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Contemporary Teacher Leadership – Assignment One Ashlea Dale - 18216295

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Contemporary Teacher Leadership

Assignment 1

Professional evaluation and redesign of a learning program

Abstract

This document provides an outline to the redevelopment of the Stage 5 English unit

titled “Poetry and Pictures,” as utilized in a mixed-ability year 9 class in term 2, 2017 by

Nepean Creative and Performing Arts High School. Nepean CAPA High School a

coeducational public high school with both a general cohort and a cohort of selective

students who specialize in the creative and performing arts. The amendments to this

program provide improvements to support literacy, numeracy, and personal & social

capabilities. By using the principles of Understanding by Design and backwards

mapping, this unit has been reshaped to ensure that students are provided with

cohesive and logically sequenced learning activities, that allow students to develop

higher-order skills within this engaging and challenging unit.

I will be teaching this redeveloped unit in my first full-time block of teaching as a

graduate teacher in term 2 of this year. As such, this report is an authentic example of

my professional development in the area of contemporary teacher leadership. By

engaging in the professional task of improving a preexisting unit to better meet student

outcomes, I am working towards personal and professional improvement as an

emerging teacher leader.


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Table of contents

Introduction and background information ……………………………………………….2

Context …………………………………………………………………………………..3

Objectives ……………………………………………………………………………….3

Comparative table of program alterations ………………………………………………. 5

Report of recommendations ………………………………………………………………11

Coherence of program design ……………………………………………………….12

Developing literacy ……………..……………………………………………………..13

Developing numeracy ……………………………………………………………….. 15

Developing personal and social capabilities ………………………………..…….. 16

Enhancing creative engagement ……………………………………………………17

Redesigned program documentation ……………………………………………………19

Scope and sequence …………………………………………………………………19

Assessment task …………………………………………………………………….. 21

Concept map …………………………………………………………………………. 23

Unit outline ……………………………………………………………………………. 24

Appendices ………………………………………………………………………………...…36

Original unit outline ………………………………………………………………...…36

References ………………………………………………………………………….....45


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Introduction and background information

Context

This report has been produced for presentation to the Nepean Creative and Performing

Arts High School English faculty. Nepean CAPA High School is a coeducational public high

school at the foot of the Blue Mountains in Western Sydney. The school commenced a creative

and performing arts specialist program in 2010, and since then has been home to both a

mainstream cohort and a cohort of selective students who specialize in a variety of creative and

performing arts. Given the prevalence of gifted and talented arts students in the school, the

vast majority of classes are comprised of a mixed ability cohort, with great variance in academic

ability and students’ personal & social capabilities. Students in year 9 at Nepean CAPA High

have historically ranked slightly below the national average in the numeracy, reading, writing,

and language conventions NAPLAN tests (ACARA, 2017).

The aim of this report is to provide recommendations for improvement of the stage 4

English unit titled ‘Poetry and Pictures,’ which is to be undertaken by Year 9 students in term 2

of 2018. The recommendations provided will enable the English faculty to redesign the unit to

better meet the needs of the mixed ability cohort in developing literacy, numeracy, and personal

& social capbilties, and to provide greater opportunities for engagement to suit the strengths and

needs of students who are gifted and talented in creative and performing arts.

Objectives

The recommended changes made to this unit of work were undertaken to meet specific

goals in literacy, numeracy, and personal & social capabilities, in alignment with the respective

ACARA learning continuums (2012a; 2012b; 2012c). This redesign has been undertaken using

this guiding documentation under the framework of Understanding by Design (Wiggins &

McTighe, 2005), to provide a cohesive and logical inquiry-based learning program. Moreover,

the unit was redesigned to better align with the principles of Universal Design for Learning, to

provide greater means of representation, expression and engagement, thereby aligning with the

needs and preferences of the diverse mixed-ability cohort (Rose, Meyer, Strangman, & Rappolt,

2002).


