Primary Sentence Fluency & Reader's Theater

Class comments from Kathy:

I was excited to see the example in the book that described a good way to begin teaching varying sentences was to model. That is exactly what I did with my class last year when I dabbled in teaching sentence fluency. I wrote a story similar to the boring beach story in the book. Mine was about playing at the park. I started every sentence with we and the sentences were short and simple. Then next to it I had a story with descriptive words, varied sentence lengths and different words starting the sentences. I started by asking which one was more enjoyable to listen to. They were able to respond correctly and talk about what made it more interesting to listen to. We then focused on the poorly written park story and how we could rewrite it to make it have more sentence fluency. We never got past the modeling and shared writing portion of this because the school year ended. I am excited to try some more of the ideas in Spandels's book this year.

Three times a week we work on fluency in our reading. A lot of this is done with reader's theater. This is a great way for students to work on their fluency and expression. Tying some of these writing ideas to their reading fluency will truly help them make the connection between reading and writing. Might be fun to give them a reader's theater written simply with no sentence fluency. Then with their partners or groups, have them rewrite their parts with sentence fluency. Then they can present the revised reader's theater to the class.

I think I will bundle this trait with word choice. Part of what makes a sentence fluent is choosing the right words.

Internet Resources for Conducting Readers Theater
(From the International Reading Association.)
http://www.readingonline.org/electronic/elec_index.asp?HREF=carrick/index.html

Reader’s Theater from the ProTeacher’s Archive
Lots of lesson plans and links to materials.
http://www.proteacher.com/070173.shtml

Reader’s Theater: Dr. Carl B. Smith, Professor Indiana University. A list of internet sites and formal citations about Reader’s theater.
http://www.indiana.edu/~reading/ieo/bibs/rdr-thea.html

Literacy Connections: Reader’s Theater
Nice selection of guides and books about RT!
http://literacyconnections.com/ReadersTheater.php

Synesthesia, Painting, Poetry, Sentence Fluency, Rhythm with Toby Lurie

Poetry - Painting - Song 

Later in my teaching practice I started writing grants to bring writers and illustrators to my school district. This helped me build a relationship with painter, musician and poet, Toby Lurie: http://www.tobypoet.com.

Toby is an amazing, creative, and unpredictable guy. (The link to his site will introduce you to his work. He shares many QuickTime audio clips of his work that trigger creativity.) It is fun to find him on the Internet after all these years.

I recall meeting him for the first time. Toby was wild white bearded poet with a dangerous gleam in his eye. One look at him and I realized that he was going to draw some lightening.  I was the language arts coordinator for a conservative Nevada school district. I knew Toby was going to make waves and I was glad to aide and abet in a little artistic subversion.  We were at the district's biggest high school.  I'd planned a full school assembly, but an uptight vice principal sand bagged me and side tracked us to a remote spot in the school where they kept the 'tough' kids.

As I was about to introduce Toby to a huge class of hyper-active alternative ed high school kids.  I didn't have a clue what he was going to do. The rowdy group had the bored vibe of caged cats.  I was sure this crowd of edgy and angry adolescents would tear us apart. 

Just as I introduced Toby, he whispered in my ear, "Tell them I don't speak any English."  I followed his lead and got out of the way.

Toby proceed to emote with sounds and facial gestures and within seconds he captured everyone's attention. He spoke gibberish but it didn't matter. This guy knew how to communicate with sound alone, words were an afterthought. The kids were riveted by the odd man capering and grunting in front of them.

By the end of the assembly everyone was up moving and chanting,  found poetry echoed off the walls and we were all swimming in Toby's unique tone patterns.  Sometimes it's good to be in alternative ed!

To really appreciate Toby's work you need to hear and see him. This new video Synesthesia Part 1 will give you a taste. 

Synesthesia part 1 from Terrence Vaughn on Vimeo.

Choral Reading, Toby Style

Several years later on one of his return visits, Toby taught me a great method that ties perfectly into the concepts of rhythm and sentence fluency. After a writing session, Toby had each student pick a single line from their work. Then he called 6-8 volunteers to come to the front of the room. They lined up shoulder to shoulder and started to read their lines in order from left to right. The first boy read. Then the second. Suddenly Toby would point back to the first and have him repeat the line. Toby would would mug and gesture and flail his arms like a demented conductor, all to draw more emotion and voice from the reader.

