Child Book Project

• Introduction
• Before beginning the assignment, go to the Early Childhood High School Pathways Program and Courses Learning Resource Center. Once there, click the High School Pathways Program Course Resources tab in the Resources box. There you will find a template for this Child Book Project assignment. Download, review, and use the template as you complete this assignment.

One of the most enjoyable and rewarding experiences you can have is sharing a book with a young child. Children enjoy exploring books by touching them, looking at them, and listening to them being read aloud. The reader’s enthusiasm and tone of voice, as well as the circumstances under which the book is being read, are crucial to the child’s enjoyment of story time.

Exploring Books

When you share books and stories with infants, toddlers, and two-year-olds, you’re supporting their development in many different ways. First, reading is an excellent way to strengthen language skills and vocabulary, giving children the opportunity to learn new words to describe objects, animals, feelings, colors, shapes, and experiences. As they grow, they’ll begin to mimic the animal sounds and repetitive phrases commonly found in children’s stories. Exploring books also helps infants to develop their fine motor skills. A baby may grasp the book, feel its texture, shake it, toss it, or chew on it. In addition, reading involves pleasant interaction between the young child and an adult or older child, reinforcing its appeal.

Books are an essential part of any education program. The area of your classroom dedicated to reading should be cozy and inviting. A child-size rocking chair, cushions, pillows, and other inviting furnishings are excellent choices for the space. Books shouldn’t be limited to this area only, however. Looking at books should be encouraged in any area of the classroom.

Selecting Books

When you select books for your reading area, there are many factors you must keep in mind. The books you choose must be developmentally appropriate and depict a wide range of characters from diverse backgrounds. Once you have an appropriate collection of books, it’s essential to rotate the books on your shelves so that each week there’s a new selection from which the children may choose. While rotation helps to hold the children’s attention, you’ll also want to keep a stack of much-loved favorites nearby for repeated readings.

Reading and Age Groups

While a young infant may be capable only of focusing on a bold picture and enjoying the sound of your voice, older babies and toddlers need more interaction during reading time. Each age group has its own set of needs, and the following guidelines will help you choose books that are developmentally appropriate.

Young Infants (Birth–9 Months Old)

Books for young infants should have the following characteristics:

Illustrated with bold, simplistic pictures

Durable and washable

Constructed of heavy cardboard, vinyl, plastic, or cloth

Made with pages that are easy to turn, such as board books

Interactive, including folds, flaps, and textures to feel and manipulate

Wordless or include one to two words on each page

Mobile Infants (10–17 Months Old)

• When choosing books for older infants, remember the following:
• Books for this age group should be sturdy.
• Older infants are attracted to pictures of things that are recognizable and easily named.
• Wordless books should show familiar objects that may be counted or named.
• Older infants enjoy rhyming and repetition.
• Older infants are beginning to choose books based on content.

Content should be simple, involving topics such as animals, babies, and families.

Books should include one to two words or one short phrase of three to five words on each page.

Toddlers (18–23 Months Old)

• Toddlers are ready for books with the following qualities:
• Simple plots and a few simple or short phrases (three to five words) words on each page
• Topics such as families, animals, feelings, or daily routines
• Pictures that introduce the concepts of size, shape, and color
• The alphabet illustrated with uncomplicated, colorful pictures
• Familiar songs, stories, or finger plays that invite participation
• Stimulating activities such as finding and pointing out hidden objects

2-Year-Olds

When choosing books for 2-year-olds, look for books that contain the following:

Familiar songs, stories, or finger plays that invite participation

• Diverse characters
• Stories about themselves or children similar to themselves
• More detailed pictures depicting the characters and their experiences
• Concepts such as size, shape, number, and color
• One to two short phrases (three to five words) on each page
• Remember, when choosing books for any age group, it’s important to consider whether or not the books you’re choosing show children and families from a variety of cultural backgrounds and with diverse abilities.

The Child Book Project

The Child Book Project is a hands-on activity that relates to early childhood education.

Goal

• The goal of this project is to help you expand your understanding of the material contained in your textbook and study guide and to apply your knowledge to some practical situations in an early childhood education environment.
• Procedure
• This is a project of discovery. You’ll find five age- and developmentally appropriate books that you would use with infants, toddlers, and 2-year-olds. Note: No purchase of any book is necessary to complete this assignment.
• Once you’ve chosen your five books, you’ll compose a list of the books. You’re required to select one book intended for young infants (birth–9 months old), one for mobile infants (10–17 months old), one for toddlers (18–23 months old), and two for 2-year-olds.
• Finding Books
• Finding books can be done online, and now YouTube and other websites have readings of many favorite and new children’s books. First, look at this website for ideas on good books for infants and toddlers: Great Books to Read to Infants and Toddlers. Don’t ignore favorites that have been around for decades—they remain popular for a reason.

Be sure to search for infant/toddler age groups on sites such as these:

Amazon

Barnes and Noble

International Children’s Digital Library

Storyline Online

Caldecott Medal & Honor Books, 1938–Present

Newbery Medal Books

Select your books, then search for them on YouTube or other sites for readings so that you can experience them fully.

NOTE: No purchase of any book is necessary to complete this assignment.

Taking Notes

For each book you select, make notes to compile the following information:

The title, author, publisher, illustrator, and year of publication. Double-check all information for spelling and accuracy.

A brief summary of the book’s content, including characters, setting, plot, illustrations, rhyme, theme, and anything else you believe your instructor should know about the book. Your summary of the book must be written in your own words; do not copy, quote, or paraphrase the book publisher’s or book seller’s synopsis of it.

Record at least three features of each book that you believe make it appealing to infants, toddlers, and 2-year-olds. Be specific and share your honest assessment of the book’s appeal.

• Writing Your Paragraphs

After you’ve collected all the information for each book, begin writing your assignment.

• Create a title page. Your title page will include your name, your student number, the course name and number, the project name and number, and the date of submission for the exam. Center this information in 12-point Times New Roman font on the first page of the assignment.

Format your paper. Format your paper using 12-point Times New Roman font. Set the margins at a standard 1 inch on all sides. Set your line spacing as double. Because you’ve given your information on the title page, no header is necessary.

• Your completed assignment will be in essay format, consisting of 12 fully developed paragraphs that include the following:

Paragraph 1: An introduction that previews for the reader what you’ll be writing about. Explain how you located and selected your five books and include your thesis statement as the last sentence of this paragraph. A thesis statement tells the reader what the purpose of the essay is and provides insight into what the body of the essay will discuss. This paragraph must be at least three to five sentences.

