Roberto Germán [00:00:01]:
Welcome to Our Classroom. In this space, we talk about education, which is inclusive of, but not limited to, what happens in schools. Education is taking place whenever and wherever we are willing to learn. I am your host, Roberto Germán, and Our Classroom is officially in session.
What's your conversations about race look and sound like in an elementary classroom? And how can we build classroom communities that encourage these meaningful conversations? And we're gonna keep on talking. High school teacher and author of not light book Fire, Matthew K. Joins forces with elementary school teacher Jennifer Orr to answer these questions. This is a book for teachers of young children who believe that meaningful conversations about race are just as foundational as literacy and numeracy learning.
Roberto Germán [00:01:04]:
Stenhouse Publishers books by teachers for teachers use code STEN24 for 20% off the Routeledge website through April 26.
Roberto Germán [00:01:18]:
Hey, folks, we have our guest today, Anna J. Small Roseboro, a wife, mother, and a National Board Certified Teacher. You're in for retreats. She has four decades of experience in public and private schools and colleges, mentoring early career educators and facilitating leadership institutes in not 1234 but five states. She has served as director of summer programs and chair of her English department, published eight books based on these experiences, and was awarded Distinguished Service awards by the California association of Teachers of English and the National Council of Teachers of English, NCTE. Her poetry appears in several issues of fine lines, and today we have the opportunity to talk about her book experience. Poems and pictures, poetry that paints, pictures that speak. And, you know, I'm excited about this because I'm a poet.
Roberto Germán [00:02:26]:
And so listen, folks, it's a poetry session. It's a learning session.
Roberto Germán [00:02:31]:
It's a teaching session.
Roberto Germán [00:02:34]:
Let's do this.
Roberto Germán [00:02:35]:
Thank you, Anna, for being here today.
Anna J. Small Roseboro [00:02:39]:
Glad to be here and really pleased that you chose to talk about this particular book because it includes the work of students from a school where I taught as well as teachers and parents. And so this combo piece has become a very important teaching tool, not just for teachers of English, for teachers of other languages, and teachers of other content areas. And so I'm glad to have this opportunity to talk with you about how I came to write the book, but also ways that other educators have begun to use the books.
Roberto Germán [00:03:15]:
And I know that it was folks not just from the United States, but from around the world, really.
Anna J. Small Roseboro [00:03:22]:
As a matter of fact, I say around the world is pushing it a little bit. Probably far south, like goddamus was from the island of the. And. Argentina. Argentina.
Roberto Germán [00:03:37]:
Those are two places I've never been to, so it feels like around the world to me.
Anna J. Small Roseboro [00:03:42]:
Okay, all right. Around the world came, though. I just mentioned the beginning. Once teachers began to see how this book could be used, a woman that I met online liked it well enough that she asked that she could translate it into German.
Roberto Germán [00:03:58]:
Wow.
Anna J. Small Roseboro [00:03:59]:
Another Spanish teacher said I could use this in my Spanish classes because the student could look at the pictures and use the Spanish that they are learning to talk about them. So she translated the reflection section into Spanish and the same thing with a French teacher. And so you're closer to being correct than I gave you credit for. It has gotten some international attention and the last was in Kenya where they're considering translating into Kiswahili.
Roberto Germán [00:04:31]:
Oh, I love it, love it. I love Kenya. Spent some time as a resident teacher in Nairobi and so I'm glad to hear about the global reach. And as a fellow educator and poet, I have great appreciation for the content of your book. Can you tell us more about your book experience, poems and pictures and what inspired you to create this innovative genre that combines poetry, artwork and prompts?
Anna J. Small Roseboro [00:05:00]:
Well, if you really want to know, it was pride and pocket. Over the years as being a National Board Certified Teacher, but also being a National Writing Project fFellow, we were taught to write with our students. And the best way to teach writing is to write with the students. And so much of the book includes poems written in class with my students. And so I said, well, how can I share this? And after getting positive response from some of the journals that asked for submission of poems, I said, let me pull it all together. But having attended a National Council of Teachers of English assembly annual convention in Detroit, Michigan, one of the events was at the Detroit Institute of Art and they invited us as teachers to view one of the exhibits and then sit and write about what we had experienced. And that's where I learned the entering art strategy for using poetry. I said, well, I can get my own poems in there, but I've always used poetry and pictures together.
