
skim
the
enAre
book
to

absorb
the
artwork,
paying
aYenAon
to
the
genre

and
style.
Second,
noAce
the
background,
sebng,

and
Ame
period.

Then
study
the
characters
and

determine
the
mood
from
the
color
paleYe,
if
any.

Only
then
should
you
seYle
in
to
read
it.

Being
accustomed
to
reading
tradiAonal

books,
educators
may
find
graphic
novels
less

substanAal,
since
they
have
fewer
words
and
lots

of
images
(Ehrlich,
2014).

It
is
not
surprising
that

graphic
novels
are
not
ocen
included
in
the

curriculum.

To
win
the
school
administraAon
and

parents
over
to
your
side,
there
are
a
few
steps

that
should
be
followed.
Esther
Keller,
librarian
at

an
intermediate
school
in
Brooklyn
and
a

contributor
to
SLJ’s
Good
Comics
for
Kids
Blog,
as

cited
by
Alverson,
2014,
states
that
the
first
thing

she
does
to
prevent
opposiAon
is
to
ensure
she

orders
books
that
are
appropriate
for
the
age

range
of
the
students
she
serves.
Another
key

consideraAon
is
to
communicate
openly
with
the

principal,
administrators,
and
parents
of
the

school.
Griffith
(2010)
recommends
consulAng

professional
review
sources,
such
as
the
School

Library
Journal
or
The
Horn
Book.
Teachers
should

also
review
the
themes
in
graphic
novels,
since

young
adult
readers
usually
prefer
reading
about

characters
two
years
older
than
they
are
(Nilsen
&

Donelson,
2009),
as
cited
in
Griffith
(2010).
Other

educators
should
review
the
readability
of
graphic

novels
and
use
tools
such
as
Accelerated
Readers

ATOS
or
Lexile
measures.
Readability
methods
are

based
on
an
analysis
of
words
within
sentences
or

paragraphs.
Because
the
readability
level
for
some

students
may
have
hindered
understanding
of

novels
in
prose,
children
and
adolescents
prefer

graphic
novels
that
appeal
to
them
in
content.
The

Puffin
Graphics
from
Penguin
Group
USA
recreate

classics
such
as
The
Wizard
of
Oz,
Macbeth,
and

Dracula
that
are
loyal
to
the
original
works
and

contain
wonderful
illustraAons
that
help
reading

comprehension.
Other
criteria
teachers
should
evaluate
in

ficAon
graphic
novels
include
the
following:

(Griffith
2010,
p.
184):
• Does
the
graphic
novel
have
three-‐dimensional

characters
similar
to
your
readers?
• Does
the
graphic
novel
have
themes
relevant

and
important
to
your
readers?
• Is
the
conflict
relevant
and
appropriate
to
your

readers?
• Are
there
age-‐appropriate
moral,
ethical,

poliAcal
themes
that
resonate
through
the

story?
• Does
the
acAon
keep
your
readers’
interest
and

moAvate
them
to
conAnue
reading?
• Is
the
climax
realisAc
and
true
to
the
rising

acAon?
• Is
the
denouement
saAsfying
as
a
culminaAon

of
narraAve
events?
• Does
the
resoluAon
bring
the
conflict
to
a

saAsfying
end?

EvaluaAon
criteria
differ
for
nonficAon

graphic
novels,
some
of
which
are
as
follows

(Griffith,
2010
para.
184):
• Does
the
content
have
a
clear
organizaAon

that
aids
reading
comprehension?
• Is
the
informaAon
interesAng
enough
to

keep
readers
acAvely
engaged
with
the

text?
• Are
there
appealing
charts,
graphs,
and

other
visual
aids
to
help
the
reader

understand
the
concepts?
• Are
there
enough
supporAng
details
to

explain
or
describe
each
main
idea?
If
the

informaAon
is
sequenAal,
such
as
how-‐to,

are
there
enough
steps
so
that
the
reader

can
replicate
the
process?
• Is
the
content
relevant
and
age
appropriate

for
the
development
level
of
your
readers?
Acer
aYending
the
seminar
on
graphic

novels
a
year
ago
and
going
through
the
evaluaAon

processes
above,
I
decided
to
add
Maus
by
Art

Spiegelman
to
the
10th
grade
English
curriculum.

Spiegelman
won
the
presAgious
Pulitzer
Prize
for

his
work
in
1992.
By
interviewing
his
father
Vladek,

a
polish
Jew,
he
brilliantly
portrays
in
this
graphic

novel
through
flashbacks
and
present
events

Vladek’s
horrendous
experience
in
the
Holocaust.