• Paragraph 2: A summary, in your own words, of the book selected for young infants (birth–9 months old. This summary should provide the reader with a clear understanding of the book’s characters, setting, plot, and theme. In other words, what’s the book about? Be specific. This paragraph must be at least three to five sentences.

Paragraph 3: Describe one reason why the book would be appealing to young infants. What would young infants like about this book? Why would this book be enjoyable to them, and why would they prefer this book be read to them repeatedly? Next, identify one reason why parents would select this book for their young infant. From a parent’s perspective, why is this book appealing? Why would parents prefer this book? Finally in this paragraph, explain one reason why caregivers would pick out this book to read to young infants. From the caregiver’s perspective, why would they select or prefer this book over other books available to young infants? Why would they find it necessary or important to share this book with young infants? Your responses in this paragraph should be fully developed and should include specific details and examples as needed to support your opinions. This paragraph must be at least three to five sentences.

• Paragraph 4: A summary, in your own words, of the book selected for mobile infants (10–17 months old). This summary should provide the reader with a clear understanding of the book’s characters, setting, plot, and theme. In other words, what’s the book about? Be specific. This paragraph must be at least three to five sentences.

Paragraph 5: Describe one reason why the book would be appealing to mobile infants. What would mobile infants like about this book? Why would this book be enjoyable to them, and why would they prefer this book be read to them repeatedly? Next, identify one reason why parents would select this book for their mobile infant. From a parent’s perspective, why is this book appealing? Why would parents prefer this book? Finally in this paragraph, explain one reason why caregivers would pick out this book to read to mobile infants. From the caregiver’s perspective, why would they select or prefer this book over other books available to mobile infants? Why would they find it necessary or important to share this book with mobile infants? Your responses in this paragraph should be fully developed and should include specific details and examples as needed to support your opinions. This paragraph must be at least three to five sentences.

• Paragraph 6: A summary, in your own words, of the book selected for toddlers (18–23 months old). This summary should provide the reader with a clear understanding of the book’s characters, setting, plot, and theme. In other words, what’s the book about? Be specific. This paragraph must be at least three to five sentences.

Paragraph 7: Describe one reason why the book would be appealing to toddlers. What would toddlers like about this book? Why would this book be enjoyable to them, and why would they prefer this book be read to them repeatedly? Next, identify one reason why parents would select this book for their toddler. From a parent’s perspective, why is this book appealing? Why would parents prefer this book? Finally in this paragraph, explain one reason why caregivers would pick out this book to read to toddlers. From the caregiver’s perspective, why would they select or prefer this book over other books available to toddlers? Why would they find it necessary or important to share this book with toddlers? Your responses in this paragraph should be fully developed and should include specific details and examples as needed to support your opinions. This paragraph must be at least three to five sentences.

Paragraph 8: A summary, in your own words, of the book selected for two-year-olds. This summary should provide the reader with a clear understanding of the book’s characters, setting, plot, and theme. In other words, what’s the book about? Be specific. This paragraph must be at least three to five sentences.

Paragraph 9: Describe one reason why the book would be appealing to 2-year-olds. What would 2-year-olds like about this book? Why would this book be enjoyable to them, and why would they prefer this book be read to them repeatedly? Next, identify one reason why parents would select this book for their 2-year- old. From a parent’s perspective, why is this book appealing? Why would parents prefer this book? Finally in this paragraph, explain one reason why caregivers would pick out this book to read to 2-year-olds. From the caregiver’s perspective, why would they select or prefer this book over other books available to 2-year-olds? Why would they find it necessary or important to share this book with 2-year-olds? Your responses in this paragraph should be fully developed and should include specific details and examples as needed to support your opinions. This paragraph must be at least three to five sentences.

Paragraph 10: A summary, in your own words, of the book selected for two-year-olds. This summary should provide the reader with a clear understanding of the book’s characters, setting, plot, and theme. In other words, what’s the book about? Be specific. This paragraph must be at least three to five sentences.

Paragraph 11: Describe one reason why the book would be appealing to 2-year-olds. What would 2-year-olds like about this book? Why would this book be enjoyable to them, and why would they prefer this book be read to them repeatedly? Next, identify one reason why parents would select this book for their 2-year-old. From a parent’s perspective, why is this book appealing? Why would parents prefer this book? Finally in this paragraph, explain one reason why caregivers would pick out this book to read to 2-year-olds. From the caregiver’s perspective, why would they select or prefer this book over other books available to 2-year-olds? Why would they find it necessary or important to share this book with 2-year-olds? Your responses in this paragraph should be fully developed and should include specific details and examples as needed to support your opinions. This paragraph must be at least three to five sentences.

Paragraph 12: A conclusion that tells the reader what you’ve learned from this assignment. What has this project taught you about choosing books for infants, toddlers, and 2-year-olds? How will you be able to apply this information in your own personal or professional life? This paragraph must be at least three to five sentences

read over the Gallery Guide which can be found below the Module 9 content area on the left. Once you have done that you will write a discussion section entry using the following guidelines:

1. Go to http://www.louvre.fr/en/selections

and scroll down and click through the pages to view the works of art in the Louvre collection that they are highlighting on the website

and/or 

https://www.moma.org/collection/works?&with_images…

and look at the works that are currently on view at the Museum of Modern Art in New York. 

2. Select a total of 3 (three) artworks from either or both sites that you are interested in and would like to describe and analyze using the terms and concepts from the course discussed in the textbook and in the gallery guide. Each work should be from a different medium. (Sculpture, painting, metal-smithing, video, etc.) 