We soon understood that Toby was conducting a word orchestra and hearing special music.

The kids began reading their lines louder or lower, deadpan or angry, happy or weeping. Once the whole group of young ones had read once, Toby layered together a sound poem based on the melodies of repeated lines and varied voice.

Sometimes Toby had the same student read two or three times in a row or come back to one particularly powerful line repeatedly. No one in the chorus knew when they'd be called on and everyone was amazed at the nuances and lunacies that spilled out of it all.

Toby created a wild reader's theater  of word choice, sentence fluency, voice, organization, and ideas all wrapped in a spontaneously generated poem. It was hilarious, energizing,  fun. Everyone loved it.

All of this points to the powerful mix of music, performance, and poetry that supports sentence fluency (and all the other traits as well).

I  used this method myself two or three times a year for the rest of my classroom teaching career. I got so I could conduct a pretty good sound/word poem, but I could never top the Maestro!



Synesthesia part 2 from Terrence Vaughn on Vimeo.

Primary Sentence Fluency Whales Passing

• Teaching the trait of sentence fluency using Whales Passing | Scholastic.com
  
  
  
  • Teaching Sentence Fluency Using Whales Passing by Eve Bunting
  • Sentence Fluency: A Definition for Primary Students
    The sentence fluency trait has two important dimensions: the grammar that makes a group of words a sentence and the way sentences sound.Indeed, this is the auditory trait, where we learn to read with our ears right along with our eyes.

Posted from Diigo. The rest of my favorite links are here.

Fluent Like Water by Sharmane Miller

This post by Sharmane Miller of Nassau Bahamas was offered as part of my online class Teaching and Assessing Writing with the Six Traits ~ Dennis

Standing at the shoreline watching the gentle waves push the cool water between the cracks of my toes and hearing the synchronized breathing of each ripple, provides a powerful image of fluency for me.  Living on a very small island, I tend to focus a lot on the water and this week I draw from it to conceptually teach sentence fluency.  Just as it experiences low and high tide, students experience sentences with varying lengths and meter.  At times the water is a bit cold and harsh and we need to move into it slowly or throw caution to the wind and dive in quickly.  Either way, some movement must take place.  I can really milk this metaphor for more links to fluency but I’ll quit while I’m ahead :-)

As I read through the similes and metaphors suggested in the introduction of this module, a past writing assignment of my former sixth graders came to mind.  After listening to Georgia Heard talk about finding poetry in unusual places, they wrote a single sentence response, which exemplify the power of sentence fluency. 

Dwayne wrote, “I find poetry in a scary book that sends chills down my spine with the turning of each page.” 

Justin said, “I find poetry while I’m in the yard playing in the dirt,” while Gillian explained, “I find poetry through my father’s car window as I gaze lazily at the passing landscape.” 

When each of them in turn read their sentences, what resulted was a wonderful rendition of rhythm, cadence, power and movement.  Getting students to “pitch in” by adding a sentence or two for a class writing project worked well for teaching fluency, but I’m sure some adjustments would have to be made for the younger writers.

Christopher Meeks suggested that poetry lets you live in a world with new spectacles and since sentence fluency is influenced greatly by poetry, I feel that students must get accustomed to this new lens before introducing other features with it.  By this I mean, it wouldn’t hurt to introduce students to the trait of sentence fluency separately (choosing the frame), then in subsequent lessons put on the high definition lenses (voice) and throw in some tint (word choice) to reinforce the connection between the traits for a totally cool spectacle (writing with style). 

When I do take this approach, one of my favorite activities is the sentence pyramid, but I must agree with the readings that nothing beats the impact of plain old reading aloud.

 Sharmane (Nassau)

Sentence Fluency, Repetition, & Poetry

One powerful element of sentence fluency is the repetition of key phrases. This is especially powerful in poetry. The repetitive form, when used for effect is a sign of strong sentence fluency. The repetitive form used without an awareness of sentence fluency presents a teachable moment.

Reading this week's posts helped me recall a couple of terrific books for teachers written by the Poet Kenneth Koch. Rose, Where Did You Get That Red? & Wishes, Lies, and Dreams are books I can recommend without reservation. I used them when I first started teaching an was pleased to find both books still in print. I'm sure my copies are somewhere in the boxes of books I lug from place to place.