Spiegelman
cleverly
represents
the
Jews
as
mice

and
the
Nazis
as
cats.
Intertwined
is
Art’s
difficult

relaAonship
with
his
dad,
which
adds
to
the
realism

of
the
novel.
Next
academic
year
the
professors
at

my
school
will
add
a
graphic
novel
to
all
grades

considering
their
students’
reading
proficiencies

and
interests.

I
trust
that
I
have
convinced
you
to
begin
to

research
and
select
graphic
novels
for
your

students
and
for
your
own
personal
reading.

However,
I
cannot
end
this
arAcle
without

menAoning
the
impact
comics
have
had
on
the

lives
of
baby
boomers
like
me
and
adolescents

today.
One
of
the
most
famous
is
Mafalda.
In

September
2014,
Joaquin
Salvador
Lavado,
the

creator
and
cartoonist
of
Mafalda,
joined
the
world

to
celebrate
her
50th
anniversary.
She
is
the

popular
six-‐year
old
comic
strip
figure
who

expresses
her
concern
over
ArgenAna’s
and
the

world’s
social
problems
and
world
piece
in
an

innocent
manner
(In
“Malfalda,”
para.
1).
Another
one
of
our
preferred
comics
is

Marvel
Comics
(In
“Marvel
comics
Ameline,”

para.

1).
MarAn
Goodman
began
his
magazine
publishing

business
in
1932,
but
not
unAl
1939
was
Marvel

Comics
#1
published.
The
outstanding
script
writer,

Stan
Lee
and
arAst,
Jack
Kirby
made
their
debut

with
the
Fantas1c
Four
#1,
the
first
with
a
new

wave
of
superheroes:
Spiderman,
The
Hulk,
Iron

Man,
The
X-‐Men,
and
The
Avengers.
The
rest
is

history.
Even
though
Marvel
Comics
has
had
its
ups

and
downs,
in
the
film
industry,
no
one
can
deny

the
influence
it
has
had
on
young
and
old
alike.
It
is

celebraAng
its
75th
anniversary
this
year.

Last
but
not
least,
is
our
beloved
comic
strip

favorite
Peanuts,
featuring
the
characters
Snoopy

and
Charlie
Brown.

Charles
Schultz
(1922-‐2000)

created
Peanuts
in
1952.
He
is
highly
esteemed
as

one
of
the
most
influenAal
cartoonists
of
all
Ame.

He
received
many
awards,
one
of
which
is
the

NaAonal
Cartoonists
Society’s
Humor
Comic
Strip

Award
in
1962,
among
others.
If
you
ever
fly
to

California,
you
can
visit
the
Charles
M.
Schulz

Museum
and
Research
Center
in
Santa
Rosa,
which

opened
in
2002.
It
is
located
two
blocks
from
his

former
studio
that
celebrates
his
life’s
work
and

cartoon
art
(In
“Charles
M.
Schulz,”
p.
1,
8).
Mafalda Fantas1c
Four
Mr.
Fantas&c,
Invisible

Woman,
Thing,

and
the
Human

Torch
Peanuts
Characters
Back
row:
Marcie,

Peppermint
PaVy,

Charlie
Brown,
Lucy,

Woodstock,
Linus
Front
row:
Franklin,

Sally,
Schroeder,

Snoopy,
Pig
Pen
Peanuts
Characters
Back
row:
Marcie,

Peppermint
PaVy,

Charlie
Brown,
Lucy,

Woodstock,
Linus
Front
row:
Franklin,

Sally,
Schroeder,

Snoopy,
Pig
Pen
I
leave
you
now
with
one
of
thousands
of

Peanuts
comic
strips,
which
preYy
much
shows

Charlie
Brown’s
character,
the
lovable
loser
who

never
gives
up,
who
is
mistreated
by
his
friends,

but
remains
the
resolute
and
sturdy
hero
of
all

Ame
(In
“List
of
Peanuts
characters,”
p.1)
Appeared

on:
12th
Feb
2015
-‐This
comic's
first
appearance:

15th
Feb
1968

References

Alvermann,
D.
E.
&
Hagood,
M.
C.
(2000).
CriAcal

media
literacy:
Research
theory
and
pracAce

in
“new
Ames.”
The
Journal
of
Educa1onal

Research,
93(3),
193-‐205.
Alverson,
B.
(2014,
September
8).
Teaching
with

graphic
novels.
Retrieved
from
hYp://www.slj.com/2014/09/books-‐media/
graphic-‐novels/the-‐graphic-‐advantage-‐
teaching-‐with-‐graphic-‐novels/#_

Buckingham,
D.
(2003).
Media
educa1on:
Literacy,

learning
and
contemporary
culture.
Malden,

MA:
Polity.
Charles
M.
Schultz.
Retrieved

from
hYp://en.wikipedia.org/wiki/
Charles_M._Schulz
Colón,
R.
(2009,
Summer).
Comics
in
the
classroom.