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The key objectives of the program redesign are as follows:

1. Improve students’ literacy engagement, particularly in students’ ability to:

• Interpret and analyse learning area texts;

• Compose spoken, written, visual and multimodal learning area texts; and

• Understand how visual elements create meaning (ACARA, 2012a, p. 1-6).

2. Improve students’ numeracy engagement, particularly in students’ ability to:

• Interpret maps and diagrams; and

• Interpret data displays (ACARA, 2012b, p. 2-3).

3. Promote students’ personal and social capabilities to:

• Work collaboratively;

• Develop self-discipline and set goals; and

• Work independently and show initiative (ACARA, 2012c, p. 2-4).

4. Provide flexibility and diversity in students’ representation, expression, and engagement under

the principles of Universal Design for Learning (Rose et al., 2002), particularly to meet the

needs and align with the strengths student cohort who are gifted and talented in creative and

performing arts (NSW DET, 2004).


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Comparative table of program alterations

AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE

IN UNIT REDESIGN

EVIDENCE-BASED RESEARCH

SUPPORTING CHANGES

PR

OG

RA

M C

OH

ER

EN

CE

Professional documentation

The unit is lacking key mandatory

documentation, as only a unit outline

was provided. The program is

missing a scope and sequence,

concept map, and an assessment

task, all of which are compulsory

resources in planning and executing

an effective unit.

The reconstructed unit of work

includes all professional

documentation required of a

complete unit of work, including

each of the following:

• Scope and sequence

• Concept map

• Reconstructed unit outline

• Assessment task description

and detailed marking rubric

• This alteration aligns with the principles of Understanding by Design (Wiggins & McTighe, 2005), which dictate that unit planning must be undertaken with a clear vision of where students are heading (through the assessment), then backwards mapped to ensure that a logical progression of learning activities. The inclusion of these documents therefore provided the foundation for all other alterations in the unit.

• The inclusion of this guiding documentation is vital in the planning of English units (Dixon, Gold, & Yager, 2013) as this provides clarity to teachers to engage in efficient planning and preparation of learning programs.

• The adjustments made to the unit layout, and the more prescriptive descriptions of texts and learning activities, promote greater clarity and consistency across the faculty. These changes reflect the professionalism required by teachers, and aligns with the principles of AITSL substandard 3.2, which outlines the need for teachers to plan “well-structured teaching programs” (2011, p. 12).

Program clarity

The unit is not set out in a logical,

sequential fashion, and the layout is

difficult to read. The teaching and

learning activities are not split into

discrete week or lesson blocks and

are not described in adequate detail.

Further, the texts are only prescribed

in some sections of the table.

The reconstructed unit of work

includes the following:

• The unit layout has been simplified and the text enlarged

• The learning activities are explained in greater detail

• The texts to be explored are specified.


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AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE

IN UNIT REDESIGN


SUPPORTING CHANGES

LIT

ER

AC

Y D

EV

EL

OP

ME

NT

Metalanguage and threshold concepts

The original program relies on student

understanding of the threshold concepts

and metalanguage of visual and poetic

analysis. However, there are limited

supports to support threshold concept

acquisition and metalanguage

understanding, which poses a

significant risk to student understanding

and achievement (Meyer & Land,

2006).

Student metalanguage and

threshold concept supports are

included in the new program.

These supports include the

provision of:

• Glossaries on visual and

poetic techniques

• Vocabulary sheets

• Concept map

• Marchand-Martella, Martella, Modderman,

Peterson, & Pan (2013) outline the need to provide

vocabulary reference aids, such as glossaries,

vocabulary sheets, and dictionary definitions, as a

key means to promote adolescent literacy. These

resources provide a strong foundation of student

understanding of threshold concepts, thereby

giving students access to higher-order thinking and

skills in English.

• These resources define the metalanguage and

threshold concepts necessary for students to

engage meaningfully in the program, which

requires a clear understanding of the language of

analysis, along with visual and poetic literacy.

Modelling and scaffolding analysis

The unit requires the development of

strong skills in analysis and critical

thinking to engage with poetry and

visual texts. However, the original unit

does not provide sufficient modelling

and scaffolding to support the

development of analysis skills.

