for English · •The states convert this into a syllabus that forms the basis for teaching ... NSW...

ENGLISH TEACHERS’ ASSOCIATION NSW ETA2013.02 Faculty Professional Development: Programming for English

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Faculty Professional Development

Prepared by: Melpomene Dixon BA Dip Ed Grad Cert. (Ed, Studies) Eva Gold MA BA (Hons) Dip Ed Karen Yager M Ed DipEd.

Completing the delivery of this course will contribute 9 hours of QTC Registered PD addressing 1.2.4, 1.3.4, 2.2.4, 3.2.4, 6.2.4, 6.4.4 from the Australian Professional Standards towards maintaining Lead Teacher Accreditation in NSW.

Programming for English


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TABLE OF CONTENTS

THE PURPOSE OF THIS FACULTY PACKAGE .................................... 3Accreditation process .......................................................................................... 3

STRUCTURE OF THE PROGRAMMING PACKAGE ............................. 4SECTION 1: ESSENTIAL PROGRAMMING ........................................... 6

DEFINING THE TERMS ..................................................................................... 6TEACHING AND LEARNING AND THE NEW SYLLABUS ................................ 8THE KEY TO MEANINGFUL TEACHING AND LEARNING .............................. 9

PowerPoint 1: Charting the Changes – Eva Gold ....................................................... 10Powerpoint 2: Knowing your Context - Mel Dixon. ...................................................... 12

QUALITY PROGRAMMING .............................................................................. 12View PowerPoint 3: Karen Yager - Designing conceptual programs .......................... 12View PowerPoint 4: Processes of making meaning .................................................... 13

DESIGNING MEANINGFUL Assessment ......................................................... 14

View PowerPoint 5: Assessment – Karen Yager ........................................................ 14

SECTION 2: UNDERSTANDING PROGRAM DESIGN ........................ 19SCOPE AND SEQUENCE ................................................................................ 19BACKWARD MAPPING /FORWARD MAPPING ............................................. 20LEARNING ACROSS THE CURRICULUM ...................................................... 23DIFFERENTIATION .......................................................................................... 24NATIONAL TEACHING STANDARDS ............................................................. 25

SECTION 3: THEORETICAL UNDERPINNINGS ................................. 28UNDERSTANDING BY DESIGN (UBD) ........................................................... 28SIGNIFICANT LEARNING ................................................................................ 32QUALITY TEACHING ....................................................................................... 34VISIBLE LEARNING – HABITS OF MIND ........................................................ 35DIFFERENTIATION .......................................................................................... 37SUMMARY OF APPROACHES TO TEACHING AND PROGRAMMING ........ 40

APPENDICES ....................................................................................... 41A. Possible Concepts in the NSW Syllabus ...................................................... 41B. Program Template for A Concept program .................................................. 54C. Template for Planning a unit ........................................................................ 55D. Scope and Sequence samples ..................................................................... 56


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E: Attendance Sheet ......................................................................................... 62

REFERENCES ...................................................................................... 64

THE PURPOSE OF THIS FACULTY PACKAGE

The aim of all good education is to create a love of learning. The classroom is an ever-changing and dynamic place subject to the technological changes of the outside world and to political will. New curriculums and syllabuses at the state and national level require a constant re-consideration of the role teachers play and how they do this. Times of great change can be times of anxiety but it is with strong and effective leadership that teachers are guided into the next stage.

NSW, like all states in Australia, is facing a change in syllabus, reflecting the national curriculum, but more interesting is the change proposed to teacher accreditation nationally. With a national system of accreditation now in place (AITSL) it is incumbent on departments to provide the opportunities for teachers to illustrate the necessary skills for each level of accreditation and this can happen with good program design.

For these reasons this faculty package takes into consideration the needs of accreditation as well as the best pedagogy.

This ETA Faculty Package has been designed to assist departments in

§ implementing the new NSW syllabus § establishing the principles of good programming § offering Professional Development opportunities within a department § creating opportunities for staff accreditation

The Faculty Package gives guidelines that will assist departments to develop their own program of learning responding to the needs of their specific students and their context of learning. The package invites teachers to revisit many of the accepted understandings about good pedagogy through readings that should stimulate discussion and a new spirit of learning within a staffroom.

Too often we hear the same phrases used by teachers: multiple intelligences, backward planning, scaffolding, integrated curriculum. Rather than accept the catchphrases that have become a part of teaching this package returns to the source of those understandings so that the application of the terms comes from an informed and shared understanding.

ACCREDITATION PROCESS This course has been designed to be delivered to teachers within a school faculty by a teacher at Lead level. The full package takes approximately 3 hours preparation and 6 hours to deliver, giving the teacher 9 indicative hours of registered professional development. The dates and times for delivery are at the discretion of the faculty and the school.

A proforma for attendance and completion of the course by a list of participants has been included in the package (Appendix E)

This proforma will require the Deputy, Principal or a teacher formally assigned the role of managing accreditation in the school to monitor and sign off on evidence appropriate to the standard.

Standard Evidence of standard should be provided such as:


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1.2.4 • Meeting notes and drafts of changes to program

1.3.4 • Annotations of programs identifying areas for and kinds of differentiation suitable for the school context

2.2.4 • Approaches to programming reflecting faculty decisions about application of research

3.2.4 • Assaessment for, as and of learning incorporated into assessment programs

6.2.4 • Minutes of faculty meetings

6.4.4 • Supplying information and opportunities for discussion of available professional development, new resources, readings and web sites

The signed proforma listing the evidence of achievement will be submitted to PTCNSW.

STRUCTURE OF THE PROGRAMMING PACKAGE

This program is designed to be used as a support for § programming discussion by a faculty § leading PD on programming or § individuals working on programming.

It has four sections and two modes of delivery, powerpoint recordings and written materials. These are outlined below. At each stage there are activities and templates to support you in your programming.

1. Essential programming This section contains an overview of the programming process with powerpoint recordings to support the content. This section can be used to support faculties in developing new programs for immediate use.

2. Understanding program design This is a guide for those who want to consider different approaches to designing programs in greater detail. This section may be used as a basis for faculty development and program refinement.

3. Theoretical Underpinnings The third section is for those who want to know more about educational theory and the research. Going back to the source can mean a better understanding of terminology and ideas we tend to take for granted.

4. Programming and activity templates These have all been collected in appendices at the end of the package..

How to use this package

This package is designed to be used at various levels and for various purposes.


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1. Teachers who want summary details of aspects of programming go to § What is a program? p. 5 § What to include in a scope and sequence: page 6 § What to include in a unit :page 6 § Writing the program and concept programming: page 11 § Assessment advice: page 14-17 § Differentiation: page 23 § Concept mapping: Appendix § Program template for a conceptual program: Appendix

2. Teachers who want to have access to deeper knowledge of the theory and models

of pedagogy can use the entire package including the additional readings and the appendices.

3. Teachers who are planning across a whole year /stage /English course may want to go to: § Programming across a year/stage § Scope and Sequence

4. Teachers who are planning a unit may want to go to:

§ Presentation: Karen Yager’s presentation on Conceptual units § Appendix: Related worksheets on conceptual units § Theoretical underpinnings: For deeper knowledge of terms that may arise in the

presentation go to this section.


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SECTION 1: ESSENTIAL PROGRAMMING

DEFINING THE TERMS

What is a program? The program is a document that shows the anticipated development of learning in the subject by the students. A program

§ is an important policy document acting as proof of what is happening in the classroom.

§ is a document of accountability which can be accessed publicly by all stakeholders, including parents. As such it needs to have clarity.

§ is an interpretation of a syllabus made relevant to the context of a particular school, students and teachers.

§ is an overview and guide for the learning to take place in the classroom and across all classrooms.

§ establishes consistency across classes. § creates scaffolding from year to another and one learning experience to another.

In school English departments there should be two types of programs:

1. a program overview showing the scope and sequence of learning across a year level/stage which is then divided into

2. a unit program covering a few weeks or even a term, concentrating on a concept.

Curriculum

•The National cuurriculum (ACARA) offers guidelines for what will be taught in subjects across all states. This informs the NAPLAN tests.

Syllabus

•The states convert this into a syllabus that forms the basis for teaching different subjects across each state.

Program

•Teachers consider their subject syllabus and how it fits into the context of the school across different years. A Scope and Sequence chart can offer a quick summary of the overall program.

Unit

•Each stage program is made up of programs of units of work that may be based on a concept emerging from the syllabus outcomes.

Lesson

•The units are comprised of lessons that lead to the selected outcome by a series of carefully considered steps giving students support to reach desired outcomes.


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The first provides a general checklist that all areas are being covered and the second gives more details. Many schools and states may have a specific template for registering a program so you may need to work within the guidelines for your state and school.

What is a Scope and Sequence? A Scope and Sequence is a program across a year, several years and several stages. These are often presented as a table so that teachers can

§ readily map the teaching and learning across the terms and across the years § see at a glance the terrain of the subject and that all mandated areas have been

covered. § use it as a checklist.

While a Scope and Sequence can be serve an administrative function it also provides evidence of scaffolding across a stage or year level where it should be obvious that one activity has linked to another. In the main, English Scope and Sequence programs should include:

§ title of units and duration in the order they will be taught § assessment strategies, with a variety of tasks and conditions § syllabus outcomes § Learning Across the Curriculum § genres § dates of examinations and reporting.

What to include in a unit In the main, programs should include these descriptions of a unit:

§ Title and duration of a unit § Guiding question/s – that encapsulate the purpose of the unit § Rationale/purpose/aims – Why is this course being taught? What are the guiding

principles? § Outcomes – What do you expect to achieve from teaching the course? § Syllabus references – Relevant state or Australian Curriculum references should be

noted. For example the Learning Across the Curriculum (CCPs and GC) that is being targeted in this course of study.

§ Differentiation – How will the course accommodate individual differences? § Resources – What resources will you need to use? § Assessment – How will student progress be assessed during the course and at the

completion of the course? § Learning experiences – What are some of the activities to be undertaken by the

students? § Evaluations – How successful was the course in achieving the aims and outcomes?

Suggest changes for the next year. Learning experiences can be organised in a variety of ways but should be varied, acknowledging the different learning styles of individuals in the class and scaffolding all learning.


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TEACHING AND LEARNING AND THE NEW SYLLABUS

NSW SYLLABUS FOR THE AUSTRALIAN CURRICULUM

Program framework

E.g, Quality teaching Understanding by

Design Visible Thinking

Teaching tools / Resources

E.g, Thinking skills 4 Resources Model Graphic organisers

Questions

Scope and Sequence • Across a

stage • Across a

year • Across a unit

Assessment

• For • As • Of

Learning

Syllabus • Outcomes • Mandated Learning across

the Curriculum (NSW) • (ACARA: Common

Curriculum Priorities and General Capabilities)

Policy Considerations

• Equity • National testing

Classroom teaching and Learning Teaching and Learning are central for education but the impact of school context

and education policies are always an important part of the teaching process.

SCHOOL CONTEXT TEACHER STUDENTS

SCHOOL CONTEXT TEACHER STUDENTS


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Context: School, Teacher and Students Context informs content and delivery of teaching

§ Consider the physical aspects of school and class design § Consider the emotional and intellectual abilities of students § Consider the political implications of the class teaching. (Melbourne Declaration:

citizenship; equity) § Consider the strengths and weaknesses of yourself and other teachers: what

assistance will they need? How can programming assist in your/their own professional development and respond to AITSL standards?

Knowing your context allows you to produce a viable program that considers and balances:

§ Time § Resources § Teacher competence § Student competence § Syllabus requirements

Effective Programs consider the needs of the teacher, not just the student:

§ What does the teacher need to know? § What stage of teaching is the teacher at? § Does the teacher have the time to manage the learning? § Is the learning organised so that the teacher can easily monitor the students

THE KEY TO MEANINGFUL TEACHING AND LEARNING In the busyness of school, the practicalities of what to teach and how to teach, often take priority but it is very important not to forget why you are teaching something. Before designing a program you need to ask Why is this important? The what and the how must rest on the why as the why implicates beliefs about education, the nature of the discipline of English and about the place of English in a student’s education. A faculty needs to arrive at consensus about these beliefs so that the program can be a step by step guide to achieving goals consistent with these beliefs. Activity: Personal reflection

§ What are my beliefs about learning and teaching? § What are my beliefs about the nature and purpose of English in the school

curriculum? Activity: Staff discussion and sharing This activity would suit a café-style approach where the questions are pinned up around the wall and teachers are given time to post suggestions on post its under the question. The responses can then be drawn together to include in a preamble to the faculty program. The faculty needs to move:

What How

Why


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FROM a simple demographic description

TO a statement of beliefs for learning.

What kinds of students are in our school?

What are my school’s beliefs about learning? What beliefs and attitudes do my students bring with them?

Activity: Building on beliefs

The development of student-centred units requires that teachers understand the following. § What do my students already know and need to know? § What will they need to know by the end of the unit in terms of the syllabus and

student needs, interests and attitudes? § How can I develop ethically and morally sound beliefs in my students through the

unit? § What teaching/learning strategies are appropriate for achieving these outcomes? § What information do I as a teacher need to know to teach this unit, in terms of the

syllabus and student needs, interests and attitudes?

Know the syllabus

PowerPoint 1: Charting the Changes – Eva Gold

This may be found at http://www.youtube.com/watch?feature=player_embedded&v=vxd_hBrx-o0

The new NSW syllabus has been designed to acknowledge the context of NSW teachers and what they value in the present syllabus, while including all sections of the Australian Curriculum that are mandated. Unlike the Australian Curriculum, the NSW syllabus favours an integration of the Language, Literature and Literacy strands which are related to the content dot points specified under each Outcome. The standards-based marking that NSW teachers have become accustomed to is continued in this syllabus. Both the Australian Curriculum and the NSW syllabus take into consideration the aims of the Melbourne Declaration of Educational Goals.