PRTESOL-‐GRAM,
36(2),
4-‐5.
Ehrlich,
L.
(2013,
Fall/2014,
Winter).
Graphic
novels

101
@SED:
Boston
University
School
of

EducaAon,
8-‐9.
Retrieved
from
hYp://
www.goodreads.com/genres/manga
Goodreads.
Retrieved
from
hYp://
Graphic
novels
in
middle
and
high
school

classrooms.
Retrieved
from

hYp://www.getgraphic.org/Teachers/
EducatorsWhatandWhy.pdf
Graphic
novel
resources
for
educators.
Get

Graphic!:
The
world
in
words
and
pictures.

Retrieved
from
hYp://www.getgraphic.org/
teachers.php
Griﬃth,
P.
E.
(2010,
November).
Graphic
novels
in

the
secondary
classroom
and
school
libraries.

Journal
of
Adolescent
&
Adult
Literacy,
54
(3),
181-‐189.
doi10.1598/JAAL.54.3.3
Hammond,
H.
K.
(2009).
Graphic
novels
and

mulAmodal
literacies:
A
reader
response
study.

Disserta1on
Abstracts
Interna1onal,
70(02).

(UMI
No.3344678)
HartneY,
K.
(2014,
August
7).
How
experts
read
a

graphic
novel.
Retrieved
from
hYp://www.bostonglobe.com/ideas/
2014/08/07/graphic-‐novels-‐misundrstood-‐
medium/vZXIQGfEWggPJD6fTidJaM/
story.html
History
and
basics.
ipl2
For
Teens.
Retrieved
from

hYp://www.ipl.org/div/graphicnovels/
gnsHistBasics.html
Importance
of
Japanese
comics.
ipl2
For
Teens.

Retrieved
from

gnsImpJapComs.html
In
school
and
libraries.
ipl2
For
Teens.
Retrieved

from

gnsSchoolsNLibs.html

Jecé
Lacourt,
L.
(2012,
August).
Using
comics
and

graphic
novels
in
the
classroom.
PRTESOL-‐

GRAM,
36,
18-‐21.
Kress,
G.
(2008).
‘Literacy’
in
a
mulAmodal

environment
of
communicaAon.

In
J.
Flood,
S.
B.
Heath,
and
D.
Lapp
(Eds.),
Handbook
of

research
on
teaching
literacy
through
the

communica1ve
and
visual
arts.
(Vol.
2,
pp

91-‐100).
NY:
Erhlbaum.

List
of
Peanuts
characters.
Retrieved
from

hYp://en.wikipedia.org/wiki/
List_of_Peanuts_characters

Lyga,
A.
W.
and
Lyga,
B.
(2004).
Graphic
novels
in

your
media
center:
A
deﬁniAve
guide.

Wesport,
CT:
Libraries
Unlimited,
p.
163.

Mafalda.
(2015,
March
1).
Retrieved
from

hYp://www.themunicheye.com/news/
Mafalda,-‐a-‐50-‐years-‐old-‐liYle-‐girl-‐-‐2890.

MacDonell,
C.
(2004).
Making
the
case
for
pleasure

reading.

Teacher
Librarian,
31(4),
30-‐32.

Manga.
Retrieved
from
hYp://
Marvel
comics
Ameline.
Retrieved
from


hYp://www.comichron.com/
comicsAmeline/marvelAmeline.html

McCloud,
S.
(1993).
Understanding
comics:
The

invisible
art.
NY:
Harper
Perennial.

McPherson,
K.
(2006).
Graphic
literacy.
Teacher

Librarian,
33(4),
67-‐70.
Messaris,
P.
(1994).
Visual
literacy:
Image,
mind,

and
reality.
Boulder,
CO:
Westview.
Monnin,
K.
M.

(2008).
Percepi1ons
of
new

literacies
with
the
graphic
novel
Bone.
Doctoral

DissertaAon,
Kent
State
University,
Kent

OH.

Nilsen
,
A.
P.
&
Donelson,
K.
L.
(2009).
Literature
for

today’s
young
adults.
(8th
ed.).

Boston:

Pearson.
Norton,
B.
(2003).
The
moAvaAng
power
of
comic

books:
Insights
from
Archie
comic
readers.

The
Reading
Teacher,
57(2),
140-‐147.
100
best
graphic
novels.
Retrieved
from

hYp://www.top100graphicnovels.com/
search/label/100-‐91
Poerschke,
V.
S.
(2005).
The
reading
interests
of

high
school
students
described
by
their
print
and
non-‐print
reading
choices.
Disserta1on

Abstracts
Interna1onal,
66(11).
(UMI
No.
3195962)
Schneider,
R.
(2005,
September
5).
Graphic
novels

boost
interest
in
reading
among
students
with
disabili1es.

