Novice Teacher Quotes

A warrior's greatest enemy can also be his greatest teacher.

The question is not "can you wear your father's shoes?". The question is "can you walk in your father's shoes?". It is one thing having a mentor and it is another thing to become like your mentor.

Song of myself I am of old and young, of the foolish as much as the wise, Regardless of others, ever regardful of others, Maternal as well as paternal, a child as well as a man, Stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine, One of the Nation of many nations, the smallest the same and the largest the same, A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live, A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth, A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian, A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye; At home on Kanadian snow-shoes or up in the bush, or with fishermen off Newfoundland, At home in the fleet of ice-boats, sailing with the rest and tacking, At home on the hills of Vermont or in the woods of Maine, or the Texan ranch, Comrade of Californians, comrade of free North-Westerners, (loving their big proportions,) Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat, A learner with the simplest, a teacher of the thoughtfullest, A novice beginning yet experient of myriads of seasons, Of every hue and caste am I, of every rank and religion, A farmer, mechanic, artist, gentleman, sailor, quaker, Prisoner, fancy-man, rowdy, lawyer, physician, priest. I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place.

. . as A martial arts teacher, we should never forget the first time we stepped onto the Dojo ground, remembering this, we will be better equipped to teach the next generation of Karate practitioners

Failure gives the bald hairs; equips the novice with experience. The learner, sooner or later, becomes a teacher by it.

It is the 'Teacher', that shapes a novice; not only with his studies, but character too.

Solitude is our greatest teacher

Narcissus’s thoughts were far more occupied with Goldmund than Goldmund imagined. He wanted the bright boy as a friend. He sensed in him his opposite, his complement; he would have liked to adopt, lead, enlighten, strengthen, and bring him to bloom. But he held himself back, for many reasons, almost all of them conscious. Most of all, he felt tied and hemmed in by his distaste for teachers or monks who, all too frequently, fell in love with a pupil or a novice. Often enough, he had felt with repulsion the desiring eyes of older men upon him, had met their enticements and cajoleries with wordless rebuttal. He understood them better now that he knew the temptation to love the charming boy, to make him laugh, to run a caressing hand through his blond hair. But he would never do that, never.

the concept of scaffolding to investigate teacher questions as ‘mediational tools within the dialogue between the teacher and students’ (p. 184). As we saw in Chapter 1 and Chapter 4, scaffolding refers to a process in which, for example, a more knowledgeable (or expert) speaker helps a less knowledgeable (or novice) learner by providing an interactional framework that the learner can build on.

The arrow-finger of life is problem. When we were young as aged as 5; who could bother you to take your own walk to the market? We were so novice that we never knew when our dad/mom's sweat hurted while in their eyes. All because they were facing life's problems to see us today. Today the cup is on our table; hot. You wanna take it fast, it burns you. You feel like taking it slower, it detains you. What is problem? A life's teacher.

Fake it till you become it. Before DWTS, I was not a choreographer; I was not a teacher. I was neither of those things and had never attempted them before. So the best I could do was fake it. I had to play the part of the pro for the cameras. I couldn’t walk into the studio and confide in Jennie or Shawn or any of my partners, “Gee, I’m sorry. I have no idea what I’m doing.” I had to take the lead and be strong. When I was dancing with Brooke Burke, they asked us to do the Lindy Hop. I had never done it before in my life. I went on YouTube and watched videos of how to do it. Then I printed out a floor plan of the steps and learned it right along with Brooke. Did I ever let her in on the fact that I was a novice here as well? No. I just projected confidence and assurance, and she picked up on that vibe and went along with it. We did a damn fine Lindy.