The following table gives a comparison of the Australian Curriculum and the NSW syllabus for the Australian Curriculum:

Australian Curriculum K-10 NSW syllabus K-10 for the Australian Curriculum

Divided into year levels K-10 Years K-10 are divided into six distinct learning ages from Early Stage 1 to Stage 5

Each year level is divided under three strands: Language, Literature, Literacy, and substrands within each strand

Stages 4 and 5 are divided into 9 outcomes each with related Life Skills outcome

Students are expected to engage with a diversity of texts in written, spoken or multimodal, and in print or digital/online forms

In each year students must study examples of spoken texts, print texts, visual texts, media, multimedia and digital texts

In each year of the course, three Cross Curriculum Priorities (CCPs) are mandated: • Aboriginal and Torres Strait Islander

histories and cultures • Asia and Australia’s engagement with

In each year of the course Learning across the Curriculum (a list of learning areas) is mandated • Aboriginal and Torres Strait Islander

histories and cultures


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Asia • Sustainability

• Asia and Australia’s engagement with Asia

• Civics and citizenship • Critical and creative thinking • Difference and diversity • Ethical understanding • Information and communication

technology • Intercultural understanding • Literacy • Numeracy • Personal and social competence • Sustainability and environment • Work and enterprise

Seven General Capabilities (GCs) are mandated:

• Literacy

• Numeracy

• Information and communication technology (ICT) capability

• Critical and creative thinking

• Personal and social capability

• Ethical behaviour

• Intercultural understanding.

Each year level includes: • Level description • Three strands: Language, Literature,

Literacy • Content description (under the three

strands) • Content elaborations (offering

illustrations of specific content) • Achievement standards and work

samples • Tags (linking descriptions to CCPs and

GCs)

There are four content aims under each Stage 4-5 outcome: • Engage personally with texts • Understand and apply contextual

knowledge • Understand and apply knowledge of

language forms and features • Respond to and compose texts

Content in the NSW syllabus is defined as “the expected learning for students as they work to achieve the outcomes and describes the subject matter that is to be studied.”

There are dot points under each content statement, giving specific directions on how this occurs in the classroom.

3. Divide teachers into two groups to look at the different stages in the new NSW

syllabus. Use a SWOT diagram and report back to the whole group.

ISSUE: We have to implement a new syllabus

Strengths

Weaknesses

Opportunities

Threats

Recommendations:


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Writing the program From the first presentation, Charting the Changes, we can see that changes to programs can be fairly minimal to accommodate the additional inclusions for the new syllabus.

However, the new syllabus gives us an opportunity to improve programs so that they work more effectively for students and for the range of teaching experience within your faculty.

Powerpoint 2: Knowing your Context - Mel Dixon. This presentation may be found at http://youtu.be/HjTFG0F7EqM Organising a program: What does the Board of Studies advise?

Adapted from: http://syllabus.bos.nsw.edu.au/support-materials/assessment-for-as-and-of-learning/

QUALITY PROGRAMMING The first thing that teachers will need to do is select and organise the essential knowledge, understandings, skills and values from the syllabus around central concepts or ideas…

Quality teaching in NSW Public Schools

View PowerPoint 3: Karen Yager - Designing conceptual programs

This may be found at http://youtu.be/rymOHSLo2xc.

For more information on design models offered in the PowerPoint see Section 3: Theoretical Underpinnings and templates in the Appendices.

Concept-based programming The term ‘concept’, like so many terms, means different things to different people and in different situations. For programming, one can think of ‘concept’ as being the key elements of the discipline one is teaching. This comes back to the earlier issue of meaningful educational experiences: what do we want students to know and be able to do in English and why? These are not easy questions to answer as they involve teachers’ different philosophies and hence approaches to English and to learning. Concept-based programming will require some faculty consensus or at least compromise, on these key issues.

1.Choose

Outcomes

2.Decide Focus

3.How will

you collect

and record

evidence of

learning?

4.What

syllabus content will you use?

5.What

teaching learning

and assessment will you

apply?

6. Feedback

7.Reflection


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It is important not to confuse ‘concept’ with ‘theme’. The latter tends to deal with ideas about the content of texts – ideas such as ‘the nature of evil’, ‘survival’ ‘growing up’. Some traditional thematic studies do cross over into literary concepts – such as ‘the hero’. ‘the journey’ or ‘crossing boundaries’. In these cases there will be some students who cannot move to that level of abstraction which will allow them to differentiate heroes and heroism from the significance of the concept of hero for a text, journeys from ‘the journey’ as a structuring metaphor of a text or one’s response to it, or in ‘crossing boundaries’, acts of transgression in society to the text itself, its composition or the way we respond to it, as transgressive behaviour. In short, when we structure our programs through these themed concepts we have difficulty in moving students from the representations of the real world to the nature of textuality and representation itself. So how can we identify the concepts that shape the nature of English profiled in the NSW syllabuses? The Outcomes tend to traverse the details of what we want students to know, understand and be able to do. For programming we need to go to the content level and draw out the concepts from there. Concepts such as

§ Representation § The role of purpose, audience and context in shaping meaning § Narrative § Description § Characterisation § Intertextuality § Literacies, visual, verbal, oral, multi-, critical § Form

You might find this PowerPoint presentation a stimulus for identifying some concepts.

View PowerPoint 4: Processes of making meaning

This will need to be downloaded separately from the web site. Search in Teacher Resources on programming or use the tag cloud on the home page. http://www.englishteacher.com.au/Resources/TeacherResources/TeacherResource/tabid/1612/ArticleId/1200/Processes-of-Meaning.aspx

While these might form the core of the learning in unit, they are not addressed in isolation or unconnected to real life issues, using authentic texts from the context of the students. For example:

§ Praxis of evil: Constructing the Baddie from the Satan to South Park. This could be a way of focussing on techniques of characterisation including stereotype and archetype, dramatic conventions such as protagonist and antagonist, connections between texts, parody, historical and cultural context.

§ The tale grows in the telling.

This could build up various aspects of narrative and invite students to experiment with different ways of telling a story – plot and subplot; parallel and contrast, flashback – and using different modes and through different media.

§ Telling it My Way: Point of View, Perspective, Positioning and Suppression.


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This could look at different points of view in texts, take a critical literacy focus and look at stories told from different perspectives, identifying gaps and the ways responders might be positioned to adopt a particular interpretation of events and ideas.

Linking your units for a year under an overarching concept Rather than seeing each conceptual unit as a separate entity you may be able to construct a year plan that links all the units under a common concept that is in turn aligned to the stage of learning of the student. By thinking carefully of the overall structure, you embed each unit in a wider understanding and facilitate the process of scaffolding. The concepts should suggest particular genres and language for study. For example

ACTIVITIES

§ Complete the concept mapping proposed in Powerpoint 2 Knowing your Context using the template found in the appendix

§ Review your present programs and think of the possibilities for connecting units under a uniform concept that reflects the stage of maturity of the students.

§ Do the texts you have chosen fit logically under the existing unit titles? Do the activities build on, extend and challenge the ideas in the concept?

DESIGNING MEANINGFUL ASSESSMENT

View PowerPoint 5: Assessment – Karen Yager

This may be found at http://youtu.be/x3TuEkX0EC8

The program is a document used for purposes of accountability. As assessment is part of our accountability, assessment processes need to be clearly explained in the program. We need to be able to answer the following questions:

§ What assessment tools will measure this learning effectively? § What is the objective content that should be assessed? § What skills or understandings should be measured? How?

VOICEAustralianVoices

GlobalVoices

PublicVoices

PrivateVoices


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Assessment for, as and of Learning1 A consideration of ‘assessment for as and of learning’ leads to students who are more reflective about their own practices and a classroom with a positive attitude to learning. Learning becomes a shared experience with the teacher, and the classroom becomes a supportive environment where students are prepared to take risks.

Unit programs should include the different types, conditions and times for assessment but they also need to have some space and time for modifications if the formative tasks indicate areas of need.

Assessment Description Purpose Teachers need to…

For learning • Formative tasks • During learning • Linked to

feedback • Interactive

between teacher and student

• Gives teacher advice on how students are progressing and what are the gaps that may need to be revisited

• Scaffolds the final learning

• Gives students practice • Gives students advice on

how to improve • Creates a positive

supportive learning environment

• Signals need for differentiation

• Provide opportunities for feedback

• Be reactive and to institute new strategies in response to students needs

As learning • Regular self-assessment during unit

• Feedback

• Students learn about themselves and develop metacognition (knowledge of their thought processes)

• They take responsibility to monitor their direction

• Guide students • Model the self reflection • Set the right questions • Create right environment

for risk- taking • Provide regular self-

monitoring opportunities • Monitor student

metacognitive processes and provide feedback

• Encourage students to focus their attention

Of learning Summative tasks

End of unit

• To measure the students performance against the desired outcomes

• For reporting purposes – public and defensible

• transparent

• Inform future learning • Use the information to

report on students • Consider range of

alternative mechanisms for assessing the same outcomes

1For the BOS statements on ‘Assessment for as of Learning’ go to: http://syllabus.bos.nsw.edu.au/support-materials/assessment-for-as-and-of-learning/

For PowerPoint of ‘Assessment for as and of learning’ go to: http://teacherrefresher.wikispaces.com/file/view/Assessment_of_for_as_Learning.pdf For an excellent overview of principles and application of ‘assessment for, as of learning’ go to Classroom Assessment published by Alberta university: http://education.alberta.ca/media/1111945/ch8.pdf


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Principles of good assessment Use ‘assessment for, as, and of learning’ and record any significant assessment on the unit program. Some details will also be summarised on scope and sequence charts.

§ All summative assessment dates must be advised in advance so students learn to plan

§ Formative assessment dates can also be programmed at the beginning of a unit § Vary the conditions for assessment:

q Extended task – over a couple of weeks or longer q Short notice tasks – a week or less given for the specific task q Examination tasks – with an unseen question (students need warning of the

general area to be examined) q Access to all resources q Limited access to resources q Prepared question to be completed in test conditions with no notes q Prepared task to be completed in test conditions with limited notes.

§ Cover all the modes:

q Reading q Writing q Listening q Viewing q Representing – this can include ICT q Speaking

§ Vary the groupings for tasks

q Group q Pair q Individual

§ Give clear instructions on the cover sheets § Use standards sheets for marking § Give clear descriptions of what is expected to achieve each standard.

Assessment cover sheets An assessment cover sheet is a document of accountability and should include:

§ Unit Title § Date due § Length of task § Conditions for task § Outcomes being assessed § Clear explanation of the task – this might be organised under subheadings and

scaffolded for a longer task § Standards marking sheet • Space for teacher comment.

If extensive explanations are needed then this implies that the task is not well-supported by the classroom learning. Assessment Instructions Any unit of study must be able to reach the different abilities and needs of all students and provide a space for extending them. Assessment is the place where this is realised. The wording of assessment tasks should therefore reflect the increasing demands of the course as it progresses. The taxonomy, SOLO (Structure of Observed Learning Outcomes)


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provides a relevant hierarchy for you to use. For Biggs and Collis (1982) the word structure is central, indicating that it is the way we connect ideas that demonstrates the growth of individual learning. For that reason they use the word Prestructural for the early stages indicating the inability of young children to connect, and Multistructural for multiple connections and Extended Abstract to indicate more complex thinking2. The verbs that they use for each stage are helpful for in wording assessment tasks SOLO Taxonomy of Learning processes indicating increasing complexity in levels of understanding Verbs

Identify Name Follow simple procedure

Combine Describe Enumerate Perform serial skills List

Analyse Apply Argue Compare/contrast Criticise Explain causes Relate Justify

Create Formulate Generate Hypothesis Reflect Theorise

INCOMPETENCE

One relevant aspect

Several relevant independent aspects

Integrated into a structure

Generalised to a new domain

Pre structural Unistructural Multistructural Relational Extended Abstract

• Unconnected information

• not organised lacking sense

• Simple connections

• obvious

• More connections

• No sense of meta-connections

• Significant relationships are realised rather than just connections

• Able to generalize

• Apply learning to new situation

• Transfer knowledge

• Make links between subjects

Lower order thinking

---------à-------------à------------à------------à-----------à

Higher order thinking

Adapted from: http://edorigami.wikispaces.com/SOLO+Taxonomy

The SOLO diagram

§ provides a way of plotting student performance § offers guidelines for assessment using verbs in developmental order § shows learning as progress from lower order to higher order thinking.

The learning experiences and assessment that you set for students should allow you to move from identification to abstraction using the NSW syllabus outcomes.

Activity Review the assessment tasks in a unit. Use the following checklist to analyse the assessment tasks.

2 For a visual representation of these stages of thinking and a summary of Biggs and Collis’ work http://www.learningandteaching.info/learning/solo.htm


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Task 1 Task 2 Task 3 Task 4

1. Does the task include all the details needed?

2. What are the conditions for assessment?

3. Is this assessment for, of, or as learning?

4. What are the verbs used to direct students?

5. How would you describe the required activity according to Biggs and Collis: Unistructural,, Mutlistructural, Relational or Extended Abstract?

§ Do you provide enough variety in conditions? § Are you moving students to higher order thinking? § How can you change the task to make it more rigorous if that is needed? § If you don’t have a range of assessment for, as, of learning then

o What can you add? and o At which point in the assessment program should this be added?


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SECTION 2: UNDERSTANDING PROGRAM DESIGN

SCOPE AND SEQUENCE Scope and sequence means that a course has taken into account the full breadth of what is possible (scope) and organised this into meaningful sequences of learning that build on each other, moving towards the final outcome. Presenting this as an overview in a diagrammatic form is appropriate.

The most effective way of planning a scope and sequence, where each learning task feeds forward and anticipates what is to follow, is to take a ‘backward mapping’ approach.