Retrieved
from
hYp//
www.iupui.edu/news/releases/
050906_graphic
_novels.htm
Schwartz,
A.
&
Rubenstein-‐Avila,
E.

(2006).

Understanding
the
manga
hype:
Uncovering
the
mulAmodality
of
comic
book
literacies.
Journal
of

Adolescent
and
Adult
Literacy,
50(1),

40-‐49.
Thompson,
C.
(2015,
February).
50
essenAal

graphic
novels.
Retrieved
from

hYp://www.abebooks.com/books/
features/50-‐essenAal-‐graphic-‐novels-‐
b.shtml?cm_mmc=nl-‐_-‐nl-‐_-‐CPrpt10-‐h00-‐
comicsAM-‐121214TG-‐_-‐01cta&abersp=1
Weiner,
S.
(2004).
Faster
than
a
speeding
bullet:

The
rise
of
the
graphic
novel.
NY:
NBM

Publishing
Company,
p.
61.

CHAPTERS
!
!
Call for Proposals
42nd Annual PRTESOL Convention
Transforming the Learning Experience
for Life-Long Learners through CREATIVITY
University of the Sacred Heart
Santurce, Puerto Rico
Friday and Saturday,
November 20-21, 2015
Due Date: August 1, 2015
OBJECTIVES OF THE CONVENTION
• Instill the need to integrate creative and transforming experiences
focused on the labor market.
• Inform on techniques and strategies that develop life-long
learners.
• Create more awareness of creativity and its components.
What is creativity? Can it be developed?
To submit your proposal, complete the Proposal Form.
Submit your proposal to Program Chair: Dr. Rosa I. Román Pérez
at prtesolproposal@gmail.com
Note: Presenters will receive a discount as follows:
Presenter Conference fees:
Both days $60.00 - One day $30.00

2015
CALL
FOR
PRESENTATION
PROPOSAL
FORM
42nd

ANNUAL
PRTESOL
CONVENTION
P.O.
Box
366828,
San
Juan,
Puerto
Rico
00936-‐6828
www.puertoricotesol.org

Transforming
the
Learning
Experience
for
Life-‐Long
Learners
through
CREATIVITY

University
of
the
Sacred
Heart,
Santurce,
Puerto
Rico
Friday
and
Saturday,
November
20-‐21,
2015
Deadline:
August
1,
2015
Name
of
Presenter(s):
____________________________________________________________________________

_______________________________________________________________________________________________

Mailing
Address
of
Lead
Presenter:
__________________________________________________________________
City/
State/
Zip/
Country:
__________________________________________________________________________
E-‐mail
address:
__________________________________________________________________________________

Phone
#:
Home
_______________________________

Cellular
________________________________________

School/OrganizaAon/University:____________________________________________________________________

PosiAon:_______________________________________________________________________________________

Title
of
Presenta&on:
____________________________________________________________________________

Please
Mark
with
a
(√)
the
spaces
that
apply.
Session
Category:

Type:

Intended
Audience:
□Academic

□
Paper
(60
min.
)

□
Elementary
□
Secondary
□Commercial

□

Panel
(60
min.)

□
Higher
Educa&on

□
Workshop
(60
min.)

□
All
Preferred
Room
Set
Up
□
Theater

□
DemonstraAon
(60
min.)

□
Others
□
Classroom

Program
Preference:
(*)

Audience
Size
#Handouts
□
Friday

□
25

□
100
□
Saturday

□
50
□
Either
Day

□
75

*
Every
eﬀort
will
be
made
to
accommodate
the
scheduling
preferences
of
presenters,
but
these
cannot
be
guaranteed.

Audio-‐Visual
equipment
will
be
provided.

There
will
be
a
screen
in
every
room.
Descrip&on
of
Presenta&on:

Please
write
a
descripAon
of
your
presentaAon
for
the
program
of
30
words
or
less.
If
your
descripAon

is
more
than
30
words,
it
will
be
edited.
Include
a
brief
bio
of
all
the
presenters,
Place
the
Atle
of
your
presentaAon
at
the
top
of
all

documents.
Please
e-‐mail
your
proposal
by
August
1,
2015
Dr.
Rosa
I.
Román
Pérez
E-‐Mail:
prtesolproposal@gmail.com
No&ﬁca&on
of
proposal
acceptance
will
be
sent
by
August
31,
2015