The new program features

explicitly modelled and

scaffolded analysis practices.

Students are provided with:

• Modelled poetry analysis exemplars, including close reading and annotation, and scaffolds for poetry analysis

• Modelled, scaffolded and annotated visual analysis exemplars, and scaffolds for visual analysis.

• Abrami, Bernard, Borokhovski, Waddington, Wade,

& Persson (2015) assert that modelling and

scaffolding of analysis is a key means through

which to facilitate students’ skills in analysis and

critical thinking.

• Frey & Fisher (2013) also outline that explicit

modelling and scaffolding is necessary for the

development of student literacy through close

reading practices in English.

• By making the processes and required explicit

through modelling and scaffolding, students’ poetic

and visual literacy is supported in the new

program.


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AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE IN UNIT REDESIGN

EVIDENCE-BASED RESEARCH SUPPORTING CHANGES

Modelling and scaffolding of PEEL

paragraph writing

The original unit requires students to

compose PEEL paragraphs on how the

texts represent a particular perspective.

However, student literacy is assumed,

and so the original unit does not provide

literacy supports for the development of

PEEL paragraph writing.

The new program features

explicitly modelled and

scaffolded PEEL paragraph

practices.

Students are provided with:

• Modelled PEEL paragraphs • PEEL paragraph

development scaffolds • Opportunities to self-assess

their progress towards quality PEEL paragraph writing

• Research by Humphrey, Sharpe, & Cullen (2015) shows that scaffolding of PEEL paragraphs promotes student literacy skills acquisition, which leads to improved assessment outcomes and NAPLAN scores.

• The modelling and scaffolding of the PEEL paragraphs in the new unit promotes higher quality paragraph writing by making the expectations for the PEEL paragraphs explicit.

• This approach facilitates the gradually release responsibility from the teacher to the students, therefore supporting students to work towards higher quality independent PEEL paragraph writing.


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NU

ME

RA

CY

DE

VE

LO

PM

EN

T

AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE

IN UNIT REDESIGN


SUPPORTING CHANGES

Lack of numeracy

supports

The unit does not

include any specific

resources or strategies

for numeracy

development.

The revised unit includes specific numeracy

supports to promote student understanding

of the unit content. Students are both

provided with pre-made graphic organisers

(such as the concept map) to clarify

understanding, and engage in creating their

own graphic organisers.

Venn diagrams are used to:

• Map the similarities between the different

text types

• Explore the connections between specific

texts

• Reflect on the interrelationship of the written

and visual modes

Word webs are used to:

• Revise and review concepts

• Represent perspectives in texts

• Scaffold poetic construction, and

• Make connections between texts and

personal experiences.

• Graphic organisers are an important numeracy strategy that is strongly linked to higher quality learning (Radix & Abdool, 2013).

• Specifically in English lessons, graphic organisers provide concrete means through which to express learning and make connections (Cochrane, 2010).

• By embedding both the provision of graphic organisers as a student resource, and the creation of graphic organisers as a learning activity, the redesigned unit simultaneously promotes students’ numeracy skills and facilitates deeper student understanding and engagement with the unit.


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PE

RS

ON

AL

AN

D S

OC

IAL

CA

PA

BIL

ITIE

S

AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE

IN UNIT REDESIGN


SUPPORTING CHANGES

Student collaboration

Student collaboration is a

key personal and social

capability. However, the

collaborative activities

included in the original unit

lack the depth and

significance in the way that

they are framed and

structured, resulting in a

lack of meaningful student

collaboration.

The revised unit emphasises the importance

of meaningful student collaborative practices,

in which students take on the responsibility of

contributing quality content and perspectives

as members of a learning community.

• Students work in small groups to develop

their skills in textual deconstruction and

analysis.

• Small group peer-teaching of poetry and

visual analysis mini-lessons.

• Peer assessment activities from original

unit are restructured to ensure meaningful

collaboration.

• As argued by Muijs & Reynolds (2017),

collaborative learning promotes students’

personal responsibility as responsive

members of their learning community.