Backward mapping considers how to: § lead students from Year 7 to Year 12 ( this is implicit in each state’s syllabus

statements for each level but it is a good idea to revisit the relationship between each year level to understand how the learning is scaffolded)

§ achieve syllabus outcomes for each year level (i.e. what steps are to be taken to cover the content)

§ plan at the unit level (consider the short term goals for each term and how these will lead to the final outcomes)

Every unit of learning should be part of a sequence that acknowledges the context of each student’s learning and leads to the goals for the year level which, in turn, cumulatively build knowledge and skills for the final stage of learning in Year 12.

Devising a Scope and Sequence Chart: the WHAT and the HOW WHAT is the scope?

• This refers to breadth and depth of the learning. • What does the learning cover and how much does it cover?

HOW is it sequenced?

§ What order does the learning follow? § Is it sequentially building up on previous learning and developing the student’s

knowledge, understanding and skills?

Constructing a scope and sequence program means that you have a quick overview of what will be done which also acts as a checklist against what needs to be done. It’s about finding ‘throughlines’. A good scope and sequence is

§ explicit about the learning § provides links to the syllabus and the outcomes § provides links between stages and year levels.

You may need more than one scope and sequence chart. You need a quick overview but you also need a more thorough and specific chart. You need to see what is happening in a given year level or stage but you also need to see what is happening over the entire English program. All of this serves the purpose of ensuring that the mandated areas are covered systematically, whoever takes the class.


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Possible considerations for the scope and sequence A pedagogical framework is important and can be integrated into the structure of the scope and sequence. For example, if you are following a Quality Teaching Framework this can be a column or row in the chart.

Scope and sequence is not the same as a work program but the one supports the other. The work program is closely aligned to the scope and sequence: it takes the proposed outline and develops this into meaningful learning experiences which lead logically to assessment. While scope and sequence charts have to include all the mandated elements, they should also have space for the things your department wants to focus on, such as wide reading or ICT (see the charts in the appendix).

The role of learning experiences within the scope and sequence: The sequence of learning that is reflected in the charts has to also take place within the learning activities One approach to this is called SOLO, which stands for Structure of Observed Learning Outcome, a “systematic way of describing how a learner's performance grows in complexity when mastering many tasks. It describes a general sequence in the grasp of tasks which increase in complexity from Pre-structural through to Extended abstract.” (see the chart in the Assessment section on page 16.

Additional Resources The NSW Syllabus for the Australian Curriculum website has a section on scope and sequence but this is designed to cover all subjects and may need to have additional elements to suit English. The sample given provides an overview which you may want to extend to accommodate your school needs

Advice on scope and sequence and samples may be found at

§ http://syllabus.bos.nsw.edu.au/support-materials/scope-and-sequence-plans/ and

§ Appendix to this package

BACKWARD MAPPING /FORWARD MAPPING What is backward mapping and forward mapping? Backward mapping seems almost intuitive. By knowing where we are heading, we can plan the stages of the learning journey more clearly. Devised by Wiggins and Mc Tighe as part of their Understanding by Design program it is invaluable. Wiggins and Mc Tighe use framing questions to anticipate the learning through all the stages and to develop focused episodes of learning. In many ways, this approach may appear antithetical to a philosophy that learning emerges from the classroom and from wide exploration but it implicitly acknowledges the time constraints of teaching. It is about seeing the bigger picture and moving constantly towards this goal. Forward mapping has the same idea of development of the learning but starts from a different base.

Why is it important? The focus on questions is a guide in teaching preparation as it is for student learning. Backward mapping gives students a clear sense of direction and they feel more secure in their learning process. Also through this method assessment becomes an integral part of the learning rather than an addition.


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When do I backward map? Backward mapping can take place in different stages of learning and serve different purposes. Backward mapping can be done for:

§ Years 7-12. What do we need to have covered to build foundations for the later years?

§ 1 or 2 year stage of learning: What do I expect to have achieved by the end of the year/stage and how can I scaffold the learning to get to that place?

§ A single unit: What do I expect to have achieved by the end of the unit (or what am I going to assess?)? What steps can I take towards this and how do I monitor the evidence?

§ A single lesson: What do I want to see in happen in this lesson and how will I achieve this?

Activity 1. Below are features of programming approaches. Allocate these into the column that you think more suitable.

§ Top down § Bottom up § Develops steps towards the final outcome from the end backwards § Can be less structured and therefore not as functional for administrative purposes § Conscious of changed behaviour as evidence of achieving outcome § Strongly directing student learning § Emerging from student needs § More focused on the discipline § Requires thorough understanding of the students, their context and the

possibilities for learning § More focused on the breadth of the subject § Goes from the beginning and builds up § Begins with a statement of intent § May be more organic and therefore less structured § Not offering sufficient guidance § Conscious of the time restraints, every step being monitored and students are

kept focu

BACKWARD MAPPING FORWARD MAPPING


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2. Reflect on your own practice

§ Are there times when one approach may be better than the other? § Which approach do you follow? § How can we reconcile immediate student needs and contextual pressures within a

backward mapping framework?

3. Try backward mapping List all the skills and knowledge we expect students to have by the end of a six-year English course and then review your program to see that you have achieved this. You can use a table like the one below.

Main elements

(you may want to add categories

here)

Examples In which unit/s do you develop this element and how?

Concepts For example:

Representation Visual literacy Voice Purpose, audience, context Intertextuality

Skills For example:

Comprehension Selecting related texts Reading widely ICT Comparing texts Reflecting on learning

Composing texts For example:

Analytical writing Imaginative writing Multimodal texts Persuasive writing Speaking

Mandated aspects For example:

Prose fiction Drama Poetry Nonfiction Film Multimedia Shakespeare ATSI perspective ICT Asian texts

Read the syllabus and the prescription statements for details of what is required and complete the third column. You could consider such questions as:

§ When do I introduce this? § How do I build up the knowledge and skills needed? § Where this is being developed in the present program and how can I maintain this in

my new program?

For more information on Backward mapping go to the Understanding by Design section in Theoretical underpinnings.


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LEARNING ACROSS THE CURRICULUM Learning across the Curriculum is mandated and can be incorporated at various points in the program but clearly not in every unit of work. Definitions and explanations of Learning across the Curriculum appear in the syllabus. The example below demonstrates the flexibility of concept-based programming for cross curriculum possibilities.

Model Concept: storytelling Learning across the Curriculum The concept of storytelling can be developed through cross curriculum learning in the following ways:

§ Aboriginal and Torres Strait Islander histories and culture – Dreamtime stories can be included in this unit but also give some consideration to the role of the storyteller and story in Indigenous communities.

§ Asia and Australia’s engagement with Asia – Asian folk stories can be studied to see how they link or contrast with the Australian stories. Specific forms such as Manga, Indonesian shadow puppets, Bollywood etc could be considered here to open up the diversity of Asia and question the use of the term beyond geography.

§ Civics and Citizenship – Stories such as The Pied Piper of Hamelyn are about the role of civic leadership. The role of community is in fact a feature of most fantasies and of epic poetry such as the Iliad and the Odyssey. Elders give approval to set off on a quest. This can be compared to modern civic structures: who gives permission nowadays for a mission on behalf of the city?

§ Critical and Creative thinking – The quest narrative is about critical thinking. The hero applies carefully considered strategies to what lies ahead; sometimes these strategies emerge through the riddles that are presented.

§ Difference and Diversity – Working with a wide range of texts from different times and cultures should satisfy this need by being aware of the diversity in the class and allowing students to explore texts from their own background culture. Student abilities should also be considered with different reading levels and lengths of texts offered.

§ Ethical Understanding – Storytelling is about creating an ethical universe; fables are specifically about how to live your life but other stories also have this “message” implicitly in the text. Focusing on the values of the text leads to an understanding of the ethical stance that is conveyed by the composer.

§ Information and Communication Technology – There are many programs and software that can be used by students to explore storytelling but another way of applying this is to consider the way the hero uses gifts to solve a problem. These gifts provide a technology that is needed. Going back to the origins of the word technology is important at this level.

§ Intercultural Understanding – Heroes go through different landscapes and encounter different cultures often sensing animosity between cultures. Interestingly the hero’s quest usually reinforces fear of ‘The Other”. Visiting texts from other countries creates a positive link and leads to better understanding, especially by considering the universality of archetypal myths.


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§ Literacy – Reading, writing, listening, speaking, viewing and representing are essential in any English classroom. Student literacy and multi-literacies will be developed through carefully scaffolded exercises and activities which break down difficult tasks into smaller achievable ‘chunks’ that build up understanding while creating patterns for future literacy experiences. Acknowledging different learning styles is another way that the unit offers literacy experiences.

§ Numeracy – Graphic representations of stories from orientation through the various complications to climax and resolution are the most direct way that numeracy can be charted in this unit. Students can also graph the fluctuating emotional intensity of a story.

§ Personal and Social Competence – Working in groups and as individuals will develop personal and social competence. More specifically in this unit students will need to tell their and other stories orally, verbally and through images to communicate and develop self-confidence.

§ Sustainability and Environment – Many myths and legends are about the sustainability of the environment. The protagonist of a story often operates in a natural setting and interacts with the landscape.

§ Work and Enterprise – A moral of many stories is that hard work reaps its rewards. This is reinforced by very clear classroom behaviour management and by setting tasks for students to achieve at home as well as at school. Teachers acknowledge good work practices by checking these and giving feedback. Records can be kept to use for parent interviews.

DIFFERENTIATION Programs must include a statement on differentiation.3 This may be for students who have been identified as Gifted and Talented or about students who need support because they may be at risk of not achieving the chosen outcomes. For programming the issue is the same whether there are mixed ability or streamed classes operating at a school because the one program has to cover all the levels and show an awareness of the differing expectations of students in your class. You need to consider:

• What will ALL students do • What might MOST students do • What might SOME do.

What “some might do” needs to include both those facing difficulties and those who might go beyond expectations. The learning experiences should be planned accordingly, acknowledging expectations and developing the best opportunities for all students. There are a few basic ways to differentiate:

§ Content - Depth of knowledge and understanding, Language complexity in resource § Process – how the students learn, how you present and pace the learning

3 . For BOS advice on this go to: http://syllabus.bos.nsw.edu.au/support-materials/differentiated-programming/ and NSW English syllabus Learners pages 4-7


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§ Product – what the final product is § Student interests

One way of acknowledging differentiation in a program is to use the wording:

All students will… Some students will… (look at extending students) Some students will … (look at assisting students) OR

All must…. Some may… A few might…

Here is one example of how to phrase the differences in a program using the concept Storytelling All students will

§ read a variety of texts across a range of cultures and in a wide selection of modes under the heading of storytelling

§ work individually, in small groups and as a class.

Some students will § work undertake more work as individuals, read more widely, looking at more complex

texts relevant to storytelling such as epic poetry § question accepted assumptions about cultures § initiate their own direction for study § experiment with text composition.

Some students will § focus on shorter texts or read extracts which they will explore in depth with more

guided teaching § work more in small groups than as individuals or as a whole class § have a modified assessment task or different conditions under which to complete the

task.

For more information on how to cover differentiation in your program go to page 36.

NATIONAL TEACHING STANDARDS What is it? The Australian Institute for Teaching and School Leadership (AITSL) does more than offer registration. If we look closely at the standards we see that they are organised so that they can feed into programming. Offering teachers experience at writing programs responds to many of the standards. 4 There are seven National Standards for Teachers:

1. Know students and how they learn 2. Know the content and how to teach it 3. Plan for and implement effective teaching and learning

4 Margery Evans from AITSL introducing the relationship of AITSL standards to the curriculum can be seen on: http://vimeo.com/26307732)


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4. Create and maintain supportive and safe learning environments 5. Assess, provide feedback and report on student learning 6. Engage in professional learning 7. Engage professionally with colleagues, parents/carers and the community

Why is it important? These standards are part of a national agenda and an important constituent in educational policy-making. Taking into consideration the standards means that you are still able to support students while supporting teachers in their bid for accreditation. The needs of teachers for accreditation and the needs of students in their learning should not be seen as separate.

How can we use it? Programs are official documents that can be used as evidence. The seven standards lend themselves to the construction of program and lesson design while supporting teachers seeking accreditation. Use the headings as a checklist to see if all relevant areas have been covered. Here are some suggestions of ways these standards can be integrated into a program. Taking each of the standards separately consider

1. How are the standards currently addressed in the faculty? 2. What ways can individual teachers can be supported in gaining, maintaining or

upgrading their accreditation?

Explore what your faculty is doing with standards and what can be done by expressing the standards as questions:

1. How can programming show that we know the students and how they learn? Programs that offer a section on differentiation and a variety of learning activities to respond to different learning styles and student interests immediately indicate an engagement with this standard. Frontloading activities to tap into prior knowledge and to assist in locating learning styles, having ongoing formative assessment with an allowance for feedback in the program also allow for addressing standard 1.

2. How can programming show that we know the content and how to teach it? Program design that starts with the outcome and backward plans is immediately responding to the content. A unit program can provide evidence of the teacher knowing content and how to teach it as long as it includes a clear outline of learning experiences that lead to the desired content. Using appropriate metalanguage is essential.

3. How can programming show that we plan for and implement effective teaching and learning? Programming is the best way to show planning and implementation. This can include programming across a stage, a unit, and a lesson design. The effectiveness comes from including a reflection and evaluation section which may refer to student achievement as observed in class and also in assessment tasks. Comments on future planning show the teacher analysing results for effective teaching.

4. How can programming show that we create and maintain supportive and safe learning environments? Programming should include a section on differentiation as that is a form of support for students. The development of collaborative skills and use of different formations and groupings of students and classroom furniture develop students’ confidence and trust in each other. Feedback is another way of supporting the students and their learning and this can be written into the program. Students who receive feedback feel supported and have the


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guidance required to build on. Carefully structured and managed peer assessment develops students’ mutual respect. The reflection section of the program can report on the way students worked and show that processes are being put in place to respond to any issues.