The
PRTESOL
Western
Region
Spelling
Bee
took
place
on
April
18,
2015

at
Carib
ChrisAan
School
in
Aguadilla.
We
had
19
students
parAcipaAng

at
the
secondary
level
and
7
students
in
the
elementary
level.
The

students
were
well
prepared
and
it
was
an
exciAng
compeAAon!
Winners: Elementary Level 4th -
6th:
3rd place: Marielys Rosario -
First Bilingual Preparatory
2nd place: Nathaniel Lopez -
Carib Christian School
1st place: Marcela Roman -
Secondary Level 7th - 12th:
3rd place - Gabriel Girald -
First Bilingual Preparatory
2nd place: Pablo Cortes -
1st place: Anthony W. Magenst -
Juan Suarez Peregrina

Start making plans
now to join next
year’s
International
Convention
on April 5-8, 2016
in Baltimore, Md.
INTERNATIONALTESOL2015
TORONTO,CANADA
Vivian Maysonet Rivera and
PRTESOL members share
i n f o r m a t i o n w i t h T E S O L
delegates from around the
workd at the Afﬁlliates Booth.
There they distributed copies of
t h e P R T E S O L - G r a m a n d
information on our upcoming
convention.

Differen&a&ng
Instruc&on
English
Language

Learners
By:
Carlos
Lopez,
Ed.D.
One
of
the
biggest
challenges
that
ESL

teachers
encounter
in
the
English
classrooms
is
the

variety
of
language
proficiency
levels.

Most
of
the

Ames
these
levels
are
not
idenAfied,
so
students
are

subjected
to
a
curriculum
that
is
not
responsive
to

the
students’
linguisAc
development.

Advanced

students
are
not
being
challenged
and
beginning

learners
are
giving
up
even
before
they
experience
a

certain
degree
of
success.

In
order
to
serve
students
adequately,

teachers
need
to
understand
and
become
proficient

in
understanding
the
different
language
proficiency

levels.

It
is
imperaAve
to
combine
every
school
data

available
and
align
the
test
scores
with
the
language

proficiency
levels
to
acquire
a

beYer
linguisAc
performance

understanding.

It
is
imperaAve

that
ESL
teachers
idenAfy
the

students’
language
proficiency

levels
and
use
this
informaAon

to
plan
and
deliver
a
perAnent

and
meaningful
instrucAonal

program.

Students
should
also

understand
and
be
aware
of
their
own
linguisAc

performance
level.

This
understanding
will
help

them
reflect
on
their
learning
so
they
can
eventually

make
learning
adjustments.

By
monitoring
their

own
progress,
students
will
acquire
a
sense
of

ownership
with
their
learning.

Consequently,

learning
a
second
language
becomes
more

meaningful.
Student
and
teacher
conferences
sessions
can

become
an
important
part
of
daily,
weekly,
or

monthly
lessons.

A
porAon
of
the
instrucAonal
Ame

can
be
dedicated
to
share
formaAve
and
summaAve

assessments
datum
so
students
can
reflect
on
their

learning
and
keep
track
of
their
own
progress.

I
have

found
it
very
useful
to
facilitate
peer-‐feedback

sessions
where
students
share
their
wriAng
pieces,

projects,
or
presentaAons,
and
allow
classmates
to

become
reflecAve
partners.

If
teachers
share
a
number
of
students,

collaboraAve
acAviAes
such
as
problem-‐based

learning
projects,
interdisciplinary
units,
or
school-‐
wide
themes
can
be
developed
considering
the

strengths
and
weaknesses
of
all
students.

If
teachers

want
students
to
become
acAvely
involved
in
their

own
schooling,
lessons
need
to
be
differenAated
so

all
students
can
be
challenged
regardless
of
the

students’
linguisAc
performance
level.

The
amount

of
teaching
collaboraAon
Ame
proves
to
be
a

determining
factor
when
implemenAng
school-‐wide

intervenAons
(Lopez,
2013).

School
administrators
should
also
make
an

effort
to
provide
the
necessary
resources
and

planning
Ame
so
teachers
can
have
reacAve
planning

sessions
that
answers
the
following
quesAons:
1.What
do
our
students
know

or
do
not
know?

2.How
are
teachers
going
to

address
these
learning

differences?
3.
How
are
teachers
going
to

monitor
and
measure

progress?
4.How
will
the
school
share

students’
academic
gains
with

all
stakeholders?
5. How
will
the
school
celebrate
success
for
all?

Staff
meeAngs,
department
meeAngs,
and

professional
learning
teams
should
be
used
to
tackle

these
quesAons.

The
key
is
to
make
all
the

stakeholders
aware
of
the
students’
linguisAc

proficiency
levels,
and
use
that
informaAon
to

provide
a
meaningful
curriculum
filled
with
many

challenging
opportuniAes.