I used Koch's methods many times and they were always a hit with kids in the 5-8 range. I suspect Koch would play well in any age range and work well in the primary grades.  Here's an example of lessons and writing inspired by Rose, Where Did You Get that Red? from Poets.org.

From Wishes, Lies, and Dreams: Teaching Children to Write Poetry (p. 4-5) Kenneth Koch, Rod Padgett

"I asked the class to write a poem together, everybody contributing one line. The way I conceived of the poem, it was easy to write, had rules like a game, and included the pleasures without the anxieties of competitiveness. No one had to worry about failing to write a good poem because everyone was only writing one line; and I specifically asked the children not to put their names on their line. Everyone was to write the line on a sheet of paper and turn it in; then I would read them all as a poem. I suggest we make some rules about what should be in every line: this would help give the final poem unity, and it would help the children find something to say. I gave an example, putting a color in every line, then asked them for others. We ended up with the regulations that every line should contain a color, a comic-strip character, and a city or country; also the line should begin with the words "I wish."

I collected the lines, shuffled them, and read them aloud as one poem. Some lines obeyed the rules and some didn't; but enough were funny and imaginative to make the whole experience a good one--

I wish I was Dick Tracy in a black suit in England
I wish that I were a Supergirl with a red cape; the city of Mexico will be where I live.
I wish that I were Veronica in South America, I wish that I could see the blue sky...

The children were enormously excited by writing the lines and even more by hearing them read as a poem. They were talking, waving, blushing, laughing, and bouncing up and down. "Feelings at P.S> 61," the title they chose, was not a great poem, but it make them fell like poets and it make them want to write more."












Poetry out loud and a form of reader's theater

Later in my teaching practice I started writing grants to bring writers and illustrators to my school district. This helped me build a relationship with painter, musician and poet, Toby Lurie: http://www.tobypoet.com. Toby is still an amazing, creative, and unpredictable guy. (The link to his site will introduce you to his work. He shares many QuickTime audio clips of his work that trigger creativity.) It was fun to find him on the Internet after all these years.

I recall meeting him for the first time. I was about to introduce him him to a huge high school class of alternative ed kids. Even back then, he was wild white bearded poet is a gleam in his eye. I thought the tough crowd of edgy and angry high schoolers would tear him apart.

Just as I introduced Toby, he whispered in my ear, "Tell them I don't speak any English."

He proceed to emote with sounds and facial gestures and within seconds he captured everyone's attention. By the end of the assembly everyone was up moving and chanting found poetry immersed in Toby's unique patterns.

Several years later Toby taught me a great method that ties perfectly into Koch's I wish lesson. After a writing session, Toby had each student pick a single line from their work. Then he'd ask for 6-8 volunteers to come to the front of the room. They'd line up shoulder to shoulder and read their lines. Toby would point at them to read while he gestured to draw more emotion. Students began with confusion, but soon understood that Toby was conducting a word orchestra. They began reading their lines louder or lower, deadpan or angry, happy or weeping. Once the whole line had read once, layered together a sound poem based on the melodies of repeated lines and varied voice. Sometimes Toby had the same student read two or three times in a row or come back to one particularly powerful line repeatedly. No one in the chorus knew when they'd be called on and everyone was amazed at the nuances and lunacies that spilled out of it all. Toby created a wild reader's theater display of word choice, sentence fluency, voice, organization, and ideas all wrapped in a spontaneously generated poem. It was hilarious, energizing and fun. Everyone loved it.

All of this points to the powerful mix of music, performance, and poetry that supports sentence fluency (and all the other traits as well).

I'd use this method myself two or three times a year. I got so I could conduct a pretty good sound/word poem, but I could never top the Maestro!

Resources:

Here are links to Amazon pages with the See Inside the Book Feature. You can get a glimpse of some great writing and if you wish buy these books as inexpensive paper-backs.

Rose, Where Did You Get That Red http://tinyurl.com/amazon-see-inside-rose-red

Wishes, Lies, and Dreams: http://tinyurl.com/amazon-see-inside-wishes-dream

Books for Teaching 6-Traits

Looking for just the right book to present a traits concept?

Checkout my Writer's Bookshelf!