5. How can programming show that we assess, provide feedback and report on student learning? Assessment for, of and as learning should all be factored into a program. Formative assessment and feedback act as “assessment as learning” and are ways of supporting the class. The unfortunate reality is that the administration of reporting times cannot be changed so factoring in the dates of assessment into the program is a reminder of critical dates to work towards. Feedback has to be regular and immediate in order to create an impact – it should be included in the program with suggested dates. While a rigid program leads to consistency and responds to accountability, feedback can also lead to changing direction in teaching when we realise that the students require a different pathway. The reflection section on the program can be a way of documenting these responses to class needs.

6. How can programming show that we engage in professional learning? While this can’t be recorded in a program, keeping a log of meetings, events, formal and informal professional conversations with colleagues within the school and networks beyond it is one way of tracking this experience. The different pedagogies that are applied to or embedded in the program are also a sign of engaging with professional learning.

7. How can programming show that we engage professionally with colleagues, parents/carers and the community? Like standard 6 this needs to be part of journalling. Networking with other teachers in your school or region, responding to parent phone calls about the program can be considered within the scope of this standard.


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SECTION 3: THEORETICAL UNDERPINNINGS

UNDERSTANDING BY DESIGN (UBD) What is it? So much of our understanding of curriculum design derives from Wiggins and McTighe (2000) that it is worth going back to what they drafted. In the second draft of their book Understanding by Design they further refine their ideas so it is necessary to look at the latest edition. What is backward mapping and forward mapping?

To begin with the end in mind means to start with a clear understanding of your destination. It means to know where you’re going so that you better understand where you are now so that the steps you take are always in the right direction. (Covey, 1994) Backward design may be thought of as purposeful task analysis: Given a task to be accomplished, how do we best get everyone equipped? … Or one might think of it as planning for coaching, as suggested earlier: What must learners master if they are to effectively perform? What will count as evidence on the field, not merely in drills, that they really get it and are ready to perform with understanding, knowledge, and skill on their own? How will the learning be designed so that learners' capacities are developed through use and feedback? (Wiggins and Mc Tighe5)

Features of backward and forward mapping

BACKWARD MAPPING FORWARD MAPPING

Bottom up

Top down

Conscious of final outcome as changed behaviour

Begins with a statement of intent

More focused on the student

More focused on the discipline

Develops steps towards the final outcome from the end backwards

Goes from the beginning and builds up.

Wiggins and Mc Tighe suggest 3 stages for curriculum planning Stage 1: Identify desired outcomes and results. Stage 2: Determine what constitutes acceptable evidence of competency in the outcomes and results (assessment). Stage 3: Plan instructional strategies and learning experiences that bring students to these outcomes.

5 Wiggins G and McTighe J, Understanding by Design, Expanded 2nd Edition by Chapter 1. Backward Design Why “backward” is best. http://www.ubdexchange.org/resources/backwards.html


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Questions and curriculum design For Wiggins and McTighe programming begins with questions. These include essential and foundation questions.

1. Essential questions require an answer or plan of action. 6 2. Foundation questions look at elements such as

§ What is needed to answer the essential question? § Why is there a problem with …? § How can we solve this problem? § Which option is most likely to answer the question?

When determining the essential questions, the curriculum designer must recognise that there are six facets of understanding. The student should have opportunities to show that s/he7:

§ Can Explain § Can Interpret § Can Apply § Can have a Perspective § Can Empathise § Can have self-knowledge (reflect)

The main aim is to develop an “enduring understanding” which students "get inside of" and can carry with them to other learning. At each stage of the design process Wiggins and Mc Tighe challenge the teacher to keep asking themselves what they are doing and why through a series of questions or filters that they propose.

Filter 1 To what extent does the idea, topic, or process represent a "big idea" having enduring value beyond the classroom?

Filter 2 To what extent does the idea, topic, or process reside at the heart of the discipline?

Filter 3 To what extent does the idea, topic, or process require uncoverage?

Filter 4 To what extent does the idea, topic, or process offer potential for engaging students?

The question/s to be explored can be further elaborated by considering what is:

§ Worth being familiar with: What do we want students to read, view, research and otherwise encounter?

§ Important to know & do: Mastery required at this level. Important knowledge (facts, concepts, & principles) and skills (processes, strategies, & methods).8

6 In their Introduction to the second edition of Understanding by Design , Wiggins and Mc Tighe open up the idea of what an essential question can be: “must an essential question be timeless and overarching?... Does an essential question have to philosophical and open-ended or can it … point toward specific understandings.” 7 More information: http://www.slideshare.net/drburwell/the-six-facets-of-understanding http://pixel.fhda.edu/hybrid/six_facets.html 8 More information: http://xnet.rrc.mb.ca/glenh/understanding_by_design.htm


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WHERETO and Stage 3 In Stage 3 when planning instruction, Wiggins and Mc Tighe developed the acronym WHERETO9. The planning does not have to follow the order given.

§ Where are we going? Why? What is expected? § Hook the students § Equip the students for expected performances § Rethink or Revise § Evaluate (self evaluate) and reflect on learning § Tailor learning to various needs, interests learning styles § Organise a sequence of learning

Thinking like an Assessor or an Activity Designer Programs need to consider both the assessment and the activities that lead to that assessment. Wiggins and McTighe therefore distinguish between these two roles in program design. Assessment is evidence of understanding, achieved through a range of assessment instruments with a culminating assessment task. The culminating performance can be designed using the following acronym: GRAPE

§ Goal § Role and situation § Audience § Product and Presentation § Evidence of Learning

Thinking like an assessor requires that you respond to two basic questions.

§ Where should we look to find hallmarks of understanding? § What should we look for in determining and distinguishing degrees of understanding?

Thinking Like An Assessor Thinking Like An Activity Designer

What would be sufficient and revealing evidence of understanding?

What would be interesting and engaging activities on this topic?

What performance tasks must anchor the unit and focus the instructional work?

What resources and materials are available on this topic?

How will I be able to distinguish between those who really understand and those who don’t (though they may seem to)?

What will students be doing in and out of class? What assignments will be given?

Against what criteria will I distinguish work? How will I give students a grade (and justify it to their parents)?

What misunderstandings are likely? How will I check for those? Did the activities work? Why or why not?

Summing up the different parts of UbD The following table is slightly adapted from one by Glen Hammond (website address below) and shows how the different elements of UbD come together.

9 This acronym was originally WHERE in 1998 and was revised to add TO in the 2005 edition


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�Key Design Question

�Design Construction

�Filters��(Design Criteria)

�What the Final Design Accomplishes

Stage 1: �� What is worthy and requiring of understanding?

National testing (NAPLAN), State syllabus.�� Teacher expertise and interest.

Enduring ideas.� Opportunities for authentic, discipline-based work.�� Uncoverage.�� Engaging.

Unit framed around enduring understandings and essential questions.

Stage 2: �� What is evidence of understanding?

Six facets of understanding.� Continuum of assessment types.

Valid�� Reliable. Sufficient. Authentic work. Feasible. Student friendly.

Unit anchored in credible and educationally vital evidence of the desired understandings.

Stage 3: ��What learning experiences and teaching promote understanding, interest, and excellence?

Research-based repertoire of learning & teaching strategies.�� Essential & enabling knowledge and skill.

WHERE is it going? Hook the students. Explore and equip. Rethink and revise. Exhibit and evaluate.

Coherent learning experiences and teaching that will evoke and develop the desired understandings, promote interest, and make excellent performance more likely.

Source: Wiggins & McTighe, 1998, Understanding By Design found at: http://xnet.rrc.mb.ca/glenh/understanding_by_design.htm

Templates 1. For templates and videos go the websites:

J Mc Tighe and Associates Educational Consulting: http://jaymctighe.com/resources/

Grant Wiggins 2005: Overview of UBD and design template: http://www.grantwiggins.org/documents/UbDQuikvue1005.pdf

2. There are also many powerpoints on Slideshare “Backward mapping beginning with the end in mind” is on the internet and is addressing NSW teachers specifically. Reading Downloadable: The Logic of Backward Design: Understanding by Design Professional Development Workbook www.ascd.org/ASCD/pdf/books/mctighe2004_intro.pdf Why is it useful/important? The focus on questions presents teachers with problems to solve. It is just as important for teachers to use questions to guide their teaching preparation as it is for student learning. More important is the constant elaboration of the question and the need to justify the learning. Approaching the curriculum in this way develops an understanding of the full breadth of what is to be learnt. The twofold division of the teacher’s role into thinking like an assessor or thinking like an activity designer is a pertinent reminder of the difference between these two functions of curriculum design.


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Understanding the design process as three distinct stages is a helpful scaffold. How can we use it? Using the UbD template invites the teacher to engage with the design process and to be certain that the program to be taught is not only necessary but will lead to better learning. It allows the teacher to engage closely with the important questions of curriculum design and to anticipate any issues that may arise. Some of the ideas of UbD are implicit in the BOS syllabus support materials. The UbD gives teachers a framework for evaluating existing units and the course that is already in place to ascertain whether they are sufficiently rigorous for the student before transferring these units to the new syllabus. UbD fits into a conceptual unit design and in fact enhances this. Activity: Interrogating your subject Follow these steps using the Wiggins document and design template for UbD http://www.grantwiggins.org/documents/UbDQuikvue1005.pdf 1. Follow the BOS advice to start with the outcomes 2. Go to page 12 of the Understanding by Design template: Important Topic/Content Look at the outcomes and content descriptors in the new NSW syllabus and identify a content area. Use the template on page 12 to ask questions about that content. 3. Go to page 13 of the Understanding by Design template: Important Skills/Processes Look at the outcomes and content descriptors in the new NSW syllabus and identify a skill area. Use the template on page 13 to ask questions about that skill . This activity will make you more aware of the depth of the element to be taught.

SIGNIFICANT LEARNING

What is it about?

If we have or can develop a language and a conceptual framework for identifying the multiple ways in which learning can be significant, then teachers can decide which of various kinds of significant learning they want to support and promote in a given course or learning experience.10 Like Bloom’s taxonomy 11(1956), this taxonomy has six general categories of learning, but—unlike Bloom’s—they are interactive rather than hierarchical (Fink 2003)12

10 Fink, L Dee, 2003, WHAT IS '''SIGNIFICANT LEARNING"? http://www.wcu.edu/WebFiles/PDFs/facultycenter_SignificantLearning.pdf 11 http://cft.vanderbilt.edu/teaching-guides/pedagogical/blooms-taxonomy/ 12 Fink, PhD, L. Dee, A Self-Directed Guide to Designing Courses for Significant Learning http://trc.virginia.edu/Workshops/2004/Fink_Designing_Courses_2004.pdf


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As teachers we want to ensure that what students learn is significant and so we need to understand how we can distinguish what might be significant learning experiences.

http://nustudprof.wordpress.com/2010/06/26/significant-learning-and-integrated-course-design/ Fink has three stages in his curriculum design but an important consideration is what he calls situational factors. He favours a backward design process and specifically refers to feedback. INITIAL DESIGN PHASE: Build Strong Primary Components

Step 1. Identify important situational factors Step 2. Identify important learning goals Step 3. Formulate appropriate feedback and assessment procedures Step 4. Select effective teaching/learning activities Step 5. Make sure the primary components are integrated

INTERMEDIATE DESIGN PHASE: Assemble the Components into a Coherent Whole

Step 6. Create a thematic structure for the course Step 7. Select or create an instructional strategy Step 8. Integrate the course structure and the instructional strategy to create an overall scheme of learning activities

FINAL DESIGN PHASE: Finish Important Remaining Tasks

Step 9. Develop the grading system Step 10. De-Bug possible problems Step 11. Write the course syllabus Step 12. Plan an evaluation of the course and of your teaching

http://www.deefinkandassociates.com/GuidetoCourseDesignAug05.pdf


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Why is it useful/important? The idea of integration of elements of the course in the intermediate phase is important and necessary. Interestingly this taxonomy places the activities before the development of a thematic structure thus privileging the learning experience over the concept. A positive feature is the inclusion of the evaluation as part of the course design. The summary of the elements of significant learning reminds us that the human dimension and caring are important but not easily translated into a curriculum document, so this design is about the whole teaching experience. Fink reminds us of the importance of

§ Specific context § Expectations of others § Nature of the subject § Nature of the students

o What feelings do they have about this subject? o What prior knowledge or experiences related to this subject do they bring with

them? § Nature of the teacher:

o What beliefs and values do we bring to the course? o How do these compare with those of students?

How can we use it? An awareness of situational factors foregrounds the importance of context, placing the student at the planning stage. Fink’s understanding of the classroom interactions (especially the human dimension of caring, the nature of the students and the teacher) that are needed for significant learning is good to consider when planning at the level of the lesson or unit.

Activity

1. Nature of the teacher /nature of the student Construct two columns one called Teacher the other called Student. Under each column list what each party values about the study of English. Consider your students in general. If the list is discrepant with teachers wanting different goals to students then have a think-tank on how to overcome that discrepancy. Think of how presentation of the content and skill may change the students’ values.

2. Significant Learning Construct a map of what you regard as significant learning at each stage – you may want to visit the BOS syllabus to guide you here.