A
quick
review
of
the
English
language

proficiency
levels
will
help
set
the
stage
to
facilitate
a

differenAaAon
environment.

The
following
table

outlines
specific
performance
predictors
for
the

different
language
proficiency
levels.
The
more
teachers
know

about
their
students,
the

beLer
they
can
address

their
students’
academic

needs.

ESL
Performance
Levels
(
Fairbairn,
S.
&
Jones-‐Vo,
S.,
2010)
ESL
Performance
Levels
(
Fairbairn,
S.
&
Jones-‐Vo,
S.,
2010)
ESL
Performance
Levels
(
Fairbairn,
S.
&
Jones-‐Vo,
S.,
2010)
ESL
Performance
Levels
(
Fairbairn,
S.
&
Jones-‐Vo,
S.,
2010)
ESL
Performance
Levels
(
Fairbairn,
S.
&
Jones-‐Vo,
S.,
2010)
ESL
1 ESL
2 ESL
3 ESL
4 ESL
5
Little
of
no
English
Begins
to
use
words.

Phrases,
and
follow

commands
Students
need
to

develop
their

functional
language
Students
will
tend
to

use
their
native

language
to
transfer

concepts.

Written

communication
is

limited.
They
can
use

illustrations,

drawings,
and
real-‐
life
objects
to

communicate.
Begins
to
use
phrases

and
short
simple

sentences.
This

student
will
make

mistakes
that
might

interfere
with

comprehension.
Begins
to
use

language
for
speciCic

purposes.

Students
understand

the
connections

between
illustrations

and
graphic

organizers.
Understands
main

ideas,
and
begins
to

tackle
academic

content.
Can
communicate

for
social
purposes.
Students
make
sense

of
complex
written

assignments.
Students
make
sense

of
abstract
and

concrete
concepts.
Students
are
able
to

use
graphic

organizers
to

communicate
in
oral

and
written
format.
Process
increasingly

complex
social
and

academic
input
Oral
language
is

growing
in

complexity.
Appears
to
be
Cluent

in
social

contexts

and
approaching

Cluency
in
academic

context.
Able
to
comprehend

texts
that
deals
with

familiar
topics
Able
to
make

content
connections
Able
to
comprehend

text
and
apply

concepts.

Understands

language
that
is

complex
Vocabulary
is

advanced
Able
to
communicate

social
and
academic

language
Able
read
grade
level

text
Writing
is
similar
to

the
writing
of
fully

proCicient
writers
at

the
student’s
given

grade
level.

There
is
nothing
more
unequal
than
the
equal
treatment
of
unequal
people.
(Thomas
Jefferson)
CreaAng
a
class
language
proficiency

distribuAon
can
help
teachers
create
meaningful

lesson
plans
that
address
the
needs
of
all
students.

Teachers
can
create
groups
of
mulAple
language

proficiency
levels
with
guided
acAviAes
that
will

challenge
all
students.

In
some
cases,
teachers

might
want
to
group
students
according
to
their
levels

to
read
a
specific
story
or
to
complete
a
specific

project
with
specific
guidelines.

Furthermore,
the
ESL

5
students
can
work
independently
of
a
given

assignment
that
later
on
can
be
integrated
to
the

whole
group
instrucAon.
ESL
1 ESL
2 ESL
3
ESL
4 ESL
5
16%
41%
22%
16%
6%
Students’
assignments
and
grading
criteria
should
also

be
aligned
with
the
language
proficiency
levels.

Consequently,
students
will
experience
success.

Students
who
experience
success
tend
to
be
more
at

ease
and
willing
to
more
risks
when
using
the
target

language
to
express
themselves.

Understanding
the

different
language
performing
levels
will
allow

teachers
to
consider
the
readiness
of
all
students
and

provide
a
challenging
and
meaning
learning

environment
that
promotes
learning
for
all.
REFERENCES
Fairbairn,
S.
&
Jones-‐V0,
S.
(2010).
Differen1a1ng

Instruc1on
and
Assessment
for

English
Language
Learners
A
Guide
for
K-‐12

Teachers.
Philadelphia:
Caslon

Publishing.
Lopez,
C.
(2013).
An
Assessment
of
the
Alignment
of

the
Puerto
Rico’s
English

Curriculum
Framework
and
Classroom

Teaching
at
the
High
School
Level
in
the

Metropolitan
Area.
(DissertaAon,
Universidad

del
Turabo,
Puerto
Rico).