PLANNING YOUR (VIRTUAL) VISIT (While this document talks about going to an actual physical museum, I am asking you to use the online resources for Exercise E.)Museums are storehouses of our cultural treasures. Some focus on specific times and cultures. Galleries frequently change the artwork they display, and offer special exhibitions showcasing the work of contemporary and local artists. Artworks in a gallery are often for sale, but works owned by a museum are held in its care long term. Ask your professor what museums and galleries are located in your area. Artworks can also be seen all around you: for example, a sculpture in your local park, or art in government buildings or in the gallery on your school campus. Often, museums were built by renowned architects, and are therefore works of art in themselves. As museum staff take pride in their collections, and are concerned for the valuable objects in their care, museums often have strict rules. The architecture itself can also be somewhat forbidding. Don’t let such rules, or a building’s imposing facade, make you feel unwelcome, however: the artwork is there for you to appreciate! Let yourself wander through the museum, stopping to consider works that intrigue you. Everyone’s taste is unique, and it is better for you to focus on a few works than to overwhelm yourself trying to understand the museum’s entire collection in one day. When you come upon an artwork you would like to write about or sketch, stop and consider what it is that drew you to it. Do you love it? Hate it? Do you find it beautiful or ugly? Are you curious about the characters in the scene? Or are you confused by what the artist is trying to say? Use the textbook, class notes, and museum labels to help you understand the artwork. But do not forget to take ample time to look at it in detail. You can make the most of your visit to a local art museum or gallery if you plan ahead. Based on what your teacher advises, choose a museum to visit. Research the items below online before you go so that you can make the most of your time with the exhibits. What to take with you: First and foremost, read your assignment carefully before you go, and take it with you. Take a notebook and pencils, too, so you can make sketches of the works (including details that interest you). Some museums do not allow pens, so check first before taking one. Many museums do not allow you to take photographs, but if you have already printed out an image from the museum website, you can use this as a reference, or you may find a postcard of the work in the museum gift shop. While you are there: Museum and gallery projects often require you to study one work in detail, or to compare and contrast two works. The experience of seeing works in a museum or gallery is the best way to enjoy and learn about art. Take a little time to look at other works, not just the ones you are studying for your assignment. Artworks displayed in the same room may well be by the same artist, or from the same era or culture. You may notice something in these pieces that will inspire extra ideas for your assignment. Practical considerations: Check the museum website for information about opening hours, transportation, parking, entrance fees, and whether such items as backpacks and cameras are allowed inside the museum (and if not, where you can check them). Some museums do not charge for entry but may charge for a special exhibit: check the website for details. Many museums that charge have free or reduced-price admission on specific days. Artwork labels: There are usually labels next to each artwork. These labels contain useful information about the work, which can help you write a really great assignment. Do not forget to make notes of the details given in the labels. The museum bookstore and website will help you find more material about the artwork you select. Museum and gallery dos and don’ts: You may want to get close to a work to study a particular detail, but remember to be courteous to other visitors who may want to see the work at the same time. Never touch a work of art, because doing so can damage it. Do not take photos unless you are sure this is allowed. If in doubt, ask. Some museums permit visitors to take photos if flash is not used. Finally, although food and drink are not allowed in the exhibition spaces of museums and galleries, many have a café or restaurant. FORMAL/VISUAL ANALYSIS OF WORKS OF ARTA work of art is the product of the dynamic interrelationships between the various art elements and principles as they are utilized by the artist. As you engage with a work of art, ask yourself why the artist made such choices. By looking more closely at artworks and trying to identify the elements and principles of art that have been used to create them, we may further understand the artist’s intended vision and will notice how the artwork often reflects the time and place from which it came. Elements of ArtLine: Do you see any outlines that define objects, shapes, or forms? Are lines used to emphasize a direction (vertical, horizontal, diagonal)? Describe the important lines: are they straight or curved, short or long, thick or thin? How do you think the artist utilized line to focus attention on certain objects, forms, or people? Are any invisible lines implied? For example, is a hand pointing, is the path of a figure’s gaze creating a psychological line, or is linear perspective used? Do the lines themselves have an expressive quality, as in Van Gogh’s Starry Night? Light: If the work is a two-dimensional object, is a source of light depicted or implied? Is the light source natural or artificial? Do the shadows created by the light appear true to life, or has the artist distorted them? In what way does he or she depict such shadows—through line, or color? If the object shown is three-dimensional, how does it interact with the light in its setting? How do gradations of shadows and highlights create form or depth, emphasis or order in the composition? Color: Which colors are predominantly used in this depiction? If the object is black and white, or shades of gray, did the artist choose to do this because of the media he or she was working in, or do such shades create a certain mood or effect? Color can best be described by its hue, tone, and intensity (the hue is its basic shade, for example blue or red). Does the artist’s choice of color create a certain mood? Does he or she make use of complementary colors—red/green, violet/yellow, blue/orange—or analogous ones (those next to each other on the color wheel)? Does the artist utilize colors that are “warm” or “cool”? In which parts of the work? Is atmospheric perspective—in which cool colors recede, creating a blurred background, and warm, clear colors fill the foreground—used? Do you notice any visual effects, such as optical color mixing? Texture: What is the actual texture on the surface of the object? Is it rough or smooth? What is the implied texture? Are patterns created through the use of texture? Shape: What shapes do you see? If the work has a flat surface, are the shapes shown on it two-dimensional, or are they made to appear (illusionistically) three-dimensional or volumetric? If the work is a three-dimensional object, how volumetric is its shape? Is it nearly flat, or does it have substantial mass? Is the shape organic (seemingly from nature) or geometric (composed of regular lines and curves)? Can you see any implied shapes? In representations of people, how does shape lend character to a figure? Are these figures proud or timid, strong or weak, beautiful or grotesque? Form: Did the artist choose geometric or organic form, or a combination of both? Why do you think the artist made these choices? Volume and mass: Has the artist used volume or mass to express any feelings or communicate any ideas? Is the work a closed or open volume? Space: How does the form created by shape and line fill the space of the composition? Is there negative, or empty, space without objects in it? If the artwork is three-dimensional, how does it fill our space? Is it our size, or does it dwarf us? If the piece is two-dimensional, is the space flat, or does it visually project into ours? How does the artist create depth in the image (by means of layering figures/objects, linear perspective, atmospheric perspective, isometric perspective, foreshortening of figures)? Time and motion: Does the artwork in some way communicate the passage of time? For example, it may tell a story or narrate a series of events. Consider whether the work involves motion (implied or actual) in any way. Remember that even a static artwork, such as a painting or a sculpture, can express motion. Value: Are there any significant value changes (i.e. changes in the degrees of darkness or lightness) in the work? If so, why do you think the artist used value in this way? Principles of ArtArtists utilize the elements of art to produce these design principles. Emphasis: The emphasis of a work refers to a focal point in the image or object. What is your eye drawn to? Does the artist create tension or intrigue us by creating more than one area of interest? Or is the work of art afocal—that is, the viewer cannot find a particular place to rest the eye? Is there a psychological focus created through the elements of art? Scale and proportion: What is the size of all the forms and how do they relate proportionally to one another? Did the artist create objects larger in scale in order to emphasize them? Or was scale used to create depth? Are objects located in the foreground, middle ground, or background? Look at the scale of the artwork itself. Is it larger or smaller than you expected? Balance: Balance is produced by the visual weight of shapes and forms within a composition. Balance can be symmetrical—in which each side of an artwork is the same—or asymmetrical. Radial balance is when the elements appear to radiate from a central point. How are opposites—light/shadow, straight/curved lines, complementary colors—used? Rhythm: Rhythm is created by repetition. What repeated elements do you see? Does the repetition create a subtle pattern, a decorative ornamentation? Or does it create an intensity, a tension? Identify the type of rhythm used: is it simple repetitive rhythm, progressive rhythm, or alternating rhythm? Does the rhythm unify the work, or does it, on the contrary, seem a group of disparate parts? Unity and variety: Is the artwork unified and cohesive, or disordered and chaotic? How does the artist use the elements to achieve this? Consider the work in terms of both its composition and the concepts it explores, which can also unify an artwork. Is there diversity in the use of elements that creates variety? Consider value, texture, color, shape, and other elements of art. How does the artwork combine aspects of unity and variety? Pattern: Can you identify any repetition of an element (such as shape, value, or color) in the artwork that creates a pattern? A design repeated as a unit is called a motif. Can you see any motifs in the work? Media and TechniqueIs the object two- or three-dimensional? What limitations, if any, might the chosen medium create for the artist? Drawing: Consider the materials utilized: pencil, silverpoint, chalk, charcoal, crayon, pastel, ink, and wash. Was the artist able to make controlled strokes with this medium? Would the tool create a thick or thin line? One that was defined or blurred? Was the drawing intended to be a work of art in itself, or is it a study for another work, a peek into the artist’s creative process? Painting: How did the type of paint affect the strokes the artist could make? Was it fresco, oil, tempera, watercolor, encaustic, acrylic, or some other type of paint? Was it a fast-drying paint that allowed little time to make changes? What kind of textures and lines was the artist able to create with this medium? Does it create a shiny or flat look? How durable was the medium? How was the paint applied to the surface: with a brush, a palette knife, dripped, or sprayed? Printmaking: What is the process the artist undertook to create this work? Did the artist need to engrave or etch? Did the medium require a steady hand? Strength, or patience? Visual communication design: What format did the designer select (poster, book, advertisement, etc.)? Is the work color or black and white? How does the artwork combine text and images? Sculpture: Is the sculpture high or low relief, or can we see the object in the round? What challenges did the material present to the artist? Was the work created through a subtractive process (beginning with a large mass of the medium and taking away from it to create form), or an additive one (in which sculptors add material to make the final artwork)? What tools did the artist use to create the form? If the form is human, is the artwork life-size? Architecture: Does the building represent the work of a community or the power of a leader? How was it constructed? What was the structure’s intended use? How does it fit with its surroundings? Is it a domineering or welcoming structure? Traditional craft media: Is the work made of ceramic, glass, metal, fiber, wood, or some other material? Why do you think the artist chose this material? Photography: Was the photograph taken digitally, or using film? Is it in color or in black and white? What is the subject matter? Film or video: Is the film in color or in black in white? Is it silent or is there sound? How is it displayed in the gallery? Alternative media: Does the work emphasize ideas rather than the physical product? Is there a physical product? The work could be conceptual, or temporary—a performance by an artist, for example. Are you as the viewer involved in the work? Perhaps you are walking through an installation or environment created by the artist.      Modes of AnalysisConsider whether any of the following ways of analysing an artwork can be applied to the subject of your assignment: Formal and stylistic analysis: Does the work clearly depict objects or people as we would recognize them in the world around us (is it representational)? Alternatively, is its subject matter completely unrecognizable (is it non-objective)? To what degree has the artist simplified, emphasized, or distorted aspects of forms in the work (or abstracted it)? Does this artwork have a unique style? Or can you identify characteristics that it shares with other artworks by the same artist, from the same period or place, or belonging to the same artistic group or movement? Iconographic analysis: Are there things in the work that you can interpret as signs or symbols? For example, is there anything that suggests a religious meaning, or indicates the social status of somebody depicted in the work? Labels often provide good information about iconography. Biographical and psychological analysis: Would information about the life of the artist help you to interpret the work? Do you think the artist’s state of mind (happy, depressed, anxious) has affected the artwork? Again, labels are often a good source of biographical detail. In some museums volunteer docents are available to answer questions about an artist’s life and works. Feminist and gender studies analysis: Is the role of women in the artwork important? Is the artist commenting on the experience of women in society? Is the artist a woman? How does the gender of the artist affect his or her work? How does your own gender affect your experience of viewing the artwork? Contextual analysis: Would you understand the work better if you knew something about the history of the era in which it was created, or about religious, political, economic, and social issues that influenced its creation?  