6-Traits: Vickie Spandel

6-Traits: Ruth Culham

Great Writing Advice

Teaching Ideas & Content

Teaching Voice

Teaching Organization

Teaching Word Choice

Teaching Conventions

Six Traits Search Engine

Try this Six Traits Search Engine I built using a social search system called Swicky. You can vote for your favorite materials and suggest sites you'd like included in the search results. Go to the site and click on the keywords in the tag cloud. See what you think! ~ Dennis

Methods of Teaching Sentence Fluency

Methods of Teaching Sentence Fluency Summary  (Ideas from the active classrooms of teachers from around the world!

• Decide on a topic with the students. Roll a die. The number it lands on shows how many words must be in the opening sentence. Keep rolling the die to have students create sentences to match the number rolled - without using the same first word used to begin the initial sentence. Continue for 8 to 10 sentences.
  

• "Lots of Color"
  
  Use a well-written paragraph from a favorite novel; type it on the computer, highlighting the first word of every sentence in a different color if the word is different. A great visual to demonstrate how many different ways an author begins a sentence. Then have students use crayon to do the same with their writing. ~ KA
• N2SSA rule: No 2 Sentences Start Alike. The rule meant that no 2 sentences could start with the same phrases on the same page or paragraph, depending on the age.
• I also LOVE reader's theater. I think the more children can read aloud, whether it is their own work or someone else’s is so beneficial.

• Read into a tape recorder. That way he can practice, or even erase sections. He could play the tape for a small group or the class when he's ready. It may be an issue of shyness rather than confidence in his reading. You might even begin by having him just tell his story rather than read word for word. Those strategies helped by learning disabled students start to develop confidence in themselves. ~ Pat

• Vicki Spandel offers the following suggestions:
1. First, as teachers we must not be shy or hesitant ourselves but actively model reading aloud.
2. Second, encourage students to read aloud as often as possible and appropriate.
3. Third, have young writer's read aloud into a makeshift PVC pipe type telephone to amplify their unique individual voices
4. Lastly, consider having them perform an age appropriate scene from a famous drama or read aloud from one of their favorite poems...(193). ~ TJ
• Have your shy student read to another adult in your school. It my school it is not uncommon to see a student reading to the principal, nurse, secretary, custodian, etc. ~Jeanette
• I wanted to let you all know that the PVC phones mentioned in CYW on p. 123 are fantastic!! The child just whispers into the phone and can easily hear the words said. We actually call them whisper phones. I'm definitely going to have the students use them as they write. ~ Karen A

• The most important lesson I will take away from our module on Fluency is: READ ALOUD. Children need to hear their own work read aloud. They need to learn to identify places that make them say, "I have to fix that." or 'I like the way that sounds." ~Jeanette
  

• Have students listen to audio recordings performed by authors that they are acquainted with and discussing their reactions.~ JA

• The books by Chris Van Allsburg have several options on how to use this book to enhance writing fluency at www.writing.fix. Just scroll down until you see Sentence Fluency. ~ Nita

• Spandel's quote from Mem Fox on p. 58 was interesting: "...vocabulary and a sense of rhythm are almost impossible to 'teach' in the narrow sense of the word. So they learn by being read to ... a lot!". Shel Silverstein and Jack Prelutsky are my favorites. ~ Karen A
• I really appreciated your post recalling Presidents John F. Kennedy's inauguration and Robert Frost reading one of his poems. I too watched the inauguration ceremonies on TV and heard one of America's preeminent poets voice and the powerful effect of his sentence fluency. Wasn't that a great way to be introduced to poetry! To see poetry have a place of honor at the table when the transfer of power was being celebrated by the worlds most powerful nation.; I Have a Dream speech  ~Tom

• After reading the "extra readings" such as "Poetic Sense: Sound &; Imagery" and listening to the lecture where it states, "Poetry readings, choral reading and verbal performances of any kind are Sentence Fluency exercises," hearing the masters read their own work.
• How wonderful that you remember Robert Frost reading Apple Picking Time! I love Robert Frost's poetry and remember my high school English teacher reciting The Road Not Taken. I don't think I would remember that poem if it was not for the rhythm and fluency. Poetry's fluency allows us to remember the verses as a song and I think that's important. Frost's Stopping by Woods on a Snowy Day is another favorite and a memorable verse: But I have promises to keep, And miles to go before I sleep. I'm sure we all remember this one. ~Diane

• I find that imitation is one of the best ways to get anyone, of any age started in writing - period. Not many students will end up pirating someone else's style. ~Meg