Top
5
mistakes
Spanish
speakers
make
in

English

(reprinted
with
permission
from

Verbling.com
When
learning
a
new
language,
everyone
makes

the
same
mistakes.
This
is
the
fun
part
of
learning
a

language!
When
you
make
mistakes
you
can
learn

from
them—taking
your
language
learning
to
a

whole
new
level.
Most
arAcles
discuss
common
mistakes
made
by

English
learners,
but
none
of
them
discuss
how
to

actually
eliminate
those
mistakes
for
good.
Here
are
the
top
5
mistakes
Spanish-‐speakers
make

in
English,why
they
happen
and
how
to
get
rid
of

them
forever!
1. Missing
Subject
This
mistake
happens
because
the
subject
in
Spanish

isn’t
always
necessary.
In
English,
however,
it
most

definitely
is!
“Es
importante
estudiar
todos
los
días.”

is
correct
in
Spanish,
but
when
we
go
to
translate

this,
many
people
say,
“Is
important
to
study
every

day.”
Can
you
find
the
mistake?
It
should
say,
“It
is

important
to
study
every
day.”
In
English,
you
must

specify
the
subject.
‘it’
may
be
a
small
word
but
it

makes
a
big
difference!
The
fix
In
order
to
always
remember
to
include
the
subject,

you
have
to
train
your
brain
and
your
mouth
to
get

used
to
saying
‘it’
or
another
subject.
You
can
do
this

by
pracAcing
the
most
common
phrases
in
English

that
require
the
‘it’
before
the
phrase.
PracAce

saying
these
out
loud,
wriAng
them
down
and
using

them
in
conversaAon.
For
this
parAcular
error,

simply
understanding
why
this
error
happens
and

being
aware
of
it
will
help
you
tremendously.
Check

out
this
video
to
make
help
you
never
forget
the

subject
in
English.
hYps://www.youtube.com/
watch?v=IlhZ3NN8AAc
1. Not
using
the
present
perfect
This
infamous
mistake
occurs
due
to
the
difference

in
sentence
construcAon
used
in
Spanish.
When

we’re
talking
about
how
long
we
have
been

somewhere
in
English,
we
say
“I
have
been
living
in

Ecuador
for
3
years.”
or
“I
have
lived
in
Ecuador
for
3

years.”
However,
in
Spanish
this
is
not
the
case!
In

Spanish
we
say,”
Llevo
3
años
en
Ecuador.”

Completely
different!
AnyAme
you
want
to
talk

about
how
long
you
have
been
doing
something,

make
sure
to
use
the
present
perfect.
The
fix
It
is
so
easy
to
make
this
mistake!
How
do
you
get
rid

of
it?
Simply
pracAce
answering
and
asking
quesAons

using
this
format
over
and
over
again.
You
can
find
a

exercises
and
more
informaAon
here:
(hYp://
www.englishexamswithnikki.org/?p=11700.
Before
you
know
it
you’ll
be
sounding
like
a
naAve!
1. ‘The’
or
no
‘the’?
One
of
the
most
difficult
aspects
of
learning
English

is
the
lack
of
rules.
I
know,
English
would
be
so
much

easier
if
we
just
stuck
to
(obeyed)
the
rules!
The

confusion
with
‘the’
or
no
‘the’
is

always
problemaAc
for
Spanish
speakers
because
the

use
of
‘the”’
in
Spanish
is
much
more
common
than

in
English.
Think
about
it
for
a
moment.
If
we
were
to

talk
about
children
and
adults
in
general,
we
would

say,
“Los
niños
son
más
inocentes
que
los
adultos.”

This
is
a
perfectly
correct
sentence
in
Spanish.

However,
“The
children
are
more
innocent
than
the

adults.”
is
not
correct.
Because
we
are
talking
about

children
and
adults
in
general,
we
must
say,

“Children
are
more
innocent
than
adults.”
‘The’
is

generally
only
used
for
specific
things.
Learn
more

here.hYp://www.hablamejoringles.com/arAculo-‐
sobre-‐arAculos-‐el-‐uso-‐de-‐the-‐en-‐ingles/
The
fix
The
next
Ame
you
read
an
arAcle
or
watch
a
video,

make
sure
to
noAce
the
use
of
‘the’
in
context.

Underline
the
use
of
the
and
analyze
why
it
is
being

used.
Learning
the
most
common
mistakes
with
‘the’

such
as,
the
environment,
air,
the
brain
etc.
will
also

help
you
stay
out
of
trouble.
(avoid
errors).
Here
is
a

helpful
list
of
when
not
to
use
‘the’.
(hYp://
www.englishexamswithnikki.org/the-‐or-‐no-‐the/)