QUALITY TEACHING

What is it? Quality Teaching is well known across New South Wales so we won’t elaborate too much on this model. Developed specifically for New South Wales, Quality Teaching has its origins in the Queensland Productive Pedagogies, which in turn is based on the American Newman and associates’ Authentic Pedagogies. This framework works well at the level of unit design and for the classroom


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There are three dimensions with further subheadings: § Intellectual quality § Quality learning environment § Significance

Why should we use it? Quality teaching is a proven taxonomy that encourages the teacher to work at a complex level and to reflect on practice. How can we use it? The elements of Quality Teaching can be embedded into a program as part of the teaching and learning activities. Readings Summary of Quality Teaching Elements http://www.newcastle.edu.au/Resources/Schools/Education/Pedagogy/2006/SummaryofQuality-JanPoona.pdf Quality teaching in NSW Public schools, Discussion paper 2003 https://www.det.nsw.edu.au/proflearn/docs/pdf/qt_EPSColor.pdf Marilyn Lombari, ‘Authentic Learning for the 21st Century: An Overview’ in Educause Learning Initiative: Advancing learning through IT innovation, ELI paper 1: May 2007 http://net.educause.edu/ir/library/pdf/eli3009.pdf Mia O’Brien ‘New pedagogies and the knowledge society: teaching for deep Learning, Conceptual Understanding and Generative Thinking’ in: Michelle G Aniftos and Alison Mander, Teaching Education 2010: ATEA Forum 2002: Proceedings of the 30th Annual Australian Teacher Education Association Conference, Brisbane, July 2002. Knowledge Fusion 2002: Teacher Education 2010, July 2002, Mercure Hotel, Brisbane. July 2002. Activity If you use a Quality Teaching Framework then revisit the elements of the model and look at how you use it in the classroom and at the design stage. Consider whether it is an integral part of course design or an addition. Use a PMI chart (P= Plus features; M = Minus features; I = Interesting) to begin the discussion.

VISIBLE LEARNING – HABITS OF MIND (Hattie, 2008)

What is it? Visible Learning is about switching on evidence-driven feedback to empower innovation in the learning environment and providing multiple views of progress – to and for students, teachers, parents, administrators, policy makers, and the community. Each can see how and what learners are learning, observe their relative progressions, and look to where they can go next. Assessment, which is all about making teaching and learning visible, provides a lens into the learning process, such that excellent teaching and self-evaluation of progress can be seen to all major participants in the development of achievement


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When teachers see learning through the eyes of the student and then students see themselves as their own teacher

In classrooms where visible teaching and learning occur, teachers are using powerful strategies that have the greatest effect on student outcomes. Instead of asking, “What works?” we should be asking “What works best?” “We need a barometer of success that helps teachers to understand which attributes of schooling assist students in attaining their goalposts13 Hattie applies a system of measurement to demonstrate techniques that have the most impact or what he calls “zone of desired effects’’14

Visible Teaching and Learning occurs when: § Learning is the explicit goal. § Learning is appropriately challenging. § Both teacher and student seek to ascertain whether and to what degree the

challenging goal is attained. § When there is deliberate practice aimed at mastery. § Feedback is given and sought. § There are active, passionate, engaging people involved in learning.15

There are five strands in Hattie’s model:

§ Visible learners § Know the impact § Inspired and passionate teachers § Effective feedback § Visible learning schools

Inspired and passionate teachers are central to this model which values teachers as:

§ Change agents § Activators or facilitators § Evaluators

Good teachers have a disposition to asking …

§ How do I know this is working? § How can I compare ‘this’ with ‘that’? § What is the merit and worth of this influence on learning? § What is the magnitude of the effect? § What evidence would convince you that you are wrong? § Where have you seen this practice installed so that it produces effective results?16

13 Extracts from asTTle Project, Auckland UniServices Limited 2005 pp 14 Hattie page 19 quoted in The essential educator http://essentialeducator.org/?p=1654 15 Hattie page 22 quoted in The essential educator http://essentialeducator.org/?p=1654 16 16 This PDF summarises strategies for developing habits of mind: http://www.charemisd.org/downloads/professional_development/developing_habits_of_mind_ppt_20121005_140152_1.pdf


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Why is it important? The focus on meta-cognition is at the core of this model and is therefore linked to higher order thinking. Visible thinking is about making students active agents in their learning but also about making teachers conscious of their own practices. In a visible thinking classroom teachers gain feedback about themselves and act on it. How can we use it? Hattie’s recommendations can be embedded in classroom learning for students to benefit, but even more important is the use of Hattie’s questions for teachers’ reflections. Programs can have space for Hattie’s ideas. Activity Before a faculty meeting:

1. Ask the faculty to a. view these 2 video clips of John Hattie speaking about the results of his

research on what enhances student achievement before attending the faculty meeting. http://www.youtube.com/watch?v=sng4p3Vsu7Y http://www.youtube.com/watch?v=3pD1DFTNQf4

b. write a brief personal reflection noting i. Which aspects of the research resonate with their own experience and

how? ii. Which aspects of the research would be most useful to pursue as a

personal goal and why?

The faculty meeting: 2. Using p. 4 of the document Distinguishing Expert Teachers from Novice and

Experienced Teachers https://www.det.nsw.edu.au/proflearn/docs/pdf/qt_hattie.pdf identify those areas that could be targeted with your faculty and how they might be included in your teaching strategies/ programming/ professional development.

Reading For a thorough summary of Hattie’s work go to: Research for Teachers: Hattie's concept of visible teaching and learning, General Teaching Council for England http://www.tla.ac.uk/site/SiteAssets/RfT2/06RE059%20Hattie%27s%20concept%20of%20visible%20teaching%20and%20learning.pdf

DIFFERENTIATION

What is it? Differentiation is an issue in any class as no two students learn in the same way but there are some students who need very different approaches to achieve their potential. A leading researcher and writer on differentiation is Carol Ann Tomlinson and an important theorist to consider is Vygotsky and the Zone of Proximal Development. Tomlinson gives a practical application for the ideas of Vygotsky.


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Vygotsky (1978) believed that in order to move from ‘what is known’ to ‘what is not known’ students need guidance and encouragement What is known Guidance and

encouragement from a knowledgeable person

What is not known

Vygotsky coined the term Zone of Proximal Development as the area where the most sensitive instruction or guidance should be given – allowing the child to develop skills they will then use on their own – developing higher mental functions. Interaction with peers, for example, was regarded as an effective way of developing skills and strategies. He suggested that teachers use cooperative learning exercises where less competent children develop with help from more skilful peers - within the zone of proximal development. Classroom Practice and differentiation

§ Look for the learner’s positives. § Don’t let what’s broken extinguish what works. § Pay attention to relevance. § Go for powerful learning. § Teach up. § Use many avenues to learning. § See with the eyes of love.17

Ways to Differentiate Instruction Tomlinson offers three elements of the curriculum that can be differentiated: the content, the process, and product (Tomlinson, 2001). She also gives a few ways to do this:

1. Differentiating the Content § What are the knowledge and skills that students are to learn? § How can you pre-test to identify students who do not require direct instruction? § What activities will you provide for those who do not need direct instruction? § For these students ,how can they apply the concepts to problem solving and

enriched or accelerated study? 2. Differentiating the Process 3. Differentiating the Product18

Why is it important? Tomlinson and Dimersky’s chart19 below makes clear the importance of differentiation in achieving student outcomes. The aim to give “high level instruction” that includes all through conscious reorganisation of the classroom and the process of learning is imperative.

17 Tomlinson, How to Differentiate Instruction in Mixed-Ability Classrooms, 2001 ASCD (Association for supervision and Curriculum Development , Chapter 2 can be viewed online at http://www.ascd.org/publications/books/101043/chapters/The_Rationale_for_Differentiated_Instruction_in_Mixed-Ability_Classrooms.aspx 18 Tomlinson quoted in Hall B. Research into practice: Mathematics Differentiated Instruction http://assets.pearsonschool.com/asset_mgr/current/20109/Differentiated_Instruction.pdf 19 Tomlinson, How to Differentiate Instruction in Mixed-Ability Classrooms, 2001 ASCD Chapter 10 can be viewed online at http://www.ascd.org/publications/books/100216/chapters/Planning-for-the-“What”-and-the-“How”-of-Differentiation.aspx


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The What The How

§ High-level, idea-based instruction using key skills to understand and apply the ideas employing key principles of differentiation: o Flexible grouping o Respectful activities o Ongoing assessment and adjustment

§ Modifying content, process, and product based on student readiness, interest, and learning profile using a range of student-centered, meaning-making instructional strategies

§ Coaching for individual growth with the goal of moving each student as far and fast as possible

§ Assessing student growth at least in significant measure according to personal growth

§ Clarity of purpose and vision § Systemic efforts § Generalist/specialist partnerships for

classroom application § Time and support for collaboration § Structured lesson (curriculum) planning

and instructional evaluation § Focused staff development with plans for

transfer § Incentives for classroom application § Aligned and focused policies and

initiatives § Coherent leadership § Integration with professional growth and

accountability § Formative and summative evaluation of

efforts and use of findings § Involvement of parents in understanding

and contributing to assessment of change

§ Persistence over time

How can we use this for programming? Effective programming must reflect the needs of the whole cohort and must offer a balance between the overview of the learning to take place and the practicalities of applying this learning through meaningful learning experiences. Differentiation must consider the range of the spectrum including the high achiever and the student facing difficulties. Any statement in the program needs to be made about the resources, the level of language required and the skills to be developed. Assessment may also need to be modified. Strategies, not objectives, achieve differentiation. So the strategies need to be stated clearly. They can include:

§ Acknowledgement of different learning styles by including multiple teaching ways in programming.

§ Locating prior knowledge as well as many presumptions and misconceptions. § Encouraging learning as an active and self-conscious process. § Allowing students to develop skills that will lead them to pursue learning on their

own and critically assess their own performance § Possibilities for ICT § Frameworks for independent learning and metacognition20

The following practical measures can be taken to ensure differentiation

§ Tiered Assignments (Readiness) § Compacting (Readiness) § Centres or Groups (Readiness/Interest)

20 Adapted from ‘What we know about how students learn’ Columbia University http://www.columbia.edu/cu/tat/handout1.html


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§ Learning Contracts (Readiness/Learning Profile) § Flexible Grouping (Readiness/Interest/Learning Profile) § Independent Study Projects (Readiness/Interest/Learning Profile)21

Activities

§ In pairs, define differentiation on post-it notes; share these definitions. § Identify the types of students you have in your school who might need differentiation. § What strategies do you presently apply? You can use the lists offered in this section as

a checklist. What strategies can you apply? § Is it helpful to have information from other faculties and how can this be put in place? § How will you include this information in a program?

Readings

§ Carol Ann Tomlinson, ‘Reconcilable differences: Standards based Teaching and Differentiation’ Educational Leadership September 2000 | Volume 58 | Number 1 How to Differentiate Instruction Pages 6-11

§ Download the PDF document called Differentiation the What and How by Geoff Petty at www.geoffpetty.com

SUMMARY OF APPROACHES TO TEACHING AND PROGRAMMING

Taxonomy Author Date FOCUS

SOLO Biggs and Collis 1982 Learning/assessment as a hierarchy

Understanding by Design

Wiggins and Mc Tighe

1998 with revisions 2005

Inquiry

Blooms Cognitive, Affective and Psychomotor Domains

Bloom 1956 with revisions from other (Krathwohl 1964; Dave 1970 etc)

Hierarchy of learning

Visible learning – habits of mind

Hattie 2008 Metacognition

Quality teaching NSW Dept of Education

2003 Processes for effective teaching

AITSL 2013 Teacher Accreditation

Differentiation Carol Ann Tomlinson and Susan Demirsky 2000 Classroom learning

and Assessment Significant learning Fink 2003 Context and learning

– places caring as central

21 For more details go to: Pearson: Differentiated Instruction http://assets.pearsonschool.com/asset_mgr/current/20109/Differentiated_Instruction.pdf


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APPENDICES

A. POSSIBLE CONCEPTS IN THE NSW SYLLABUS The table below offers some suggestions of concepts that can emerge from Outcome content statements (for more information see page 11 ff on concept based programming. Outcome 1: A student responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure EN4-1A POSSIBLE CONCEPTS SYLLABUS OUTCOMES AND CONTENT STATEMNTS Interpretation Appreciation Contextualisation Artistry/Craft Rhetoric Perspectives/Point of view Aestheticism

Engage personally with texts § connections between their own experiences § and the world in texts § experience affects responses to texts § aesthetic qualities in their own and other texts § power of language to communicate information, ideas,

feelings and viewpoints § compose texts for pleasure and enjoyment

Interpretation Perspectives/Point of view

Develop and apply contextual knowledge § stated and implied meanings in spoken texts, and use

evidence to support or challenge different perspectives Interpretation Persuasion/Manipulation Pastiche Rhetoric

Understand and apply knowledge of language forms and features § comprehend content § vocabulary choices § how language of persuasion reflects the medium and mode § complexity of language in informative and persuasive texts § compose texts using verbal, aural, visual and/or written

techniques § objective and subjective language § devices that create tone

Interpretation Appreciation Artistry/Craft/Construction Persuasion Rhetoric Point of View Characterisation Narrative Voice Fusion Faction Performance Communication

Respond to and compose texts § respond to and compose imaginative, informative and

persuasive texts § ways authors combine different modes and media in

creating texts § main ideas, concepts and points of view in spoken texts § ways that language and images are used to create

character § ways that characterisation, events and settings are

combined in narratives § evaluating a text § how language is compressed to produce a dramatic effect

Outcome 2: A student effectively uses a widening range of processes, skills, strategies and knowledge for responding to and composing texts in different media and technologies EN4-2A Concepts: Interpretation Craft/Artistry Appreciation

Engage personally with texts § processes of responding and composing § different processes required for responding and composing

in a range of forms and media § ideas and opinions about characters, settings and events in

literary texts Concepts: Evolution Communication

Develop and apply contextual knowledge § how language has evolved over time - technology § responsible and ethical digital communication

Concepts: Understand and apply knowledge of language forms and


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Artistry/Craft/Construction Imagery Representation

features § editing and writing for a purpose § refinement of writing § representation § citations § digital texts’ terminology § composing using technology

Concepts: Interpretation Appreciation Genre Stagecraft

Respond to and compose texts § interpret and evaluate texts § effect of technological innovations on texts § interpret a range of types of texts § composing sustained texts § organising information, ideas and arguments § collaborative processes to construct texts § legible handwriting style

Outcome 3: A student uses and describes language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts EN4-3B Construction Interpretation

Engage personally with texts § language and structures of texts § ideas and information in a range of texts § personal style and taste