Assignment: Create a works cited page (with title) using the following information. The list should be formatted and alphabetized correctly. Be sure to follow directions on the accompanying sheet to get spacing, indentation, etc. correct.

If it is not stated, you will need to determine what type of source the material is and create a citation following that format. Pay attention to the examples for each type of material offered on the accompanying sheet–often source information will provide more details than are required for MLA; you will then need to weed out the extraneous information.

• The Handbook for Academic Cheaters, a book by Toby Fulwiler and Alan Hyakawa. This book was published by Blair-Prentice Publishers, Boston, Massachusetts, in 1998.
• An interview that you conducted with John Laflin on March 17, 2001.
• This journal article found via the Ebsco Host database on today’s date. The article’s title is The Lethal Femme Fatale in the Noir Tradition. The author is Jack Boozer, and the article appeared in the Journal of Film and Video, Volume 51 (Fall 1999), on pages 20-35.
• An article entitled C is for Character, by John Leo, from the weekly magazine called U.S. News & World Report. The date of the issue was 11/29/99, and it appeared on pages 34-35.
• A journal article found on The Chronicle of Higher Education web site. The article is called Toward a Culture of Academic Integrity; it was written by Donald L. McCabe and Patrick Drinan. It originally appeared in volume 46 of The Chronicle of Higher Education on Oct 15, 1999, on page i8. But you got it online, yesterday, at the following URL: www.chronicle.com/mccabe393821.html

Worksheet on MLA parenthetical citations

Below is a fact that I decide I am going to use in my paper. All of the original bibliographic information is listed after the quote. Below this on the page there are four examples of either quotes or paraphrases of this source material. Each example is formatted differently. Which of them are correctly formatted, and which are not? For the examples that are improperly done, explain why and fix them.After you complete this, at the bottom of the sheet, write out the works cited entry, in correct MLA form, for this source.

The material I want to use, in my essay about steroids, is the following point:

“Reported cases of steroid use by athletes skyrocketed last year by an incredible sixty percent.”

This quote comes from page 33 of an article entitled Steroids in Sports. The article was written by Frank DeFord, and it appeared in the August 17, 2004 issue of Sports Illustrated magazine, on pages 32-35.

Four attempts to use the material and cite it properly. Which are incorrect? Why?