Anna J. Small Roseboro [00:06:17]:
Where am I going to get the pictures? Mentioning the pocket. Some of you know, if you've ever had any of your books published that getting pictures for publications can be an expensive part of a publication. And so I went back to my former school and asked one of the teachers that I had the privilege of hiring when I was there, said, do you have any pictures by your students that they would be willing to have in my book of collection of poems that I have written, do you think their parents would write off because these were 9th through twelveth grade students? And she said, oh, I'd love it. I'd love it. I love it. And so she got twelve of her students to share their artwork with me. And she said, well, you know, some of the other teachers may be interested in doing it, too. And so she and two other art teachers from that same school shared their artwork.
Anna J. Small Roseboro [00:07:12]:
In fact, the COVID of the book, experience poems and pictures is the artwork of one of the art teachers who started at that school the same year I did. And then when she heard about it, she says, well, you know, there's some other women here in California who would really like to have another venue to have their artwork out. I said, well, I don't have any money. And they said they would be glad to be a part of it because of the poetry that you've written. Said, okay. And then one of the parents heard about it, and she did it. My daughter heard about it, and she contacted one of her friends in Texas. And so that's sort of how the pictures came to be.
Anna J. Small Roseboro [00:07:55]:
The issue was, I did not want to try to match the poems with the pictures because I wanted to be something that the readers and the viewers would experience on their own. I wouldn't be forcing them. And so we decided instead to organize the pictures alphabetically by artists. And so each artist had two pages, and they submitted, most of them submitted four or five pictures, and I chose two that I thought would work face to face. And then the poems that I wrote are sort of organized in some kind of order. Some family poems, some poems about school events, and then just some general interest poems. And so that's how we came to do it. Pictures by students and other artists, poems written as a teacher with my students, or as some of them that you did point out in a couple of the questions, some of the poems that I wrote in response to personal events that have happened to our family since I left that particular school.
Roberto Germán [00:09:10]:
How about the writing prompts?
Anna J. Small Roseboro [00:09:12]:
The writing prompts are based on prompts that I used in my classes. The first section is writing a pantoon poem. Some students are uncomfortable writing poems that have specific rhyme and rhythm patterns. And the pantoon poem is a very structured poem, but the pattern is based on specific repetition in a specific format. And I've used that strategy with students as young as third grade and as mature as teachers at conventions. And most are satisfied with the result of the poem because it's their own words, but it's in a pattern format. And so it looks like poetry on the page. And so that's, what is that, one and the other.
Anna J. Small Roseboro [00:10:03]:
We'll talk a little bit about is the entering poetry, entering pictures, and writing poems about that experience. And because back to the pocket, if teachers and parents can use a book multiple times, it becomes a more economical investment. And so that's the reason once the teachers have looked at the pictures for one reason, they can pull out the same book and teach another lesson. And so that's where the pocket came for the teachers. You've got small children yourself, and you know how often you get picture books, but soon your children know the stories by heart. How can I use that same book to teach other skills that I know my students, my children are going to need? And that's the reason for the reflections at the end. Reflect on the pictures, but also use some of the language skills and the cultural skills, science skills, math skills, social studies skills that you're learning in other content areas.
Roberto Germán [00:11:19]:
I love to learn and hear how other authors, poets structure their books. And I appreciate the different elements that you brought into your particular book. You start and end your book with the following quote by Plutarch. Painting is silent poetry, and poetry is painting that speaks. Why did you start and end the book this way?
Anna J. Small Roseboro [00:11:51]:
I'd like to say that it was for an academic research reason. That's true. I don't recall where I got the quotation, heard it the first time, but has proven to be true that when poetry is written well, it evokes, creates, reminds and create pictures in people's minds. And as I've asked students to look at a piece of artwork and then write about it, sometimes that same piece of artwork will evoke different memories, different experiences. And so it's speaking to the students or the writers in different ways, but well written poetry will do the same thing. Some of you are familiar with the strategy of called drawing your own conclusions, where you have the students read a piece of literature and then you ask them to draw what they saw when they read. And that's what poetry often does as well. But the other reason, it's a fine way of doing formative assessment.
Anna J. Small Roseboro [00:13:02]:
We know that teaching is not complete until we can show that students have learned and not having to wait until the standardized test to know whether students are learning what you're teaching. Invite them to write about the pictures, the painting. And when they do so, they know what they know. They know what they need to know, and they can ask questions. But equally well, you as a teacher can begin to see that students are learning, but there's some things they don't quite get. For example, you may have a fourth and fifth grade class when you're introducing basic structural grammar where you're teaching the parts of speech, show them a picture and ask them to write and use the various prepositions that they're learning to describe what's happening in that picture. Or you've got a vocabulary list, have them use those vocabulary words to write a story about the picture that they're viewing. And so using pictures to see what students can do with the content that you're teaching can be a very effective pedagogical strategy to consider using that same book for multiple reasons.