Communication Artistry/Craft/Construction Interpretation Rhetoric Persuasion

Develop and apply contextual knowledge § purpose, audience and context of texts § interaction skills for identified purposes, using voice and

language conventions to suit different situations § Standard Australian English and elements of other

languages, including Aboriginal English § recognise and use appropriate metalanguage § how effective authors control and use a variety of clause

structures § nominalisation in informative and persuasive texts § spell accurately § levels of usage across a range of different types of texts § rhetorical devices used to persuade

Construction Communication

Understand and apply knowledge of language forms and features § etymology § language choices in short stories, literary essays and plays § building specialised knowledge through language § modality § coherence in complex texts § structure of texts, including webpages § composing expositions and discussion essays § punctuation § spelling rules

Persuasion/Manipulation Respond to and compose texts § how purpose shapes text structures and language features

Outcome 4: A student makes effective language choices to creatively shape meaning with accuracy, clarity and coherence EN4-4B Concepts:

Syllabus outcomes and content statements

Engage personally with texts § communicate by using effective language choices


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Contextualisation Transformation Evolution

Develop and apply contextual knowledge § ways purpose, audience and context affect a composer's

choices of content, language forms and features and structures

§ influence and impact that the English language has had on other languages or dialects and visa versa

Humour Transformation Appropriation/Adaptation Point of View/Perspective Imagery

Understand and apply knowledge of language forms and features § combine visual and digital elements to create layers of

meaning for serious, playful and humorous purposes § experiment with language and visual choices to create new

texts § experiment with text structures and language features § how point of view is generated in visual texts

: Persuasion Point of View/Perspective Faction Communication Craft/Artistry Transformation Appropriation/Adaptation Intertextuality Creativity Imagery

Respond to and compose texts § create imaginative, informative and persuasive texts that

raise issues, report events and advance opinions § deliver presentations, selecting and sequencing appropriate

content, including multimodal elements, to reflect a diversity of viewpoints

§ create literary texts § adapt and transform their own or familiar texts § appropriations and intertextuality

Outcome 5: A student thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose texts EN4-5C Artistry/Craft/Construction Interpretation Appreciation Point of View/Perspective Aestheticism

Engage personally with texts § qualities of language in their own and others' texts that

contribute to the enjoyment § wide reading of self-selected texts for enjoyment and share

responses § opinions and arguments about aspects of literary texts

Interpretation Appreciation Contextualisation Point of View/Perspective

Develop and apply contextual knowledge § interpretations of texts are influenced by knowledge, values

and cultural assumptions § how meaning is shaped by context, purpose, form, structure,

style, content, language choices and personal perspective Narrative voice Hybridity/Subversion Genre

Understand and apply knowledge of language forms and features § ways web and digital technologies influence language and

shape meaning § conventions of storytelling § imaginative texts as models to replicate or subvert textual

conventions Creativity Appreciation Point of view Aestheticism Persuasion Perspectives Characterisation Contextualisation Storied Existence

Respond to and compose texts § originality and inventiveness § considered points of view and arguments § compose a range of visual and multimodal texts § ways experience, knowledge, values and perspectives can

be represented through characters, situations and concerns in texts

§ metalanguage


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Outcome 6: A student identifies and explains connections between and among texts EN4-6C Interconnectedness Engage personally with texts

§ ways literary texts draw on readers' knowledge of other texts and enable new understanding and appreciation

Interconnectedness Appropriation

Develop and apply contextual knowledge § similarities and differences in meaning and language

between texts § appropriations into English from a range of other cultures

and times Genre Interconnectedness Allusion Intertextuality

Understand and apply knowledge of language forms and features § structures and language features of multimodal texts § categorise texts by content, composer and genre § how detail, perspective and choice of vocabulary connect

texts § how visual and multimodal texts allude to or draw on other

texts or images Adaptation Narrative Voice Point of view/Perspective Interconnectedness Transformation

Respond to and compose texts § create literary texts that adapt stylistic features encountered

in other texts § links between the ideas, information, perspectives and

points of view § connection between texts with similar subject matter § make creative connections with, adapt or transform other

texts § range of strategies to present information, opinions and

perspectives across a range of different types of texts Outcome 7: A student demonstrates understanding of how texts can express aspects of their broadening world and their relationships within it EN4-7D Interpretation Contextualisation Representation

Engage personally with texts § ways in which personal experiences and perspectives shape

their responses to texts § ways the 'real world' is represented in the imaginary worlds

of texts Contextualisation Interpretation Representation Characterisation

Develop and apply contextual knowledge § compare and contrast texts that present alternative views of

their own world § personal empathy, sympathy and antipathy towards

characters, situations and concerns Representation Perspective/Point of view

Understand and apply knowledge of language forms and features § ways that language features represent individual, shared or

disparate views of the world § how combinations of words, sound and images can create

particular perspectives of the same event or issue § ways techniques of representation in multimodal texts are

used to present alternative views of the world, people, places and events

Contextualisation Storied Existence

Respond to and compose texts § respond to and compose sustained texts that reflect the

broadening world and relationships § ways 'story' shapes experience of and responses to a range

of texts Outcome 8: A student identifies, considers and appreciates cultural expression in texts EN4-8D


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Cultural perspective Cultural representation Contextualisation Cultural identity

Engage personally with texts § ways culture and personal experience position readers and

viewers § ways that ideas and viewpoints in literary texts drawn from

different historical, social and cultural contexts Contextualisation Cultural representation Cultural perspective Cultural heritage Interconnectedness

Develop and apply contextual knowledge § cultural expressions in texts, including those about gender,

ethnicity, religion, youth, age, sexuality, disability and social class

§ texts about cultural experiences from different sources § ways recurring stories have been written and rewritten for

different contexts and media Cultural representation Cultural identity

Understand and apply knowledge of language forms and features § how conventions of speech adopted by communities

influence the identities § how combinations of words and images in texts are used to

represent particular groups in society Cultural representation Cultural perspective Cultural heritage Interconnectedness

Respond to and compose texts § appreciation of cultural factors, including cultural background

and perspectives § representation of differing viewpoints about the world,

cultures, individual people and concerns § interconnectedness of Country and Place, People, Identity

and Culture in texts § ways different cultural stories, icons, Aboriginal images and

significant Australians are depicted in texts Outcome 9: A student uses, reflects on and assesses their individual and collaborative skills for learning EN4-9E Metacognition Engage personally with texts

§ pleasure and difficulties, successes and challenges of learning

Metacognition Develop and apply contextual knowledge § differences between their own and others' ways of learning § demands of a task and the outcomes and criteria for

planned assessment Reflection Understand and apply knowledge of language forms and

features § vocabulary for describing, analysing and reflecting on

learning Metacognition Reflection

Respond to and compose texts § processes of responding and composing § metacognitive processes used for planning § organisational strategies § reflection strategies § collaboration

Activity: Applying the concepts to Stage 5 The sheet below contains the content of the NSW English syllabus for Stage 5. An Excel spread sheet of this material is available on the ETA web site (Search: Stage 5 Content Excel). Identify possible concepts in the left hand column and then be sort. The content points that you want covered in your concept based unit will be ready for insertion into your program.


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Concept Outcome and content 1 responds to and composes increasingly sophisticated and sustained texts for understanding, interpretation, critical

analysis, imaginative expression and pleasure EN5-1A Engage personally with texts

• appreciate, explain and respond to the aesthetic qualities and the power of language in an increasingly sophisticated range of texts

Develop and apply contextual knowledge

• analyse and explain the ways language forms and features, ideas, perspectives and originality are used to shape meaning

• analyse ideas, information, perspectives, contexts and ideologies and the ways they are presented in increasingly demanding, sustained imaginative, informative and persuasive texts

• explore real and imagined (including virtual) worlds through close and wide reading and viewing of increasingly demanding texts

Understand and apply knowledge of language forms and features • identify how vocabulary choices contribute to specificity, abstraction and stylistic effectiveness (ACELA1561)

• investigate and experiment with the ways irony, sarcasm and ridicule can be used to expose, denounce and deride, and how these shape responses

• analyse and explain the use of symbols, icons and myth in still and moving images and how these augment meaning (ACELA1560)

Respond to and compose texts

• identify and explore the purposes and effects of different text structures and language features of spoken texts, and use this knowledge to create purposeful texts that inform, persuade and engage (ACELY1740, ACELY1750)

• explore and explain the combinations of language and visual choices that authors make to present information, opinions and perspectives in different texts (ACELY1745)

• evaluate the impact on audiences of different choices in the representation of still and moving images (ACELA1572)

• create sustained texts, including texts that combine specific digital or media content, for imaginative, informative, or persuasive purposes that reflect upon challenging and complex issues (ACELY1746, ACELY1756)

• present an argument about a literary text based on initial impressions and subsequent analysis of the whole text (ACELT1771)

2 2 effectively uses and critically assesses a wide range of processes, skills, strategies and knowledge for responding to and composing a wide range of texts in different media and technologies EN5-2A

Engage personally with texts • evaluate their own processes of composition and response and reflect on ways of developing their strengths, addressing their

weaknesses and consolidating and broadening their preferences as composers and responders • value engagement in the creative process of composing texts


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• consider how aspects of texts, including characterisation, setting, situations, issues, ideas, tone and point of view, can evoke a range of responses, including empathy, sympathy, antipathy and indifference

Develop and apply contextual knowledge • interpret, analyse and evaluate how different perspectives of issue, event, situation, individuals or groups are constructed to serve

specific purposes in texts (ACELY1742) • evaluate the ways film, websites and other multimedia texts use technology for different purposes, audiences and contexts to convey

ideas and points of view • understand the nature, scope and ethical use of digital technologies and apply this knowledge in their own composing and responding

in digital media Understand and apply knowledge of language forms and features • review, edit and refine students' own and others' texts for control of content, organisation, sentence structure, vocabulary, and/or visual

features to achieve particular purposes and effects (ACELY1747, ACELY1757) • understand that authors innovate with text structures and language for specific purposes and effects (ACELA1553)

• understand conventions for citing others, and how to reference these in different ways (ACELA1568) Respond to and compose texts

• understand and apply a wide range of reading strategies to enhance comprehension and learning for a range of print, multimodal and digital texts

• apply word processing functions, as well as web authoring programs, to compose and format texts for different purposes, audiences and contexts, including the workplace

• use increasingly sophisticated processes of representation to respond to and compose complex spoken, written, visual, multimodal and/or digital texts for a wide range of purposes and audiences, considering and evaluating the effect of the technology

• interpret and evaluate the effectiveness of information and ideas conveyed in diagrammatic representation, eg charts, graphs, timelines and surveys

• use comprehension strategies to compare and contrast information within and between texts, identifying and analysing embedded perspectives, and evaluating supporting evidence (ACELY1744, ACELY1754)

• apply an expanding vocabulary to read increasingly complex texts with fluency and comprehension (ACELY1743)

• identify, explain and discuss how narrative viewpoint, structure, characterisation and devices including analogy and satire shape different interpretations and responses to a text (ACELT1642)

• investigate how evaluation can be expressed directly and indirectly using devices, for example allusion, evocative vocabulary and metaphor (ACELA1552)

• plan, rehearse and deliver presentations, selecting and sequencing appropriate content and multimodal elements to influence a course of action (ACELY1741, ACELY1751)

• use a range of software, including word processing programs, confidently, flexibly and imaginatively to create, edit and publish texts, considering the identified purpose and the characteristics of the user (ACELY1748, ACELY1776)

3 3. selects and uses language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts, describing and explaining their effects on meaning EN5-3B


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Engage personally with texts • engage with a range of increasingly complex language forms, features and structures of texts in meaningful, contextualised and

authentic ways • analyse and explain how text structures, language features and visual features of texts and the context in which texts are experienced

may influence audience response (ACELT1641) • compare and evaluate how 'voice' as a literary device can be used in a range of different types of texts such as poetry to evoke

particular emotional responses (ACELT1643) • analyse and evaluate the effectiveness of a wide range of sentence and clause structures as authors design and craft texts

(ACELA1557, ACELA1569) Develop and apply contextual knowledge • understand that Standard Australian English in its spoken and written forms has a history of evolution and change and continues to

evolve (ACELA1550, ACELA1563) • analyse a range of texts that include the use of Aboriginal dialects and Aboriginal English

Understand and apply knowledge of language forms and features • evaluate techniques (eg contrast, exaggeration, juxtaposition or changing chronological order) used in spoken, written and visual texts

to, for example, construct plot and create emotional responses • understand how certain abstract nouns can be used to summarise preceding or subsequent stretches of text (ACELA1559) • analyse how higher order concepts are developed in complex texts through language features including nominalisation, clause

combinations, technicality and abstraction (ACELA1570) • understand how paragraphs and images can be arranged for different purposes purpose, audiences, perspectives and stylistic effects

(ACELA1567) • refine vocabulary choices to discriminate between shades of meaning, with deliberate attention to the effect on audiences

(ACELA1571) • understand how to use knowledge of the spelling system to spell unusual and technical words accurately, for example those based on

uncommon Greek and Latin roots (ACELA1573) • understand how spelling is used creatively in texts for particular effects, for example characterisation and humour and to represent

accents and styles of speech (ACELA1562) • understand how punctuation is used along with layout and font variations in constructing texts for different audiences and purposes

(ACELA1556) Respond to and compose texts • create literary texts with a sustained 'voice', selecting and adapting appropriate text structures, literary devices, language, auditory and

visual structures and features for a specific purpose and intended audience (ACELT1815) • use organisation patterns, voice and language conventions to present a point of view on a subject, speaking clearly, coherently and

with effect, using logic, imagery and rhetorical devices to engage audiences (ACELY1813) • compose and respond to a wide range of visual texts, eg picture books, graphic novels and films, using a range of appropriate

techniques and metalanguage


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• use voice effects, eg tone, volume, pitch, pauses and change of pace, for specific effects such as arguing a point of view or attempting to persuade an audience to a course of action

• use interaction skills to present and discuss an idea and to influence and engage an audience by selecting persuasive language, varying voice tone, pitch, and pace, and using elements such as music and sound effects (ACELY1811)