• Steroids continue to be a major problem. In fact, reported cases of steroid use by athletes skyrocketed last year by an amazing sixty percent (DeFord 33).
• Steroids continue to be a major problem. As sports journalist Frank DeFord has pointed out, “Reported cases of steroid use by athletes skyrocketed last year by an incredible sixty percent” (33).
• Steroids continue to be a major problem. In fact, “Reported cases of steroid use by athletes skyrocketed last year by an incredible sixty percent.” (33).
• Steroids continue to be a major problem, with reported cases of use by athletes rising sixty percent in the past year (DeFord 33).

Works Cited

MLA Documentation Exercise 2:

Instructions: Listed below are five sources for an imaginary essay on youth gang members, and a quote or fact from each source that will be used in the essay. You don’t need to write the essay at all; instead, you have two tasks. First, write the works cited list for this essay, correctly formatted in MLA style and in correct order, in the space provided on the second sheet. Then, look at the excerpt on page two, which quotes or refers to each of these five sources, and insert the correct parenthetical citation in the correct format for each. Here are your sources:

1) A book by Carlos Reyes called The Gang Life. It was published in New York by Basic Books in 1998.

You are going to use the following quote from Reyes:

The disturbing thing about gang culture is that it has moved beyond professional criminals and into the everyday lives of too many young people. There is an urgent need to educate youngsters about the dangers of associating with gangs.” The quote comes from page 266.

2) A book by William Bratton called Bad Boys: Gangs in the Modern American City. It was published in New York by Regan Books in 2005.

You are going to use the following item from Bratton:

“I would estimate that at least 30% of urban teenagers, and maybe as many as 50%, are themselves involved or know someone who is involved in some way with a gang.” The quote comes from page 147.

3) Robert Smith’s article entitled “The Sad Truth About Gangs” which originally appeared in the magazine Newsweek. The date of the magazine was August 24, 2004, and the article appeared on pages 24-29. You retrieved the article at the BCC library using the EBSCO database on April 10, 2006.

You are going to use the following quote from Smith:

“Increasing numbers of teenagers are associating with gangs, and this fact poses a grave threat to the young generation in the U.S. today.”

4) An article, with no author listed, called “The Growth of Gangs,” from the March 4, 2005 issue of Time magazine. The article was on pages 16-23. You didn’t need to use a database for this since you own the magazine.

You are going to use the following quote from the article:

“Gangs have already caused serious damage in the inner city, and now their influence has spread to suburban areas across the United States.” The quote comes from page 16.

5) A page entitled “Facts About Gang Members,” with no specific author listed, that you found on the American Criminology Association website. This page had a publication date of October 22, 2004. The address for the website is www.aca.org. You accessed this page on April 11, 2006.

You are going to use the following fact from this website:

“Gang membership has been linked to serious problems, including highly inflated imprisonment rates and life spans for gang members shortened to as little as half of the normal life expectancy.”

Essay excerpt

The recent congressional hearings over the spread of gang culture in the U.S. drew a great deal of attention, nationwide. While some felt the hearings painted an exaggerated picture of the influence of gangs on our young people, they did raise awareness of the fact that gangs are a serious concern in our society today. Former New York City Police Commissioner William Bratton recently suggested in his best-selling book, Bad Boys, that as many as 50% of today’s urban teenagers have some connection to gang culture, either directly, or indirectly through acquaintance with a gang member. () Although some might question Bratton’s estimate as too high, he is by no means the only one raising alarms about the spread of gangs. Even Time magazine has claimed, “Gangs have already caused serious damage in the inner city, and now their influence has spread to suburban areas across the United States” (). Even those not especially concerned about the suburbs should care about the larger social effects of the gang phenomenon. Researcher and leading expert on gangs Carlos Reyes has succinctly summarized the truly frightening side of the rise of gang culture: “The disturbing thing about gang culture is that it has moved beyond professional criminals and into the everyday lives of too many young people. There is an urgent need to educate youngsters about the dangers of associating with gangs” (). Now, more than ever, such education is vital, since the popularity of gang membership among young people “poses a grave threat to the young generation in the U.S. today” (). Aside from the behavioral problems such as violence, drug dealing, and intimidation that most people associate with gang activity, there are also potentially severe negative effects to the young gang member that many are unaware of; these potential negative effects, according to the American Criminology Association, include far higher rates of imprisonment and a dramatically shorter life span for gang members. ( ) Clearly, it is time to take notice, as a society, of the dangers of gangs, before they become even more integrated into our culture.

Works Cited

MLA Documentation Exercise 2:Instructions: Listed below are five sources for an imaginary essay on youth gang members, and a
quote or fact from each source that will be used in the essay. You don’t need to write the essay at
all; instead, you have two tasks. First, write the works cited list for this essay, correctly formatted
in MLA style and in correct order, in the space provided on the second sheet. Then, look at the
excerpt on page two, which quotes or refers to each of these five sources, and insert the correct
parenthetical citation in the correct format for each. Here are your sources:
1) A book by Carlos Reyes called The Gang Life. It was published in New York by Basic
Books in 1998.
You are going to use the following quote from Reyes:
The disturbing thing about gang culture is that it has moved beyond professional criminals and
into the everyday lives of too many young people. There is an urgent need to educate youngsters
about the dangers of associating with gangs.” The quote comes from page 266.
2) A book by William Bratton called Bad Boys: Gangs in the Modern American City. It
was published in New York by Regan Books in 2005.
You are going to use the following item from Bratton:
“I would estimate that at least 30% of urban teenagers, and maybe as many as 50%, are
themselves involved or know someone who is involved in some way with a gang.” The quote
comes from page 147.
3) Robert Smith’s article entitled “The Sad Truth About Gangs” which originally
appeared in the magazine Newsweek. The date of the magazine was August 24, 2004, and
the article appeared on pages 24-29. You retrieved the article at the BCC library using
the EBSCO database on April 10, 2006.
You are going to use the following quote from Smith:
“Increasing numbers of teenagers are associating with gangs, and this fact poses a grave threat to
the young generation in the U.S. today.”
4) An article, with no author listed, called “The Growth of Gangs,” from the March 4,
2005 issue of Time magazine. The article was on pages 16-23. You didn’t need to use a
database for this since you own the magazine.
You are going to use the following quote from the article:
“Gangs have already caused serious damage in the inner city, and now their influence has spread
to suburban areas across the United States.” The quote comes from page 16.
5) A page entitled “Facts About Gang Members,” with no specific author listed, that you found
on the American Criminology Association website. This page had a publication date of October
22, 2004. The address for the website is www.aca.org. You accessed this page on April 11, 2006.
You are going to use the following fact from this website:
“Gang membership has been linked to serious problems, including highly inflated imprisonment
rates and life spans for gang members shortened to as little as half of the normal life expectancy.”