Meanwhile, I was still an out-of-her-element novice from Oregon. Steve wanted to help me feel as comfortable with snakes as I was with my mammal friends. I’d had some experience with reptiles before, but it certainly wasn’t my forte. Since I was living every day with about a hundred and fifty snakes, in a country that was home to the top eleven most venomous snakes in the world, it was time for a Stevo snake education. He knew just the right teacher. “Let me introduce you to Rosie,” Steve said to me one day, bringing out a beautiful boa constrictor. She was eight feet long, as fat as my arm, and very sweet. But when I first met her, I was a bit more nervous than I wanted to admit. “The first step is to get to know each other,” Steve explained. I tried. While Steve cooked dinner, I sat at one end of the sofa. Rosie lay coiled at the other. I eyed her suspiciously. She eyed me the same way, both of us hoping that we each didn’t just suddenly fling ourselves at the other in attack. I was worried about her, and she must have been worried about me, too. Friend or foe? Back when we first met, neither of us knew. Finally there came a revelation. I watched her, curled up on her end of the sofa, and I realized Rosie was actually more wary of me than I was of her. That’s when I started to understand the thought process of the snake. Snakes are very logical: If it’s bigger than me, I’m afraid of it. If it’s smaller than me, I will eat it. Fortunately, I was way too big for Rosie to think of me as a snack. I inched closer to her. Rosie tentatively stretched her neck out, flicked her tongue a few times, and slid into my lap. It was a monumental moment and a huge new experience for me. We began to check each other out. I stroked her soft, smooth skin. She smelled every little bit of me, and since snakes smell with their tongues, this meant a lot of flicking and licking. She licked down the front of my knee and flicked her tongue at my shoelaces. After a long day traipsing around the zoo, my shoes must have smelled…interesting. Up she came. As she approached my face, I felt myself instinctively recoil. Incredibly, even though I betrayed none of my inner thoughts, Rosie seemed to sense my anxiety. She slowed down and hesitated. As I relaxed, she relaxed. As time went by, I was able to tolerate Rosie around my shoulders. Soon I did the dishes with Rosie around my neck, and paperwork with her stretched out on the table. We began doing most of my household chores together. She preferred small indoor spaces where she felt secure, but she became braver and braver as she trusted me more.

Through long immersion in a particular field of practice and inquiry, you become a connoisseur of a certain class of intellectual problems. You adopt the language of your subfield, but also a shared, usually inarticulate sense of what sort of problems are worth investigating: what to take seriously. In the course of this apprenticeship you make the characteristic mistakes of a novice, and suffer their humiliations before your teachers (who include the more advanced graduate students). Conversely, you experience elation at those moments when you feel a growing mastery—you’re becoming a journeyman.

We all worked, but we didn't work all day. There was time for us to study the sutras, practice writing, listen to the teachings given by our teacher, chant, and meditate. Most important was meditation. My teacher taught that meditation was the door to understanding, and the career of monks and nuns.

McCormick and Donato identified six functions of scaffolding (for example, drawing the novice’s attention to the task, and simplifying or limiting the task demands). The researchers examined another function—the teacher’s use of questions during scaffolded interactions—and how it contributed to class participation and learner comprehension. In the example below, they argue that the teacher’s use of the display question ‘Who usually lives in palaces?’ serves an important pedagogic function because it draws the learners’ attention to the word ‘palace’ through the display question and facilitates the learners’ comprehension of the word.   T Palace?   S1 Like castle?   S2 Special place, very good.   S3 Very nice.   T Castle, special place, very nice. Who usually lives in palaces?   SS Kings.   T Kings, and queens, princes and princesses.   SS Yeah   S4 Maybe beautiful house?   T Big, beautiful house, yeah, really big. McCormick and Donato suggest that questions should be examined within the framework of scaffolded interaction and with reference to the teacher’s goals in a particular lesson or interaction.

John Bransford, a gifted education researcher, has spent many years studying what separates novice teachers from expert teachers. One of many things he noticed is the way the experts organize information. “[Experts’] knowledge is not simply a list of facts and formulas that are relevant to their domain; instead, their knowledge is organized around core concepts or ‘big ideas’ that guide their thinking about their domains,” he cowrote in How People Learn.

Students are subordinate to materials, much like novice cooks are subordinate to recipes. If you select the wrong material, the wrong textbook, the wrong group of words, it doesn’t matter how much (or how well) you study. It doesn’t matter how good your teacher is. One must find the highest-frequency material. Material beats method.

Just as novice musicians must spend many hours practicing basic skills like playing scales or mastering difficult passages--and frequently do so in the presence of their teacher, receiving immediate and individualized feedback--so must our students spend many hours practicing the basic intellectual skills of our discipline.