1. Preposi@ons
Oh
preposiAons!
PreposiAons
may
be
the
most

disliked
part
of
the
English
language
for
many

learners.
When
faced
with
a
difficult
challenge
such

as
preposiAons,
you
have
two
opAons.
OpAon
one
is

to
become
extremely
frustrated
and
decide
that

English
is
crazy
and
give
up.
Or
you
can
accept
the

fact
that
learning
languages
is
a
process,
not
a

marathon
and
learn
these
liYle
monsters
one
relaxed

step
at
a
Ame.
PreposiAons
are
simply
different
in

English
and
Spanish
and
by
learning
all
the

preposiAons
by
way
of
a
list
is
the
worst
thing
you

can
do.
Learn
a
few
preposiAons
a
day
in
context.
The
fix
Do
not
print
out
a
giant
list
of
200
preposiAons
and

start
memorizing
them.
Your
brain
cannot
handle

this
amount
of
rote
informaAon,
not
to
menAon

that’s
super
boring!
English
can
be
exciAng,
I

promise.
Instead
of
memorizing
a
list,
start
to
listen

for
preposiAons
in
videos
and
find
them
in
arAcles

you
read.
Once
you
find
a
preposiAonal
phrase,
then

you
can
look
it
up
and
discover
different
ways
to

use
it.
Focus
on
only
a
handful
(few)
preposiAons
at
a

Ame,
then
move
on
once
you
think
you’ve
figured

them
out.

5.Subject-‐verb
agreement
Finally,
we
have
reached
our
last
and
most
common

mistake.
An
example
of
this
mistake
would

be,
“Everyone
love
that
movie.”
The
correct

sentence
is
“Everyone
loves
that
movie.”
‘Everyone’

is
a
singular
noun,
even
though
it
includes
many

people.
We
call
these
collecAve
nouns.
A
CollecAve

noun
is
a
collecAon
of
things
taken
as
a
whole
and

take
the
singular
form
of
the
verb.
Other
examples

where
we
use
the
singular
form
of
the
verb
in
English

is
with
the
following
collecAve
nouns:
anybody,

somebody,
anyone,
everybody,
someone,
anything,

everything,
something
etc.
The
fix
One
way
to
remember
if
a
verb
takes
the
singular
or

plural
form
is
the
all
words
that
end
in
-‐one,
-‐thing

and-‐body
are
singular.
Another
way
to
remember
is

if
the
subject
is
singular,
choose
the
verb
ending

in
’s’.
For
example,
“everything
has
to
go!”

Here,
“everything”
is
singular,
so
we
must
choose

the
verb
with
the
“s”,
or
in
this
case
“has”

not
“have”.
You
can
find
out
more
and
pracAce
with

this
great
PDF.hYp://www.irsc.edu/uploadedfiles/
students/academicsupportcenter/wriAnglab/
packet6-‐subject-‐verb-‐agreement.pdf

Whew!
That
was
intense.
I
recommend
reading

through
the
five
mistakes
again
and
see
if
you
can

eliminate
them
from
your
vocabulary.
Remember,

learning
a
language
is
a
process
that
takes
Ame.

Focus
on
the
posiAve
and
be
consistent.
About
the
Author:
Nikki
has
a
Master’s
in

EducaAon
and
is
TOEFL

cerAfied.
She
currently
lives

in
Ecuador
where
she
teaches

both
Spanish
and
English.

Before
moving
to
Ecuador,

Nikki
taught
adult
English
to

immigrants
in
Phoenix,

Arizona.
She
has
taught
over

800
teachers
through
workshops,
tutoring
and

individual
group
classes.
She
considers
herself
an

expert
on
preparing
students
for
their
TOEFL
exam,

and
is
very
excited
about
connecAng
to
English

learners
from
all
over
the
world
on
the
Verbling

plaŠorm.
Top
5
mistakes
Spanish
speakers
make
in
English.

(n.d.).
Retrieved
April
3,
2015,
from
hYps://
www.verbling.com/arAcles/top-‐5-‐mistakes-‐
spanish-‐speakers-‐make-‐in-‐english/

NORTHERNREGIONALCONFERENCE
at the Nova Southeastern University in San
Juan
The
Northern
Region
conducted
a

highly
successful
conference
May
16

at
Nova
Southeastern
University.
The

facili@es
there
were
excellent.
The

par@cipants
enjoyed
a
professional

development
ac@vity
with
top

speakers,
workshops
and
resources

inclding
a
table
of
free
books.

Par@cipants
came
from
a
variety
of

public
and
private
schools
of
all

levels.

Teachers take advantage of free book table.

Northern Board members
and of the Executive
Board at the Northern
conference.
Former PRTESOL President,
Yolanda Pabellón leading her
workshop.
PRTESOL President Vivian
Maysonet and Vice-president
Rosa Román with the
leadership of Nova
Southeastern University.

For more information a registration forms for Awards and Scholarships contact:
Dr. Jennifer Alicea Castillo <jennifer.alicea@upr.edu>:

PRTESOLGram - May2015

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