4 4. effectively transfers knowledge, skills and understanding of language concepts into new and different contexts EN5-4B Related Life Skills outcome: ENLS-11B

Engage personally with texts

• appreciate and value the ways language concepts, ideas and information can be shaped and transformed for new and different contexts

• analyse texts from familiar and unfamiliar contexts, and discuss and evaluate their content and the appeal of an individual author's literary style (ACELT1636)

Develop and apply contextual knowledge • apply existing knowledge, skills and understanding about language to access and express increasingly complex information and ideas

for new purposes, audiences and contexts Understand and apply knowledge of language forms and features

• evaluate how particular forms and features of language and structures of texts can be adapted, synthesised and transformed for new and different purposes, audiences and contexts

• examine and evaluate the cohesion of syntax and content in familiar and unfamiliar texts

• experiment with the ways that language features, image and sound can be adapted in literary texts, for example the effects of stereotypical characters and settings, the playfulness of humour and pun and the use of hyperlink (ACELT1638)

• investigate and experiment with the use and effect of extended metaphor, metonymy, allegory, icons, myths and symbolism in texts, for example poetry, short films, graphic novels, and plays on similar themes (ACELT1637)

Respond to and compose texts • creatively adapt texts into different forms, structures, modes and media for different purposes, audiences and contexts and explain the

differences emerging as a result of such adaptations • creatively transform a range of different types of texts, including their own, into new imaginative texts, experimenting with patterns,

representations, intertextuality and appropriations • use prediction, speculation, hypothesis and paraphrasing as strategies for accessing complex types of texts with unfamiliar ideas or

structures • locate, select, synthesise and creatively use information, ideas and arguments from texts to compose new texts

• recognise different uses of visual texts, media and multimedia, including the internet, eg browsing the web to locate information, using the internet to communicate socially or professionally, watching a documentary to gain knowledge and/or pleasure

5 5. thinks imaginatively, creatively, interpretively and critically about information and increasingly complex ideas and arguments to respond to and compose texts in a range of contexts EN5-5C

Engage personally with texts


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• investigate the ways different modes, subject areas, media and cultural representation affect their personal and critical responses to texts

• engage in wide reading of self-selected imaginative, factual and critical texts for enjoyment and analysis and share responses in a variety of relevant contexts, including digital and face-to-face contexts

• create literary texts that reflect an emerging sense of personal style and evaluate the effectiveness of these texts (ACELT1814) • reflect on, extend, endorse or refute others' interpretations of and responses to literature (ACELT1634, ACELT1640)

Develop and apply contextual knowledge

• compare ways in which spoken, written, visual, multimodal and digital texts are shaped according to personal, historical, cultural, social, technological and workplace contexts

• critically respond to texts by drawing on knowledge of the historical context in which texts were composed through a program of wide reading and viewing

• understand how language use can have inclusive and exclusive social effects, and can empower or disempower people (ACELA1551, ACELA1564)

Understand and apply knowledge of language forms and features • understand and use the language of argument, eg the use of logic, evidence, refutation, ellipsis, irrelevance and circumlocution, and

analyse how it affects responses • understand the ways generalisations, clichés, rhetorical devices, appeals to authority and appeals to popularity and public opinion

shape meaning and responses • critically evaluate the ways bias, stereotypes, perspectives and ideologies are constructed in texts • explain the ways the language of argument and persuasion can be adapted for different contexts

• investigate the ways web and digital technologies use and manipulate visual images, hyperlinks, sound and the written word to create meaning

• respond to and compose texts that use inference and figurative language, eg symbolism and allusion, in complex and subtle ways Respond to and compose texts

• respond to and compose a range of sustained imaginative, informative and persuasive texts which are increasingly demanding in terms of ideas, arguments and linguistic, structural, cognitive, emotional and moral complexity

• formulate, develop and express their own ideas and beliefs creatively, thoughtfully, positively and confidently on issues such as sustainable patterns of living

• understand and analyse differences between opinions and reasoned arguments, differences in shades of opinion and inconsistencies

• evaluate the ways inference, point of view, figurative language and alternative readings can be used creatively as strategies for responding to and composing spoken, written, visual, multimodal and digital texts beyond the literal level

• pose increasingly perceptive and relevant questions, make logical predictions, draw analogies and challenge ideas and information as presented by others and in texts

• understand and explain the ways in which composers transform ideas and experience into and within texts, including consideration of their insight, imaginative powers and ingenuity

6 6 investigates the relationships between and among texts EN5-6C


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Engage personally with texts • explain and justify responses to texts and widening personal preferences within and among texts

• explore and appreciate the similarities and differences between and among more demanding texts Develop and apply contextual knowledge

• investigate, hypothesise and explain the ways a concept may be reinterpreted over time through different texts and media

• research and explore the texts of specific composers, eg a novelist, poet, filmmaker or dramatist, considering themes, language techniques and similarities and differences in their works

Understand and apply knowledge of language forms and features • investigate and describe the recurring features of particular genres, eg westerns or science fiction, focusing on their storylines,

iconography, value systems and techniques • study and evaluate variations within conventions of particular genres and how these variations reflect a text's purpose

• compare the purposes, text structures and language features of traditional and contemporary texts in different media (ACELA1566)

• compare and contrast the use of cohesive devices in texts, focusing on how they serve to signpost ideas, to make connections and to build semantic associations between ideas (ACELA1770)

• analyse and evaluate text structures and language features of literary texts and make relevant thematic and intertextual connections with other texts (ACELT1772, ACELT1774)

• select a range of digital and multimedia texts and investigate the ways content, form and ideas of texts can be connected • use appropriate metalanguage to identify, describe and explain relationships between and among texts

Respond to and compose texts • create imaginative texts that make relevant thematic and intertextual connections with other texts (ACELT1644, ACELT1773)

• research, analyse and explain the treatment of a common theme or idea in a range of texts in different modes and media

• choose a reading technique and reading path appropriate for the type of text, to retrieve and connect ideas within and between texts (ACELY1753)

7 7. understands and evaluates the diverse ways texts can represent personal and public worlds EN5-7D Engage personally with texts

• explore and reflect on their own values in relation to the values expressed and explored in texts • reflect on personal experience and broadening views of the world by responding to the ideas and arguments of others with increasingly

complex ideas and arguments of their own Develop and apply contextual knowledge • evaluate the ways personal perspective and language choices affect meaning and can be shaped by social, cultural and historical

influences • understand that people's evaluations of texts are influenced by their value systems, the context and the purpose and mode of

communication (ACELA1565)


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• explore and reflect on personal understanding of the world and significant human experience gained from interpreting various representations of life matters in texts (ACELT1635)

• evaluate the social, moral and ethical positions represented in texts (ACELT1812) Understand and apply knowledge of language forms and features

• analyse the ways in which creative and imaginative texts can explore human experience, universal themes and social contexts

• use and analyse increasingly complex language features to present a viewpoint on issues such as environmental and social sustainability

Respond to and compose texts • explore and analyse ethical positions on a current issue, including the values and/or principles involved, in digital communication

forums • respond to and compose sustained imaginative, creative and critical texts that represent aspects of their expanding personal and

public worlds, for a wide range of purposes, including for enjoyment and pleasure 8 8. questions, challenges and evaluates cultural assumptions in texts and their effects on meaning EN5-8D Engage personally with texts

• create texts to demonstrate their view of the world with reference to the texts of other cultures • analyse and explain the ways in which particular texts relate to their cultural experiences and the culture of others

Develop and apply contextual knowledge • identify, explain and challenge cultural values, purposes and assumptions in texts, including representations of gender, ethnicity,

religion, youth, age, disability, sexuality and social class • identify and analyse implicit or explicit values, beliefs and assumptions in texts and how these are influenced by purposes and likely

audiences (ACELY1752) • compare and evaluate a range of representations of individuals and groups in different historical, social and cultural contexts

(ACELT1633, ACELT1639) • analyse how the construction and interpretation of texts, including media texts, can be influenced by cultural perspectives and other

texts (ACELY1739) Understand and apply knowledge of language forms and features • examine how language is used to express contemporary cultural issues

• explain and evaluate the ways in which modern communication technologies are used to shape, adapt and re-present past and present cultures, including popular culture and youth cultures, for particular audiences

Respond to and compose texts • analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts, including media texts,

through language, structural and/or visual choices (ACELY1749) • analyse literary texts created by and about a diverse range of Australian people, including people from Asian backgrounds, and

consider the different ways these texts represent people, places and issues • explain and analyse cultural assumptions in texts, including texts by and about Aboriginal Australians


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analyse and describe the ways texts sustain or challenge established cultural attitudes and values 9 9. purposefully reflects on, assesses and adapts their individual and collaborative skills with increasing independence

and effectiveness EN5-9E Engage personally with texts

• articulate and discuss the pleasures and difficulties, successes and challenges experienced in investigation, problem-solving and independent and collaborative work, and establish improved practices

Develop and apply contextual knowledge • purposefully reflect on and value the learning strengths and learning needs of themselves and others

• understand the learning purposes, specific requirements and targeted outcomes of tasks Understand and apply knowledge of language forms and features

• understand and apply appropriate metalanguage to reflect on their learning experiences

• adapt knowledge of language forms and features for new learning contexts Respond to and compose texts

• understand and confidently integrate their own processes of responding to and composing a wide range of different types of texts • choose effective learning processes, resources and technologies appropriate for particular tasks and situations

• examine the ways that the processes of planning, including investigating, interviewing, selecting, and recording and organising ideas, images and information, can and should be modified according to specific purposes, texts and learning contexts

• use and assess individual and group processes to investigate, clarify, critically evaluate and present ideas English K-10 Syllabus © Board of Studies NSW. 2013 pp 134 – 150


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B. PROGRAM TEMPLATE FOR A CONCEPT PROGRAM

Focus and Context

Concept + Question

Key Idea + Question Key Idea + Question Key Idea + Question

PFA’s, Outcomes and Assessment

Pre-testing

Teaching Strategies Learning Activities



Resources


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C. TEMPLATE FOR PLANNING A UNIT

Year: Term: Topic: Concept: Length of unit: Concept: (The overarching idea of the unit based on the skills, knowledge and understanding that you want students to know – it must be drawn from the syllabus outcomes you are addressing)

Ask these questions to determine the concept:

§ Is the concept grounded in the syllabus and the selected outcomes? § Does the concept capture the deep learning that you want students to have by the end of the unit of work? § Is the concept appropriate and relevant for the specified students at that moment in time? § Have you considered the concept in terms of the continuum of learning? § Does the concept have significance and endurance?

Key learning ideas:(Two – Three key learning ideas that students should understand by the end of the unit. They are based on the outcomes and reflect the Concept) Overarching question:(What is the big picture question that you would want students to be able to answer at the end of the unit?) Significance: (Why does this unit of work matter?) Differentiation:

Assessment modes: Assessment Outcomes: Assessment for and as learning: Formative Assessment task of learning:

NSW Syllabus for the Australian Curriculum Outcomes: Learning Across the Curriculum (checklist and description of the place of the element in the program) Suggested Texts and other resources Learning experiences Evaluation of unit


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D. SCOPE AND SEQUENCE SAMPLES CONNECTING TO STAGE 3: By the end of Stage 3 students should know: (This is just a summary: where things are repeated across different outcomes they do not all appear.)

Understand: Skill Metalanguage Texts Language 1Speaking and listening

• Difference between spoken and written language

• Degrees of Formality

• communicates effectively for a variety of audiences and purpose

• Note taking • Interaction skills • Summarise • plan, rehearse and deliver

presentations,

use metalanguage to describe the effects of ideas, text structures and language features on particular audiences

• language forms and features of spoken texts appropriate to a range of purposes, audiences and contexts

2 Writing and representing

and appreciate the way texts are shaped through exploring a range of language forms and features and ideas

• Develop legible handwriting style Compose short and sustained texts

• Reread and edit their own and other’s work

• Themes • Storylines • Imagery • Similes • Metaphors, Personification

Alliteration • Cohesive devices

• Poetry • Songs • Environmental texts, • Digital layout

• Cohesive devices, Complex sentences • Word choice

3 Reading and viewing

how texts vary in purpose, structure and topic as well as the degree of formality

• Compare texts Predicting • Skimming

• Film techniques • Animation • Voice-overs • Sound effects • Framing • hyperlink • Close ups • Sequences of images • simile, metaphor and

personification

• Novels • Informative texts • Poetry • Anthems • Odes • Songs • Tables • Figures • Diagrams • Maps • Graphs • Hyperlinked digital

texts • Multimedia • Picture books • Comic strips • Digital images

• Connectives • Topic sentences • Passive and active voice, • First person and third person narration • Adverbial and adjectival phrases • Evaluative language including emotive

and modality •

Spelling • how accurate spelling supports the reader to read

• Patterns and pronunciation • limitations of spell check

features

recognition of letter patterns of words, when composing texts

• Morphemic • Visual • Syntactic, • Semantic • Phonological

• word origins • technical words

Responding and composing

how language is used to achieve a widening range of purposes for a widening range of audiences and contexts

• identify and explain characteristic text structures and language features

• develop sustained arguments and discussions supported by

• Character development Settings

• Chapters • Headings /subheadings

Homepages and sub pages

• Figurative language • Objective /subjective • Bias


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evidence • Stage directions • Acts

Grammar punctuation and Vocabulary

• relationship • between sentences and

effect • the use of vocabulary to

express greater precision of meaning

• Respond to and compose clear and cohesive texts in different media and technologies

• Organise main (independent) and subordinate (dependent) ideas to enhance coherence

• Topic sentences

• Emphasis • Repetition descriptive,

persuasive, technical, evaluative, emotive, colloquial

• Irony • Humour

• Modality • Main and subordinate clauses • Complex sentences • Nominalisation, • Noun groups/phrases Adjective

groups/phrases • Choice of verbs, • Elaborated tenses, Adverb

groups/phrases, Idiomatic expressions, Connectives for time, to add info, clarify understanding