Roberto Germán [00:14:24]:
That's right. And I love the point of emphasis on not waiting until the standardized test, that throughout the process we're utilizing their experience, their engagement, their learning to assess them. That should be continuous anyways, right? Our assessment with the kids, with the learners should be a continuous thing. It shouldn't be something we do at the end of the first half of the year and then once again at the end of the whole school year. We should constantly be looking at what our kids are learning, if they're really mastering it, but also looking at different forms of assessment. And obviously, I have a bias towards poetry, but this is one way in which we can assess our students.
Anna J. Small Roseboro [00:15:16]:
Another thing about it, too, it's a culturally inclusive way to teach. Since we're inviting students to write about their own experience, we're not evaluating whether their experience is the same as ours. We're asking them to use the language skills that we are teaching them to describe how they felt when they entered that particular piece of artwork. And I'll get to that in a moment when you ask me the question what entering art means. But it's also a way to get to understand how students connect with what they see. We know that students bring to their learning their own personal experiences. And you've been teaching long enough and in different parts of the country to know that different cultures have different meanings for color. In some cultures, white means purity.
Anna J. Small Roseboro [00:16:18]:
In many of the Asian countries, India specifically, white is the color for mourning. In some countries, the color black is the color for mourning. But in Netherlands, the color that the bridesmaids wear. Black. Some of you may recall that when IBM began to send its men at that time to asian countries wearing their professional black suits, they were unaware that in some Chinese communities, black is the color for preschool boys because it wouldn't get dirty. And when our men showed up in their black suits, they were wondering why they were not treated with respect because they were dressed like little boys. And as we consider the implications of just colors, as our students begin to talk about the paintings that they look at, we get some insight. And when we ask, why did you use red for that? In our culture, red is a color for hookers.
Anna J. Small Roseboro [00:17:25]:
And if it happens to be someone from some of the asian countries, that's the color that the brides wear and that's the coral of royalty. And so understanding those cultural issues in a way that no one is being penalized for describing something in a different way, I think this is a culturally inclusive way to teach, honoring what students bring, but also helping us as educators, learning where they're looking at and how they're looking at it and why one picture is offensive to one and inspiring to another.
Roberto Germán [00:18:01]:
Absolutely. It fosters student voice and meaningful conversations.
Anna J. Small Roseboro [00:18:07]:
Right.
Roberto Germán [00:18:08]:
Thank you for sharing that. The poems written in your book are written from a christian perspective and covers topics such as family, friendships, life, death, and hope. Can you share how your faith and perspective influenced the creation of these poems and why you chose these particular themes?
Anna J. Small Roseboro [00:18:32]:
Well, one of the things is that I was raised in a home where the Bible was presented as a reference book, a guide. And often when we were behaving or misbehaving, we were quoted scripture. And initially, when the term of Christianity has accepted Christ as savior, it was after one of those fire and brimstone sermons, and I went up as a fire insurance kind of thing. If this is all it takes to stay out of hell, I'll take it. But it was several years, as I continued to refer to the Bible as scripture, that I began to develop a personal relationship with God, my creator. And that began to influence the way that I interacted with others, but also as I prepared to interact with others. And as you notice in some of the poems I wrote about what happened when we learned that our youngest son was found dead in his apartment in Japan. Where did I go for that? I went to scripture when considered marriage to my husband.
Anna J. Small Roseboro [00:19:52]:
We've been married for 57 years now, but some of the poems were written about some of our times of being married. A couple of times in school, we asked him to write about family, and I ended up writing about family, but often from a christian perspective, because that's who I am.
Roberto Germán [00:20:12]:
Thank you. Thank you for sharing that, for sharing your perspective, for being vulnerable in the content of your book, for allowing your faith to lead you. It shows up in a major way in your book. As a reader, it helps me to understand, at least to an extent, part of who you are. And I know it's a big part.