Please response to the following 3 discussion posts….. 1. E.B Posted According to Bastable et al. (2019), technology has advanced to great heights over the past half century. Technology, once rarely used in education, has now become common and used heavily. Technology has opened many doors for educators and learners increasing creativity and imagination. Although beneficial in many ways, the use of technology should be planned, monitored, and evaluated for effectiveness (Bastable et al., 2019).

A great piece of technology that sparks creativity and communication is the use of Realtime Board. Realtime Board allows for students to create an abundance of tools to help in the classroom. According to The Learner’s Way (2013), Realtime Board is essentially a virtual whiteboard that can be filled with pictures, diagrams, notes, and comments then can be manipulated and shared amongst peers or colleagues. It can also be put into presentation form and the creator can control what the audience can and cannot see (The Learner’s Way, 2013). In the classroom, students can edit and view the virtual whiteboard which can be integrated into lessons in many ways. The use of Realtime Boards can also help in group settings as far as projects and help increase collaboration and team building. To increase participation, students can be asked to type words and phrases as the teachers asks questions. Students will be able to see what each of their peers have shared and can spark conversation and discussion.

As stated by Bastable et al. (2019), SMART Boards are large whiteboards that function as a touch display utilizing input from users. These displays are useful in the classroom since they can be used in group discussions, brainstorming, drawing diagrams and flowcharts. The information can be easily erased, edited, and added in just seconds (Bastable et al., 2019). In order to enhance communication, these devices allow for active participation and learning. For example, during a lesson a teacher might have a drag and drop feature for the topic and ask students to volunteer to walk up to the board and engage. Discussion can be created and integrated, and students may feel less pressure as they are in control of the activity. Another great way this piece of technology can benefit learning is to have each student write one idea on the board in order to create a collective brainstorm map.

References

Bastable, S. B., Gramet, P., Jacobs, K., & Sopczyk, D. (2021). Health professional as educator: Principles of teaching and learning. Jones & Bartlett Learning.

The Learners Way. (2013). Realtime board. https://thelearnersway.net/ideas/2013/1/14/realtim… 2. R.R Posted….. The first educational tool that I have not previously used in Edmodo. The innovation is an educational tool that fosters collaborative learning by connecting students and teachers and assimilating them into a social network platform. In addition, it offers teachers an opportunity to create online collaborative teams or groups to administer and deliver training material, measure students’ performance, and communicate with parents (Chauhan, 2018). Research shows that collaborative teams between teachers and students yield better learning outcomes than individualized education models (Slade et al., 2018). Edmodo exploits this opportunity from a technology perspective hence its effectiveness in modern education. Besides, the education systems worldwide are technology-driven, making it easier to implement this program regardless of an institution’s location. The shift from the brick-and-mortar education models to distance learning in the aftermath of the COVID-19 pandemic also makes this the most appropriate technology for learning institutions globally.

The tool is more appropriate for building a classroom rapport because it offers students and teachers the same standard learning opportunities. For example, online interaction among students eliminates the threats such as team indifferences, which characterize the conventional learning methods. Therefore, students who may not like one another but form part of the same team may not meet physically but still relate and share information through the Edmodo platform. Likewise, teachers who feel intimidated by students can monitor their performance and issue learning material through this platform. Ideally, not all students have a positive attitude towards teachers, hence the need for this technology because it eliminates such barriers. Online learning and student monitoring allow teachers to remotely monitor their students’ performance, removing barriers such as student intimidation and lack of cooperation (Coman et al., 2020).

The second technology that I have not previously used but find helpful in fostering classroom rapport is ClassDojo. The technology primarily aims at instilling good behavior among students. Chauhan (2018) affirms that the Class Dojo technology is a platform where teachers provide their learners with honest time feedback. A good classroom disposition receives points rewards positively changing the learners’ perceptions about the learning process. The technology offers these real-time results in messages such as “well done” or one plus for those who excel in collaborative work (Chauhan, 2018). The teachers using this technology can share the information they gather using this technology with the parents. Of course, it is the teachers’ prerogative to choose what to do with such information, but the most appropriate way is to ensure they consider the students’ wellbeing. The teacher can also share the data with the administration through the web.

I this is one of the best technologies for taming classroom descent. In some cases, students cause disruptions to seek attention or authority over the teachers. The real-time response can ensure students compete for points and positive feedback, thus desisting from sideshows. It is also easier for the teacher to discipline students without showing biases. Ideally, most punished students’ rebel and perceive such actions as biases and hatred toward their personalities. However, there is no excuse whenever a student receives low points because the technology does not offer advice but prompts a response based on the student’s classroom behavior. The rapport that follows the use of this technology is immeasurable since classroom collaboration is among the aspects that earn students’ points (Chauhan, 2018). Therefore, Edmodo is the best way to foster rapport among students in the classroom.

References

Chauhan, A. (2018). 11 Digital Education Tools for Teachers and Students. Retrieved 12 April 2022, from https://elearningindustry.com/digital-education-to…

Coman, C., ?îru, L. G., Mese?an-Schmitz, L., Stanciu, C., & Bularca, M. C. (2020). Online teaching and learning in higher education during the coronavirus pandemic: Students’ perspective. Sustainability, 12(24), 10367, https://doi.org/10.3390/su122410367.

Slade, N., Eisenhower, A., Carter, A. S., & Blacher, J. (2018). Satisfaction with individualized education programs among parents of young children with ASD. Exceptional Children, 84(3), 242-260, https://doi.org/10.1177%2F0014402917742923. 3. L.H Posted…….. Within the HSA program here at SPC, I’ve had great professors who have always utilized technology within their courses and course assignments. I’m sure this is largely because the bachelor’s program I’m currently in is completely online. Therefore, professors have to be creative in the way they plan to teach certain aspects of the course.

One of the technology teaching tools mentioned on the Making Thinking Visible website that I have yet to use within the HSA program is Realtime Board. Realtime Board is an online whiteboard that allows a group of people, in this case classmates, to come together and collaborate (Mirco, 2022). This can be utilizing when groups brainstorm, documenting, teaching a concept, or even management work-flow. This is directly associated with the thinking routine Color, Symbol, and Image that allows students to think outside of the box and relate their ideas to colors, symbols, or images rather written or oral language (Making Thinking Visible, 2022). With Realtime Board, this would come in handy when working on the group assignments that are assigned during the HSA classes. The students in the group could come together and brainstorm ideas using this technology and may even be able to express themselves and their ideas more so then speaking through a discussion board or group call/text.