• Cause and effect, Condition and concession

• Complex punctuation, Possessives and apostrophe

• Commas • Pronouns • Conjunctions

Think imaginatively creatively interpretively and critically

• Language features • Interpret events • Similarities and differences

between texts • how authors often innovate

on text structures and play with language features

• to achieve particular aesthetic, humorous and persuasive purposes and effects

• Simple appropriation • Adapt print texts • Role play

• Rhythm • Narrative voice • Mood • Sound effects

• Ballad • Limericks • Free verse

• Dialogue

Expressing themselves

• Media issues • Moral ethical and social

dilemmas in texts • differing perspectives and

points of view

• Connect with experience • Move beyond asserting • Write poetry • move beyond making bare

assertions

visual features • Debates • Short films • Formal talks • Interviews • Explanations, • Anecdotes, • Recitations • Dreaming stories • Documentaries • Short film • Multimedia texts • Poetry

identify language features used to position the reader/viewer in a wide variety of communication activities for a range of purposes,

Reflecting on learning

the difference between their way of learning and the way others learn

• Develop criteria to assess their work

• Formulate questions • Respond to feedback

describe how skills in speaking, listening, reading/viewing and writing/representing contribute to language development


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SCOPE AND SEQUENCE SAMPLE OF MAPPING A OF AN ELEMENT OVER STAGES 4-5 The element Voice, for example, can be mapped through different units and different modes. CONTENT:

PHONOLOGICAL VOICE

CONTENT: LITERARY VOICE

CONTENT: PERSONAL VOICE

CONTENT: GRAMATICAL VOICE

POSSIBLE ASSESSMENT Spoken

POSSIBLE ASSESSMENT WRITTEN

YEAR 7 Speaking Voice and speeches

Children’s voices The personal idiom in autobiography

Subjective / objective First person/ Third person

Composing and presenting your own voice: A public speech on how to cope with high school. SPEAKING/ LISTENING

Exploring personal voices: A reading task with short questions on an autobiographical text or some personal writing WRITING AND READING

YEAR 8 Drama Voice and acting

Australian voices / indigenous voices

The personal voice of the adolescent

Punctuating Dialogue

Composing and performing a voice: A performance of a play on an adolescent theme SPEAKING/LISTENING

Composing: An imaginative piece based on a conversation between adolescents WRITING

YEAR 9 Radio Voice and audio (podcasts)

Global voices The personal voice in poetry

Active / Passive VOICE

Composing and performing voice for listening: podcast of an imagined interview with an international poet LISTENING/ SPEAKING/ ICT

The literary voice: An analytical task discussing how voice is created in a poem READING AND WRITING

YEAR 10 Voice and multimedia

Past voices: Shakespeare and soliloquy

The personal voice in the monologue

Modality Combining voices: A multimedia presentation of a Shakespearean theme with different voices REPRESENTING

The inner voice (self-critical): A reflection on the process of designing the multimedia presentation WRITING AND THINKING

Note that the column on assessment should also show a development of skills. IN this program the skills build from short answer to imaginative to analysis to reflection- building up to the higher order skill of reflection.


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SCOPE AND SEQUENCE SAMPLE: MAPPING LEARNING OVER A YEAR LEVEL BRINGING TOGETHER ELEMENTS OF THE WORK PROGRAM

Scope and sequences can focus on particular aspects of the curriculum, ensuring that elements are not overlooked

STAGE 4: YEAR 7

TERM ONE UNIT TITLE TERM TWO

TERM THREE

TERM FOUR

Text titles

Modes R / W / L/ S/ Rep / V

LAC

ICT Outcomes Wide Reading focus Assessment and conditions and percentage Use the boxes below as a checklist of the texts that appear above LAC = Learning across the curriculum

Texts Texts Assessment conditions

Aboriginal and Torres Strait Islander histories and cultures

□ Asia and Australia’s engagement with Asia □ Civics and Citizenship □ Critical and Creative thinking □ Difference and Diversity □ Ethical Understanding □ Information and Communication technology □ Intercultural Understanding □ Literacy □ Numeracy □ Personal and Social Competence □ Sustainability and Environment □ Work and Enterprise

□quality literature texts □ Australian literature, including texts written by

and about Aboriginal experiences in Australia □ literary texts from other countries and times □ texts written about intercultural experiences □ texts about peoples and countries of Asia □ everyday and workplace texts □ cultural, social and gender perspectives, popular

and youth cultures □ texts including aspects of environmental and

social sustainability □ nonfiction, picture books, graphic novels □ range of digital texts, including film, media and multimedia.

□ Fiction □ Poetry □ Film □ Nonfiction □ Drama

□ Extended with access to resources □ In class only □ Unseen test □ Prepared test question □ Feedback given


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WAYS OF SCAFFOLDING GENRES IN THE CLASSROOM One element of teaching in a unit will be a study of the genre which should be matched to the concept. It is important to create different

opportunities for studying the genre and this table suggests some activities that may be aligned to a concept.

POETRY

Focus on terms and enjoyment q Introduction to terms: rhyme rhythm,

metaphor, simile, alliteration, onomatopoeia, stanza, metre

q Identifying techniques in a test (SEM 1)

q Answering paragraph questions on a poem.( critical appreciation of poetry)(SEM 2)

q Reciting a poem without notes and with music (poetry as creative performance)

q Poetry and pictures – matching a poem with images (power point or poster )

q Personal appreciation of poetry q Writing poetry: a ballad q Introduction to the ballad and other

narrative poem structures

Focus on Themes q Writing a guided essay on a poem q Compiling a poetry anthology on a

theme with an introduction (identifying thematic similarity)

q Poetry oral with critical appreciation q Writing Free verse poetry q Identifying Free verse q Comprehension test: Poetry q Understanding connotation and

denotation q Terms: reinforce year 8 terms - add:

hyperbole, assonance, caesura, quatrain, couplet, sestet, octet, pentameter

q Understanding the grammar of a poem: that is the fact that the poem does not respond to usual grammar

q Looking at punctuation and line length in a poem

Focus on Individual poets: identifying trends in writing q Focus on a poet study – compiling

an anthology and identifying the trends in the writer’s work

q Writing an essay on a poem under test conditions(unseen but taught in class)

q Writing Poetry: a sonnet q Identifying the Sonnet: reading

Shakespearean sonnets q Understanding the difference

between Petrarchan and Shakespearean sonnet

NOVEL/SHORT STORY

Focus on novel study terms and enjoyment q Focus on wide reading q Introduction to terms: plot, theme,

characters, style, genre q Short Story: Exposition, complication,

resolution, climax q Writing a paragraph answer from the

novel q Writing a creative descriptive

paragraph q Writing a short story with exposition,

resolution and climax q Readers’ Cup

Focus on GENRES as formulas Or Focus on author study

q Writing a guided essay on the novel q Understanding Representations q Introduction to cultural dimension of

learning q Writing to a stimulus selected by

student (guided) q Writing an intertextual narrative q Read short stories q Moving towards canon with A and B

classes

Focus on literature as part of its times q Writing an essay response under

test conditions q Writing creatively to a stimulus

under test conditions q Understanding parallel or multiple

plots q Reading one text minimum from

the canon – compulsory for all classes (acquaintance with past texts)

FILM/VISUAL Focus on print visuals – composition and meaning

Focus on film visuals – terms and meaning

Focus on the critical and cultural q Writing a film review (guided)


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LITERACY

q Reading a picture book- relating pictures to words, write a photo essay with words and pictures

q Deconstructing the front page of a newspaper (comprehension test)

q Using film to reinforce a class text q Films to be accompanied by

worksheets: focus on narrative and themes with minor introduction to techniques

q Writing an analysis of a film scene – guided response

q Understanding composition- foreground and background

q Camera angles, long shot, mid shot, close up, extreme close up, sound, editing

q Identifying techniques in a short answer test

q Deconstructing a magazine front page (comprehension test)

FILMMAKING Film as art: Creating a poetry video clip (one minute) Placing words with pictures.

Film as persuasion: Creating a TV advertisement for the school (2 minutes)

Film for information/ propaganda: Creating a short documentary/history film or something on youth culture (3 minutes)

MEDIA /PRINT STUDIES

Radio ( sem 1) and newspapers ( sem 2) q Compiling a class newspaper or front

page(using this genre as an integrating device to produce a folio with some uniformity)

Magazines and Advertising q Compiling a class magazine with the

genres: (short story, advertising, feature article, interview)

Understanding Editorials and Feature Articles q Writing an Editorial or Feature

Article q Comprehension test of an Editorial

or Feature Article q Writing an editorial or Feature

Article to a set of stimulus items or writing an editorial relevant to novel

NON FICTION

Focus: sharing life experiences, focusing on the personal - Autobiography: reading, worksheet and writing from experience

Focus: the outside world – travel writing (can be incorporated into the magazine or advertising unit)

Focus: The self experience as a learning tool look at challenges: e.g. Joe Simpson book or My Left Foot, Hiroshima

DRAMA

Focus on Terms and performance for pleasure

q Introduction to terms: setting, character, protagonist

q Acting short scenes q Exploring character q Dramatising a myth

Focus on structure of play and performance for revealing character

q Writing a dramatic piece q Reading a short play q Introduction to Shakespeare through

the Shakespeare Shorts books q Changing a short story to a play q Constructing a collage drama from a

variety of genres

Focus on Shakespeare and performance for revealing themes

q Reading a Shakespeare play q Writing a response to

Shakespeare, relating it to student’s world ( e.g Is Shakespeare’s attitude to love still relevant today?) What can Shakespeare teach us about love?)

q A Shakespeare translation into modern English


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E: ATTENDANCE SHEET

Name of applicant for Lead teacher:

Programming for English

School:

Event Date(s):

Length of session(s):

Attendees:

BOSTES No: Given Name Family Name Signature


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Signature of authorising teacher: __________________________________________________________________________________________


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REFERENCES Alberta Education, 2009, Classroom Assessment in FSL Guide to Implementation — Grade 10 to Grade 12 Viewed 10 April 2013 from http://education.alberta.ca/media/1111945/ch8.pdf

‘Assessment for as and of learning’ viewed 10 April 2013 from http://teacherrefresher.wikispaces.com/file/view/Assessment_of_for_as_Learning.pdf

Atherton J S (2011) Learning and Teaching; SOLO taxonomy [On-line: UK] retrieved 10 April 2013 from http://www.learningandteaching.info/learning/solo.htm

Australian Institute for Teaching and Learning (AITSL) 2012 Australian Professional Standards for Teachers viewed 10 April 2013 http://www.teacherstandards.aitsl.edu.au/OrganisationStandards/Organisation

Board of Studies, NSW 2013, NSW Syllabus for the Australian Curriculum: English K-10, viewed 10 April 2013 from http://syllabus.bos.nsw.edu.au/english/english-k10/

Columbia University ‘What we know about how students learn’ viewed 10 April 2013 http://www.columbia.edu/cu/tat/handout1.html

Department of Education and Training Professional Support and Curriculum Directorate Ryde 2003 Summary of Quality Teaching Elements in Quality teaching in NSW public schools: a classroom practice guide. State of NSW, viewed 10 April 2013

http://www.newcastle.edu.au/Resources/Schools/Education/Pedagogy/2006/SummaryofQuality-JanPoona.pdf

Essential Educator 2010 “Seeing is believing: Visible learning and teaching” viewed 10 April 2013 http://essentialeducator.org/?p=1654

Fink, L. 2003, What Is '''Significant Learning"? viewed 10 April 2013 http://www.wcu.edu/WebFiles/PDFs/facultycenter_SignificantLearning.pdf

Fink, L. 2004, A Self-Directed Guide to Designing Courses for Significant Learning viewed 10 April 2013

http://trc.virginia.edu/Workshops/2004/Fink_Designing_Courses_2004.pdf

Hall B. Research into practice: Mathematics Differentiated Instruction http://assets.pearsonschool.com/asset_mgr/current/20109/Differentiated_Instruction.pdf

Mc Tighe J and Associates 2011 Educational Consulting viewed 10 April 2013 http://jaymctighe.com/resources/

Marilyn Lombari, 2007 ‘Authentic Learning for the 21st Century: An Overview’ in Educause Learning Initiative: Advancing learning through IT innovation, ELI paper 1: May 2007 viewed 10 April 2013

http://net.educause.edu/ir/library/pdf/eli3009.pdf


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Professional Support and Currriculum Network 2003, Quality teaching in NSW Public schools, Discussion paper viewed 10 April 2013

https://www.det.nsw.edu.au/proflearn/docs/pdf/qt_EPSColor.pdf

Tomlinson, C. 2001 How to Differentiate Instruction in Mixed-Ability Classrooms, ASCD (Association for supervision and Curriculum Development) ch 1. viewed 10 April 2013http://www.ascd.org/publications/books/101043/chapters/The_Rationale_for_Differentiated_Instruction_in_Mixed-Ability_Classrooms.aspx

Tomlinson, C. 2001 How to Differentiate Instruction in Mixed-Ability Classrooms, ASCD (Association for supervision and Curriculum Development) ch 10 viewed 10 April 2013

http://www.ascd.org/publications/books/100216/chapters/Planning-for-the-“What”-and-the-“How”-of-Differentiation.aspx

Wiggins & McTighe, 1998, Understanding By Design viewed 10 April 2013 http://xnet.rrc.mb.ca/glenh/understanding_by_design.htm

Wiggins and McTighe J, 2005 Ch. 1. ‘Why “backward” is best’ in Understanding by Design, Expanded 2nd Edition in Association for Supervision and Curriculum Development 2009 viewed 10 April 2013 http://www.ubdexchange.org/resources/backwards.html

Wiggins G. 2005 Overview of UBD and design template. viewed 10 April 2013 http://www.grantwiggins.org/documents/UbDQuikvue1005.pdf

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