• The text states, "Sentence fluency is the rhythm and flow of language." It also states, "Skillful writers find ways to hook sentences together. They also read their own writing aloud to get the sound and rhythm. Fluency is readily measured by how easy it is to read text aloud and to weave in plenty of expression as you do so." (Spandel, pg 10)

• I also have used song lyrics in my poetry units. This is a GREAT motivator for middle school students, especially 8th graders. I have found that this age (approximately 14 years old) is the beginning of self-discovery and that they are really getting into the "lyrics" of songs, not just the artist. Lyrics are poetry put to music, and even if you read the lyrics without the music, the fluency really comes through. There is a resource called "Hip Hop Poetry and the Classics ~ Meredith

• Get your hands on some Reader's Theaters ~Meg

• Having students read their own work aloud is a fine tactic. Combine this with reading anonymous strong and weak examples and you reinforce the lesson even more. This is a good way to help those who don't have the 'ear' to hear problems in their own writing! ~Den

Concerns about reading aloud:

• Do other teachers find that imitation takes over for personal style when oral works are shared in the context of teaching style/voice/sentence fluency? How is this addressed? Some resources I have seen encourage teachers to have students model their work on a great writer...but can't students get stuck in doing this? ~Tiffany
  
• Students might begin with imitation of authors because they are unsure of how to write fluent sentences. By giving our students many opportunities to hear and write fluent sentences as well as to identify sentences lacking fluency we can help them recognize that fluency comes in many forms. This also gives them a number of ways to create fluency in their own writing. Most kids are storytellers if we give them the tools and the space to make mistakes along the way. ~Pat

• I think Spandel's title for sentence fluency, "Variety and Rhythm" is right on and it is exactly what I plan on emphasizing when I do teach this trait. So often, I see the predictable subject/predicate, subject/predicate sentence structure that I can clearly see how this is one trait that needs attention in my students' writing. We happen to be reading "The Monkey's Paw" right now and the climax of this story, when read aloud, provides a really powerful opportunity for teaching sentence fluency and how the pacing and placement of fragments add to the suspense of the plot. Reading aloud is a biggy with this one.
  
  
• I think for me your description of fluency singing is just right. However, I have to remind myself that fluency or the type of flow in a piece of writing is different if the writing is a story or if it is expository. In my ear, they can both have wonderful fluency but the way that is achieved is definitely not the same. ~ Pat

Can you teach fluency with any other trait?

• I had a hard time distinguishing between voice and fluency for a bit, so I thought maybe I could teach them together. Now, the more I read and the more I read aloud and notice good sentence fluency, I see the distinct differences and I think I need to make sure my students see them too. The voice of a piece reflect who the author is and fluency is more of a skillful art of writing good sentence that add a rhythm to the piece. ~ Meredith
  

• I find interesting the idea of bundling word choice and voice into a trait called style, and I highly disagree with that concept. Why take the clearly defined, relatively easily identifiable traits of word choice and voice and combine them into an ambiguous, relatively meaningless category called style? In the business world, the concept of "style" is used to promote conformity to company or departmental standards. In some of the writing departments where I've worked, the motto has been "many writers, one voice," and that is achieved by strict adherence and strict editing to detailed standards of "style," which include predefined word choices, terminology, formatting, page layout, punctuation, capitalization, organization, etc. In short, "style" includes all the traits and is used to strip individual characteristics from writing.

• I think that a writer's style evolves from application and evaluation of all the traits -- it is the end result, the high quality, holistic synthesis we hope our students will achieve. ~ Tricia
  

• I agree with all of you - I wouldn't bundle this trait with anything else either. For my younger students, it's important for them to learn about and focus on one aspect at a time. I think that helps them better understand what to look for in good writing. It's also easier for them to understand as we conference and talk about voice or their organization, etc. I've seen that same blank look where Pat, It is so interesting how different "worlds" bring their own perspective and objective to the work place. ~KA

• I am thinking that the sentence fluency trait, with its emphasis on reading aloud, is the cumulative trait in that reading aloud improves and reinforces all other writing (and reading) traits and skills.. ~Tom
  
• I would not bundle sentence fluency with another trait either as Trisha stated. I think if the organization and punctuation are not correct then the story won't flow. Both Culham and Spandel state that sentence fluency is an auditory trait. ~Diane
• I honestly would not bundle sentence fluency with any other trait. I think how sentences flow should be in a category all by itself. If it would go with any other trait, I would put it with conventions. I would only suggest this because if you are missing period, commas, or other mechanics, or if there are too many the sentences do not flow together properly. ~Trisha K

• You raised precisely the important question, of how fluency is more than just varying sentences, using transitions, and varying sentence lengths. Fluency really is the music of the piece and we've got to examine the whole to hear it. The context, purpose, and audience all play some role in determining fluency.