The world today is so tightly connected to the internet that is it available right at our fingertips, our phones. Because of this, blogs of many kinds have blown up to be a huge part of the world wide web (Bastable et al., 2020). Blogs are not a resources I’ve used before in the HSA program. This is probably because each source that we’re able to use in the program has to be credible and reliable, which may become an issue when utilizing resources like blogs. But I believe blogs can be an excellent resource if vetted correctly. Many healthcare organizations and credible healthcare professionals have created blogs that contact an immense amount of information using facts and their professional opinions. It is important when using resources that are not peer reviewed, such as a blog, it is important to diligently do research on the person writing the blog, if their sources are credible, and if the sites they use to publish the blogs are able to be edited by an outside source.

References:

Bastable, S., Gramet, P., Jacobs, K., & Sopczyk, D. (2020). Health professional as educator: Principles of teaching and learning (2nd ed.). Jones & Bartlett Learning.

Making thinking visible | Online learning and services. (2022). Online Learning and Services | Helping Faculty connect technology and learning.https://ols.spcollege.edu/learning-post/making-thinking-visible/

Miro. (2022). https://miro.com/.https://miro.com/online-whiteboard/

Please below for an example of a discussion reply………….. Discussion Replies

Responses must be more than a simple, “I agree” or “good post” and a rehash of your peers’ words. Do not simply mix up the words and restate them! When you respond to Discussions posted by other students, your post should be respectful, and add relevant new information to the Discussion.

It is not adequate to just say:

Devin, I agree with your post and I really liked your discussion about social determinants and how they may play a part in mental illness.

Here is an example of a more adequate student reply

Devin, I think many people do think there is something wrong with the way a person’s brain works, so it is a “medical” situation (Szasz, 2011). We think that we can just give medicines to help control the brain and “fix” the person’s behavior. It is just not that easy. I had never thought much about the social aspect of mental disorders, where maybe a person cannot control their behaviors because they are under a lot of stress, or totally overwhelmed with everything that is going on in their life – so they behave in ways that we do not see as “normal” or make us scared of them (Allen, et al., 2014). We rush to put a label on them which says that some sort of mental illness is to blame and that they do not fit in in our society. This seems like an example of “social construction of mental illness”. We want to name it so we either make it a medical problem so that we can throw some medicine at someone, or we call it mental illness because that person does not fit in our so-called normal society.I believe that this is one thing that happens when you have too many kinds of pills and ads on TV to push on people to make them act normal. It is scary, and I hope that I am never in such a situation!

Roberta

References

Allen, J., Balfour, R., Bell, R., & Marmot, M. (2014). Social determinants of mental health. International Review of Psychiatry, 26(4), 392–407. https://doi.org/10.3109/09540261.2014.928270

Szasz, T.S. (2011). The myth of mental illness: 50 years later. The Psychiatrist, 35, 179-182.Doi: 10.1192/pb.pb.110.031310

DRNC Leadership Practicum

DRNC Scenario for CRJ-565 Leadership in Criminal Justice

This Leadership Practicum centers around the Democratic-Republican National Convention theme. This practicum is worth 10% of the final grade, and involves a case study analysis that is to be submitted at the end of Module 6.

Background

The following story is a fictional account of planning and preparation leading up to the mythical Democratic-Republican National Convention (DRNC) event in Miami, Florida. The story is loosely based on an amalgamation of real life occurrences in the lead up to the Free Trade Area of the Americas conference in Miami, Florida in 2003. The names of all the characters in the story are fictional.

As you read the story, keep in mind what contemporary criminal justice issues are likely to arise. At the end of the story, you will be asked to respond to several questions related to this scenario.

Miami-Dade Police has been designated as the lead local agency and lead operational planner for the event security. This policy differs significantly from the 2003 FTAA in which the City of Miami was designated as the lead local agency. Director Melanie Duncan is the head of the Miami-Dade Police Department. In turn, Director Duncan has designated Major Louis Warren as the Incident Commander and lead planner for the Department’s DRNC mobilization.

Since this event meets the criteria of a National Special Security Event (NSSE), the U.S. Secret Service has been designated as the lead coordinating agency with overarching statutory authority for the planning and execution of the event. Supervisory Special Agent Samantha Salerno has been appointed as the lead agent in-charge for the event.

Case Study – Innovation and Stagnation at the Miami-Dade Police Department

The police departments of the City of Miami and of Miami-Dade County have had their share of experience with civil disturbances over the last 40 years. There were the race riots in 1968 (Liberty City Riot), 1980 (McDuffie Riot), 1982 (Luis Alvarez Riots), and 1989 (Lozano Riots) in the Liberty City and Overtown areas. Then there was the Elian Gonzalez civil disturbance in April 2000.

In each of these incidents, segments of local minority communities (either African-American or Cuban) rioted as the result of some perceived injustice against their ethnic groups. The riots resulted from either police shooting young black men, or from the federal government deporting a young Cuban boy back to his home in Cuba.

One incident of civil unrest – the 1980 “McDuffie Riots” was particularly destructive. Three days of rioting in Liberty City, Overtown, Brownsville, and Coconut Grove, resulted in 18 deaths and over 180 serious injuries. The damage caused by the rioting was estimated at $100 million and was thought to have caused the permanent loss of over 3,000 jobs in the black communities of Miami. Morale among the rank and file of both major police departments in the County were at an all-time low.

The McDuffie incident is also significant, in that it led to the innovation of the modern Mobile Field Force (MFF) model for police response to civil unrest. The “Miami-Dade” model, as it is commonly referred to, was actually a co-invention by officers from the City of Miami Police Department (MPD) and the Dade County Public Safety Department (now called the Miami-Dade Police Department – MDPD).

In effect, both police departments had sustained considerable injury and damage, both physically and to their reputations as a result of these civil disturbances. Much of the damage resulted from lack of aggressive response from the officers who had been shell-shocked from the community’s reaction to the killing of Arthur McDuffie, and the resulting not-guilty verdict of the involved officers.

Ironically, it was during the difficult times of the post-McDuffie period that many innovations, such as the Mobile Field Force concept were born. It did not take long before the MFF concept was put to a test with the 1982 “Luis Alvarez/Overtown” riots and again in 1989 with the “Lozano” riots. In both cases, the field forces worked marvelously, as both civil disturbances were quickly quelled.

By the time that the Mobile Field Forces were used to quell the Elian Gonzalez disturbances in 2000, the MDP and MDPD had become renowned for their innovative crowd control practices. The subsequent innovation of Special Event Response Teams (SERT) as an intermediary response to peaceful or marginally disobedient crowds further added to the MDPD’s expert standing among national and global police departments.