Anna J. Small Roseboro [00:20:37]:
Of who you are, and that's something that we can do in Our Classrooms. Too many of our children come from various religious perspectives, and if they are free to write about what they believe and are not censored because their faith, background, or teaching or whatever is different from ours, that's okay. And if I am going to demonstrate what I expect them to do, the poetry that I write has to be as honest as I expect theirs to be, but it has to be in such a way that if someone disagrees with me, it's okay. And that's the other reason that writing along with the students, being vulnerable with the students, but also being as open with them as we expect them to be with us.
Roberto Germán [00:21:30]:
That's right, because writing in community allows us to take steps closer towards one another, as opposed the continual divide that we experience, not just here in the states, but we see it all over the world. And so let's write in a way that brings us closer to one right. The artwork in your book spans multiple mediums, including paintings, quilting, and manipulated photos. How did you go about selecting and curating the diverse range of artwork? And what do you believe these different mediums bring to the overall experience for readers?
Anna J. Small Roseboro [00:22:17]:
I think we're going back to that same thing about multiple perspectives for depicting life as we know it, life as we want it, and there's no one way to show. Just as poetry has put myriad structural and poetic styles, so does art. And one of the things I did learn from the art teachers with whom I worked was to indicate the medium of the art. And so, as those who use the book look at the various artwork, they will see that the bottom of each page indicates the art medium and the size of the original painting or artwork. As the artists shared them and they took pictures of their own artwork, I told them the size that I needed and the DPIs that I needed and the size of the pages. And so I invited them all to photograph their own artwork so that it would be depicted the way they would prefer it. And for me, that was sort of honoring them in the same way that we, as poets, want our poetry publicized and arranged on the page the way we sent it. We may have a poem of one sentence, but it may be twelve lines, but the layout on the page is important to the message that that poem portrays.
Anna J. Small Roseboro [00:23:53]:
And so I did not restrict the artist to what kind of art medium they sent, and that's why I chose the name pictures rather than paintings. In the Plutarch statement, he used paintings, but again, they didn't have photographs at that time that Plutarch was in, but I invited the artists. What would you like to include in my book? Send me a picture this size, this Dpi. And then I sent back to them the layout of each page and asked them each to sign off that they were satisfied with the art that I picked from that that they submitted and they were satisfied with the layout, the pairing of the pictures and the layout on the page, and so inclusiveness, diversity and availability.
Roberto Germán [00:24:45]:
And I like the fact that you incorporated collaboration in there. I recently had a conversation on the podcast with Nawal Qarooni and our focus on the conversation was collaboration. So I appreciate that you're welcoming those contributors to have some say, some influence as to their contribution in the book mentioning collaboration.
Anna J. Small Roseboro [00:25:12]:
That's another outcome of using pictures in class and teaching. As students look at the same picture, they may need to ask the person at their table, what's the adjective that best describes this? Or what's the word that the teacher told us to use? As they begin to work together, they are learning to get it. And the teacher doesn't have to be the only teacher in the classroom. And by having students look together at paintings is another way to collaborate. And now that they have access to so much technology, occasionally we've had the same picture and have a group come up with a slide presentation of the poems that they have written about the same picture. And so that's another way of collaborating, multimodal presentations, but also for the class to see that it's okay to have your own perspective as long as you meet the criteria of the assignment. And often it is. Show what you know about the vocabulary we learned or if this picture were painted by someone in the book we've just read, what would it depict about that person? And as the students begin to do that and share that collaboration presentation, expanded learning.
Roberto Germán [00:26:43]:
Folks, I hope you're taking notes here and it's giving you some gems. Experienced poems and pictures is described as appealing to students of all ages and potentially serving as a mentor text for teachers. Can you elaborate on how you envision educators using your book in the classroom and what benefits it may offer to both students and teachers?
Anna J. Small Roseboro [00:27:05]:
I think the main benefit that it offers to them all is options. By having a book of this size, 100 and some pages, and the fact that one of the lessons is called a romp through the book, where the students select, they preselect, write down a list of ten pages, and then they look at the artwork on those pages and write about it. So there's some choice. The teacher doesn't have to bring in everything for a particular lesson, but it saves time. If the teacher has this book and some have chosen to get the ebook version, they may just post the picture where everyone can see it and then ask the students to write about it. It's there. And then the students can do the same thing. We just read a book about such and such a character in the third grade.