Wachawi hivi ndivyo wanavyoapishwa na kuikana imani ya Kikristo: Mwanafunzi hupelekwa kilingeni katika siku maalumu kuonana na Shetani, pamoja na jopo la wachawi. Shetani hutokea katika mwili wa hewa, mwili uliochanganyikana na hewa na mvuke mzito, wa mwanamume na kuwasihi waishikilie imani yao kwake kwa mioyo yao yote, huku akiwaahidi utajiri na maisha marefu kama hawatamkana. Kisha wachawi wanampendekeza mwanafunzi kwa Shetani. Shetani humuuliza mwanafunzi kama yuko tayari kuikana imani yake, kuachana na Ukristo na kutokumwabudu Mwanamke Aliyebarikiwa Kuliko Wanawake Wote Duniani Maria Magdalena, na kutoziheshimu sakaramenti za aina zote. Mwanafunzi atakapokubaliana na masharti hayo, Shetani atanyoosha mkono wake na kumsihi mwanafunzi anyooshe wa kwake. Kwa mkono wake mwenyewe, mwanafunzi ataapa na kuweka agano na Shetani mbele ya jopo la wachawi. Baada ya hapo bila kuchelewa Shetani ataendelea na kusema kuwa hicho kiapo hakitoshi. Lakini mwanafunzi atakapouliza afanye kitu gani cha ziada, Shetani atahitaji kiapo kifuatacho kwa heshima yake na kwa heshima ya mashetani wote: Mwanafunzi ajikabidhi kwa Shetani kwa mwili na kwa roho yake yote daima dawamu, na afanye kila awezalo kuleta wanafunzi wengine wa kike na wa kiume katika ufalme wake. Kama hiyo haitoshi Shetani ataongeza kuwa lazima mwanafunzi atengeneze mafuta fulani kutokana na mifupa na viungo vya miili ya watoto, hasa watoto waliobatizwa, kwani kwa kufanya hivyo atamtimizia kila kitu atakachokitaka hapa duniani. Hiyo ni njia mojawapo ya kiapo. Njia nyingine ya kiapo ni kwa wale ambao hawajiamini au wana hofu ya kuonana na Shetani uso kwa uso kilingeni, akiwa na mwili wa kimazingaombwe na sauti ya kutisha kwani Shetani hana mapafu wala hana ulimi. Badala ya kilingeni mwanafunzi hupelekwa kanisani na jopo la wachawi ambapo mbele ya jopo atalazimishwa kuikana imani yake, kumkana Yesu Kristo, kuukana ubatizo na kulikana kanisa zima kwa ujumla wake. Mwanafunzi baada ya hapo atalazimishwa kutoa heshima kuu kwa Mfalme Mdogo, kwani hivyo ndivyo wanavyomwita Shetani ili kumwondolea mwanafunzi hofu, kisha atalazimishwa kunywa supu ya mtoto mchanga waliyemuua akazikwa kisha wakamfukua na kupika viungo vya mwili wake; na dakika hiyo mwanafunzi atapata maarifa, maarifa ya kichawi, kama walimu wake na watarudi nyumbani.

Teaching music to beginners is a rewarding journey that requires patience, creativity, and effective instructional strategies. Whether you're introducing young children to their first instrument or guiding adult learners through the basics of music theory, creating engaging lessons is essential for fostering a love for music and promoting skill development. In this blog, we'll explore practical strategies and techniques for teaching music to novices, focusing on methods that inspire enthusiasm, facilitate learning, and cultivate musical growth. Before diving into the lesson material, it's essential to establish clear learning objectives that outline what students will be able to accomplish by the end of each session. These objectives should be specific, measurable, achievable, relevant, and time-bound (SMART), providing students with a clear roadmap for their musical journey. By clearly defining learning goals as emphasized by music teachers like Charles Barnett, students can understand what is expected of them and track their progress over time, enhancing motivation and accountability. Moreover, aligning learning objectives with students' interests, abilities, and developmental stages can help tailor the lesson content to their individual needs and preferences. Whether the goal is to master basic instrumental techniques, understand musical notation, or develop ear training skills, ensuring alignment between objectives and student expectations is crucial for creating engaging and effective music lessons.

When we have the impression that we're all alone and nobody supports us, we can remember that it's only a perception. It's not accurate. Think of a tree standing outside right now. The tree is supporting us with beauty, freshness, and oxygen for us to breathe. That kind of support is also a kind of love. The fresh air outside, the plants that feed us, and the water that flows over our hands from the tap all support. There are many ways that people can support us and love us without actually saying, "I love you." You may know people who have never said, "I love you," but you know they love you. When I was ordained as a novice monk, I had a teacher who I knew loved me deeply, but he never said, "I love you." That is the traditional way. If one pronounced the words, "I love you," it seemed that some of the sacredness was lost. Sometimes we feel very grateful, but we want to express our gratefulness in ways other than simply saying, "thank you." Look for the many ways people communicate their love without saying it. Maybe, like the tree, they are supporting you in other ways.

For novice teachers, in particular, methods offer a lifeline.

What you study is more important than how you study. Students are subordinate to materials, much like novice cooks are subordinate to recipes. If you select the wrong material, the wrong textbook, the wrong group of words, it doesn't matter how much (or how well) you study. It doesn't matter how good your teacher is. One must find the highest-frequency material. Material beats method.