In 2001, the MDPD hosted a week-long Disorder Management Symposium that was attended by commanders and supervisors from departments throughout the United States, as well as a few from other nations. The MFF concept (and later the SERT model) has been adopted by police departments across the nation as the best way to deal with large and unruly crowds.

The Free Trade Area of the Americas Conference (FTAA)

The FTAA agreement between the United States and the majority of Latin American and Caribbean nations had come about as the result of global economic meetings between the heads of state of those countries during the Summit of the Americas Conference in Miami-Dade in 1984. Like the NAFTA agreement before it, the FTAA has drawn a considerable amount of opposition from the anti- globalization “fair trade” crowd.

The violent protests against global economic structures and free trade agreements first came about in 1999, during the World Trade Organization (WTO) conference in Seattle, Washington. These riots caught the authorities by surprise and signaled a shift in the paradigm of police civil disorder management. After Seattle, there were several other violent protests by an informal anti-globalization

alliance of unionists, communists, and anarchists. These included riots in Montreal, Canada; Genoa, Italy; Cancun, Mexico; and Washington D.C. Not only were the WTO conferences being targeted, but other worldwide economic forums such as the G-8 Conference and the World Economic Forum (WEF) were also being singled out by the radical groups.

The secretariat of the FTAA decided to bring the conference to Miami, Florida in November of 2003. High-level delegations from all the participating nations of the Western Hemisphere would be converging in Miami for the one-week conference. Being aware that the conference would attract the same type of violent protestors seen at Seattle, Montreal, Genoa, and Washington D.C., both the MPD and the MDPD commenced preparations for the likelihood of very large crowds and violent protests.

Early, preliminary planning at the MDPD started as soon as the department became aware of the conference. Many of the strategic and tactical concepts that were developed for the FTAA had already been conceptualized by a select number of mid-level managers (lieutenants) who had been aware of the problems in Seattle, Genoa, and Montreal for several years. It had become obvious, that the Mobile Field Force concept that had been born in Miami-Dade would no longer work against this new type of radicalized adversaries. So when the chiefs and directors of the two police departments ordered their planners to get ready for the FTAA conference, the lieutenants who were assigned the task already had a concept in mind.

It was clear to these lieutenants that there had been a major paradigm shift in civil unrest since the time of the race riots of the 1980s. The mobile field force concept that the Miami-Dade Police had innovated in the 80s and perfected in the 90s would no longer work against this new type of opponent. The new paradigm demanded that changes be made to the tactics and weapons used by the field forces. Unfortunately, as with all change, there would be many institutional barriers to the changes that the lieutenants were contemplating.

Simply stated, the new MDPD strategic direction conceived by the small cadre of lieutenants in response to the Anarchist/anti-globalization protestors expected for the FTAA was this:

? Emphasis on the offensive rather than reliance on defense alone (i.e., do not be passive)

? Inside and outside deployment (i.e., do not put all your forces behind a fence)

? Emphasis on unit mobility, rather than the static, linear tactics of the past

? Intelligence driven (know your opponent’s every move ahead of time)

? Proactive enforcement (i.e., strike early and strike hard – don’t wait until things get out of hand)

? Matching up with the adversary: “The right tool for the right job” (There were many different

types of protestors, and protest behaviors, therefore different types of units were created to

match up against each type)

? Emphasis on strict unit discipline (to prevent being goaded into a disadvantageous skirmish)

It would take a considerable amount of persuasion by the cadre of mid-level lieutenants before the upper command staff would “buy into” these new concepts. Ironically, the first (and unanticipated)

barrier that the lieutenants encountered was resistance from the members of the Mobile Field Force Training Committee. This committee had been established in the mid-80s and was comprised mostly of sergeants, and a few lieutenants… many of whom had played roles in the early innovation of the original concept field force concept. These sergeants and lieutenants were once on the cutting edge of innovation, but for the past 20 years, very few new ideas had come to fruition. There had been a few suggestions to incorporate the use of Pepperball and other less lethal munitions into the field force tactics, but more often than not, the committee’s recommendations fell on deaf ears as the ideas were floated up the chain of command.

By 2003, the Mobile Field Force Training Committee had become a shell of its former self. It stopped innovating and had become a barrier to other peoples’ innovative ideas. That year, a sergeant from the Training Bureau made a presentation to the full committee on the incorporation of bicycle patrol officers into the field forces. Some of the lieutenants at that meeting loved the idea, but the old sergeants who had been in the committee for many years thought the idea of using bicycles was foolish. They didn’t see how bicycle patrol officers could function in the old “stomp and grind” tactics that field force was noted for.

The Mobile Field Force Training Committee had once been the cutting edge of innovation for the Miami- Dade Police Department. Now its members had become cynical and desensitized, in part because of the many rejections of its ideas over the years. The committee had become an old man’s debate society where nothing of much value ever came out. Worse yet, as the Training Bureau sergeant that proposed the bicycle idea came to find out, the committee had become a place where new ideas would come to die.

Planning for the DRNC

By 2013, most of the sergeants and lieutenants of the original Mobile Field Force Training Committee had long retired. A new cadre of veteran officers had taken their place. Many of these officers had participated on the front lines of the FTAA disturbances in 2003. The bicycle component and the Pepperball munitions that were initially rejected by the old committee had now been accepted as the norm. The FTAA mobilization had been a great success and many police departments around the country had emulated Miami-Dade’s new offensive and nimble tactics. Miami-Dade Police had regained its reputation for being considered to be at the cutting edge of mobile field force tactics.

Since the FTAA, there have been several similar large scale special events that have led to some degree of civil disturbances. The 2004 political conventions in Boston and New York City, as well as the 2008 Republican National Convention in Minneapolis and the 2012 RNC in Tampa, Florida. To prepare for the DRNC in Miami-Dade, Major Louis Warren had scoured the after action reports of all these major events. He wanted to make sure that he learned from the mistakes of his predecessors, as well as learn from their successes. Warren was a hard working manager and he would not allow himself to be unprepared for the DRNC. He promised himself that he would not leave any stone unturned as he prepared for the biggest event of his life.

Assignment Instructions

For the purpose of this assignment, you are to play the role of Major Louis Warren, the Incident Commander and principal planner of security for the DRNC. You are to consider the factors that led to successful innovations at MDPD in the past, as well as factors that blocked other innovations. As the principal planner for the DRNC, what actions would you take to encourage new ideas from the front line officers in the Department that could further improve crowd control tactics? What steps would you take to overcome barriers to new ideas?