Anna J. Small Roseboro [00:28:09]:
If character a were in this book, what would be he or she's favorite picture? Why? You learn what the students know about the text that you've just read, but you also know how they use language. And I used this during black history month one year for an after school program of fourth and fifth grade students. And we looked at artwork and we did that entering art exercise where we said, walk inside this painting in your mind and use the five senses to tell what it was like to be in that painting. What did you see? What did you touch? What did you smell? What did you hear? Did I get all five? All the five senses? And as students look at the painting and tell what it's like to be there, they're taking notes and so they're writing the second way says, okay, you've been in the painting. Now pretend this painting was something that you dreamed. And here are some sentence stems. You might begin, I dreamed or I saw or I experienced, and then write about it that way. Or the third way.
Anna J. Small Roseboro [00:29:31]:
Pretend that you are in your house and you look out your window and you see this painting. Why is it out there? What's happening? What happened before this painting was done? All those kinds of questions can be done. Entering art from third grade to graduate students in college. You're teaching them to articulate what they imagine using the various strategies, rhetorical devices that are required in the course that you.
Roberto Germán [00:30:12]:
Good. That's good. Giving a master class right now. So your poem grandmama reminds me of my poem Thea Rebecca from my poetry collection, blue ink tears. Your poem the heart tree reminds me of Ray Paris's book the Forgetting tree. What are some anchor texts that you've identified for experience poems and why?
Anna J. Small Roseboro [00:30:43]:
Some of the anchor texts came from the anthologies we were required to teach, where we have a poem that we must teach and want to ask students to model it. What are some of the strategies, what are some of the patterns that the poet used? Now write about an experience of your own using that same pattern. And that's where the poem I've been acquainted with that song came from. I had been an exchange teacher during a rotary international to east coast of Africa, and I had had an experience of being seen as a member of most of the tribes that I interacted while I was there. And one night they asked us before we were leaving in Mombasa to tell about what it was like to be in Africa, being someone from the United States. And I couldn't speak. Tears just rolled down my cheeks, and then I began singing. And that's where that poem came, was.
Anna J. Small Roseboro [00:31:58]:
I have been acquainted with the night that we had to teach, but I was writing about a night in my own experience, and that's often where I got the anchor poems. The poem about the wedding was when we were reading narrative poems, where the poem has got to have an exposition, rising, action, climax, falling, action, and de Nomar. And so often the anchor poems came from poems that we were required to teach. But I invited students to write about their own experience using the patterns of those poems.
Roberto Germán [00:32:36]:
It's always interesting to hear the context for how these poems are written. Thank you for sharing that. I love it makes it feel more full to me to understand what inspired your writing of the pieces that you mentioned and talking about pieces from your book. I want to share this excerpt. Yes, you are. You are good. It's okay to be good all alone. So just keep on doing what you should to bring joy to yourself and share joy with others.
Roberto Germán [00:33:21]:
You are kind. It doesn't matter if we don't understand when you do what you should to bring peace to yourself and share peace with others. You are smart. We just may be jealous when you get accolades. So keep doing what you should to bring to light to yourself and to share your light with others.
Anna J. Small Roseboro [00:34:06]:
I'm getting teary hearing you read that.
Roberto Germán [00:34:08]:
Oh, it's a beautiful piece. Beautiful. Love it. I feel encouraged by it. Was this poem a letter you essentially wrote to yourself?
Anna J. Small Roseboro [00:34:21]:
I think everything that we write is to ourselves or for ourselves. But I wrote it for the people who shared their poems and their pictures with me in the book. I was in an online writing program called Open Write by Ethical ELA Teachers from across the country meet once a month to write poems in response to prompts for five days, the fifth Saturday in each month through the fifth Wednesday. And one of the days, we were asked to write a poem. I don't recall the prompt, but this is what I ended up writing. And so when I began to pull this book together, I was thinking, what's a way to thank those who have shared their artwork with me and to indicate how I hope that this artwork will inspire others. And that's how that poem got to be.
Anna J. Small Roseboro [00:35:22]:
That place. And I'm sure part of it was to me, but it was also thanks to others.
Roberto Germán [00:35:32]:
Well, thank you for writing that again. I feel encouraged by it. So, shifting gears a little bit, if you had the opportunity to have lunch with anybody, dead or alive, who would it be and why?
Anna J. Small Roseboro [00:35:49]:
It's a good question. I'm not sure who it would be. I think it depends on what I would be doing at the time. But one of the poems you may notice in the book is what Phyllis Wheatley told, and that was the prompt that day. If you were able to meet with a poet of the past, who would it be and what advice would they give you? And that's that poem. Is there time for me to read that?
Roberto Germán [00:36:16]:
Yes, absolutely.