• I'm glad you raised the issue of different types of writing. In technical, "how to," or business writing, the characteristics of sentence fluency can be quite different than in creative writing. For example, starting each step in a procedure with an action verb is considered very good form in technical writing, as is consistent use of terminology, rather than the variety of word choice that might be more pleasing in fiction or poetry. Coming from a career in technical writing, I can definitely say that sentence fluency is a major issue -- I wouldn't call it singing, but cadence, consistency, and concision are probably the watchwords for procedural and business writing. ~Tricia

• You pointed out precisely what makes strong technical writing. The action verbs at the beginning of sentences and the repetitive use of the same sentence structure can really emphasize a point when not overdone. I think we need to examine the effectiveness of the writing techniques our students use without condemning any one element for what is generally a weakness i.e. starting all sentences with the same word or using only short simple sentences can also be used to wonderful effect in the right hands.

Questions for further thought:

• I would love some suggestions to help a child who struggles with the confidence to read out loud, but writes very well. He always wants someone else to read his original work. How do I help him come out of his shell? How long do I let him have others read his own writings? ~Kerry

• Do other teachers find that imitation takes over for personal style when oral works are shared in the context of teaching style/voice/sentence fluency? How is this addressed?

• As writing teachers, how can we create safe environments for our students to risk expressing those strong voices? All children have that sense of passionate voice but are often unwilling to let us see it for fear of criticism or rejection, the lessons of the editor's red pen. How can we encourage that joy of writing? ~Pat

Resources:

• Silverstein's website if terrific with a variety of activities - one is listening to and identifying poems. http://www.shelsilverstein.com/indexSite.html
• Prelutsky has similar activities: http://www.jackprelutsky.com/
• Scholastic has a lesson on writing poetry: http://teacher.scholastic.com/writewit/poetry/jack_home.htm
• I did a quick search for resources to use in teaching fluency and came across some very interesting sites. If you would like some practical suggestions just check these out. Pat
• Strategies for teaching fluency http://tusdstats.tusd.k12.az.us/planning/resources/getting_to_know_the_six_traits/Sentence_Fluency_TbyT.htm
• Nice checklist for students http://www.kimskorner4teachertalk.com/writing/sixtrait/sentencefluency/read.html
• PowerPoint on sentence fluency http://www.gse.buffalo.edu/org/writingstrategies/pdffiles/7_6Traits_SentFluency.pdf
• Suggested stories for teaching fluency http://www.cyberspaces.net/6traits/book7.html
• A lesson plan for middle school http://www.geocities.com/jdljdljdl/SentenceFluency_LessonPlan.htm
• Links to a variety of 6 Traits materials
• http://www.cms.edu.do/Teachers%20Folders/willian%20farren/Pages/express/expindx.htm
• The Z was Zapped" that was geared toward sentence fluency. The web address for this activity is http://www.writingfix.com/Traits.htm
• Chris Van Allsburg books with suggestions on sentence fluency www.writing.fix

6 Traits Sentence Fluency: Listen for it!

The key to teaching the trait of sentence fluency is to let the ears of your students develop the concepts of cadence and rhythm. There's no better way to do this than to listen to a wide variety of literature read aloud. Serendipity brought my attention to some fine new online resources that will help us all learn to listen!

Mary Lee, a wonderful teacher at the Taipei American School translated the ideogram on the top of this page as Listen or Hear. This symbol is especially appropriate for the trait of sentence fluency. (Thank you Mary!)

For over 10 years, the Lannan Foundation produced and donated full-length video programs featuring major poets and writers from around the world reading and discussing their work to libraries, schools, universities, etc. The Lannan Foundation website has a audio archive of the titles in addition to many new files from the many literary and cultural events hosted by the Foundation:

The Lannan Foundation is also podcasting the current Readings & Conversation events as well as past events,with new shows each week. This podcast archive is hosted on iTunes and available as free downloads in MP3 format.

There are great materials here folks!

~ den