Anna J. Small Roseboro [00:36:18]:
Okay. What Phyllis Wheatley told me, it's on page 22 in the book, early in the book, because I take advice from others regularly. Some of you know that Phyllis Wheatley came to this country as an enslaved person when she was eight years old. She lived in Boston. She was ill when she got off the boat. And they named her Phyllis because that was the name of the boat. But they gave her a classical education. When she began to publish her poetry, people could not believe that a person of her racial background would be able to write English, Greek, and Latin with such proficiency.
Anna J. Small Roseboro [00:37:02]:
And so they had a public inquisition of her work, and she passed. She ended up going to England. A collection of her poetry was published. She even wrote a poem for George Washington when he became president, and he sent her a letter of appreciation. And so once I learned this, I said, maybe go back and talk to Phyllis Wheatley. What would she tell me? And this is what she said. When they challenge your intellect, girl, fight back. When they say, you didn't write that, I said, really? What does it lack? They shouted right back, it's because you're black.
Anna J. Small Roseboro [00:37:46]:
Blacks can't write like that. Oh, yeah? I said, maybe not like that. Watch my smoke. You better stay woke because I'm not through with you. Or you or you. I kept on writing, and I hope you do too. They'll believe what they see when your intellect shines through that melanin is only the color of skin, not indicative at all of what you can do. So keep on writing, and when you're through, they'll have to acknowledge what you did do.
Anna J. Small Roseboro [00:38:22]:
That's what Phyllis Wheatley told me. And if I had a chance to go back now, I'd ask her, how you like my poem, sweetie?
Roberto Germán [00:38:32]:
Well, thank you. Thank you for sharing that. And thanks to Phyllis Wheatley for the inspiration, yes. So, to those who are listening, what is the message of encouragement you want to offer them?
Anna J. Small Roseboro [00:38:48]:
Use pictures to teach whatever you want your students to learn. Invite them to write about, talk about, reflect on what those pictures are saying to them. Use that as a way of getting to know the students personally, but also as a way of assessing what you're teaching. You may be teaching social studies, you may ask them what it would be like to live in a place like this. You may be teaching them math and ask them if the tree in this picture is 12ft tall, what's the size of the other plants in this. In other words, you can use pictures to teach almost anything. And it can be an inclusive way to teach, but it also can be an efficient way to teach because you can use and reuse the same pictures for different purposes. And the students will not believe how much they are learning because they're having so much fun expressing themselves.
Anna J. Small Roseboro [00:39:55]:
And so I encourage you to use pictures, to use paintings, and let them speak for you and encourage students to write so that their writing paints for them.
Roberto Germán [00:40:09]:
Thank you and a pleasure to be here with you, to learn from you. Where can folks follow you and where can they purchase experience poems and pictures?
Anna J. Small Roseboro [00:40:24]:
They can follow me. On my websites, I have called an umbrella website called teaching to inspire, and there are links to some of the other pages that include one of the books that your wife, Lorena Germán, endorsed, called more about writing. I've had an opportunity to publish several textbooks based on my experience and those are there on that website. But the poems and pictures and the books that I've published myself are available on Amazon. So if you spell my name correctly, Roseboro. And don't get confused with Bill Roseboro, that's my husband, or Johnny Roseboro, who was a baseball player. Put my name in. You'll find my books on Amazon and on my website and by our publisher, Roman and Littlefield, who published the eight textbooks.
Roberto Germán [00:41:26]:
Well, there you have it, folks. Anna J. Small Roseboro, who gave you a lot of insight and also some practical application to guide yOur Classroom. Yes, y'all. If you haven't checked out experienced poems and pictures, make sure you do. Support Anna, support her work. What a wealth of knowledge. Thank you, thank you, thank you.
Roberto Germán [00:41:52]:
Your experience shows and I know I'm blessed just to be able to engage with you in this conversation, to learn from you, and I'm sure you have and will continue to impact many, many educators and learners alike. Thank you very much for being here.
Anna J. Small Roseboro [00:42:11]:
Pleasure to be here and to have such enthusiastic response from someone of your caliber as an educator and as a poet is honor. Thank you, ladder.
Roberto Germán [00:42:27]:
As always, your engagement in Our Classroom is greatly appreciated. Be sure to subscribe, rate the show, and write a review. Finally, for resources to help you understand the intersection of race, bias, education, and society, go to multiculturalclassroom.com. Peace and love from your host, Roberto Germán.