• Collaboration in small-group analysis is a

meaningful way to promote analytical literacy

(Bean, 2011), and the peer-teaching practices

allow students to take on the responsibility of

learning with and from one another (Boud,

Cohen, & Sampson, 2014).

• Further, collaboration through small-group

analysis activities allow students to develop

skills in “critical inquiry” which are key in this

inquiry-based unit (Boud et al., 2014

Self-management and reflection

summative assessment included

this unit is quite complex, taking

considerable time for students to

prepare, revise, and polish during

class. However, the original unit

provides little support for student

self-management in this area, nor

meaningful opportunities for

reflection on their learning.

The revised unit includes the provision of

materials which promote student

reflection and self-management in the

completion of their assessment, including:

• Goal-setting scaffolds

• Assessment requirements checklists

• Assessment process flowcharts

• Self-assessment of their progress towards the assessment task (strengths, improvements, processes)

• Self-discipline and goal-setting skills are

necessary for students to become successful

learners (ACARA, 2012c).

• By including the resources and activities

which support students to examine, manage,

and reflect on their own learning processes,

students are able to make valuable

appraisals of their progress, which aligns with

best practice for student outcomes (Sadler,

2013


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AREA OF CONCERN

IN ORIGINAL UNIT

ALTERATIONS MADE

IN UNIT REDESIGN


SUPPORTING CHANGES

CR

EA

TIV

E E

NG

AG

EM

EN

T

Meeting the needs of gifted

and talented students

Although there are multiple

means of representation,

expression, and

engagement in some areas

of the original program, the

options utilized do not

optimize the engagement of

the diverse the mixed-ability

cohort with a high level of

students who are gifted and

talented creative and

performing arts.

The revised unit includes expanded options for

creative engagements in the content, as

follows:

• Creative peer-teaching of mini-lessons, w

• The creative reimagining component of the

independent poetic analysis activities, in

which students have the choice of

reimagining the poem in a number of forms,

including:

o Poetry

o Narrative

o Song

o Artwork

o Spoken word performance

• Wiggins & McTighe (2005) argue that

contextual relevance is the foundation of

quality unit design.

• As such, it is vital that units are designed with

the specific school and student cohort in

mind, in order to provide opportunities that

align with the strengths and interests of the

students in the wider school context.

• These adjustments increase student

engagement by providing engaging creating

and performative modes through which to

explore the content and texts.

• These changes align with the principles of

culturally relevant pedagogy (Ladson-Billings,

1995), which suggests that aligning the

pedagogical approaches with the needs and

interests of the wider school context is a key

means through which to facilitate deep and

meaningful engagement, thus producing

better outcomes for students.


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Report of recommendations

The ‘Poetry and Pictures’ teaching program has afforded Year 9 students with excellent

learning opportunities to engage with a variety of texts with powerful messages. It has facilitated

independent thinking and creativity, along with providing opportunities for self-expression, and

has been a unit that our students have typically reported to have enjoyed over the years.

However, it is important that we as professional teachers do not rest on our laurels, but instead

continue to push for better programs, lessons, and activities, in order to give our students the

highest quality learning experiences possible. As such, the present program redesign should be

framed as an acknowledgement of the strengths of our original program and an opportunity to

alter and hone our practices to best suit our changing student cohort.

The redesign of this unit was undertaken using the framework of Understanding by

Design, or UbD (Wiggins & McTighe, 2005), which outlines that teachers must be purposeful in

their planning to produce meaningful and effective learning programs. The unit was redesigned

by examining the skills and outcomes that we want students to develop in the unit, then creating

an assessment task that truly reflects these outcomes. From there, backwards mapping was

used to create a series of cohesive learning activities that gradually develop students’

knowledge and skills from simpler to higher-order levels. This process was used to reconstruct

the unit to embody an inquiry approach to students’ learning and promote personal & social

capabilities. Universal design for learning.

The principles of UbD also highlight the importance of considering not only the desired

outcomes as the foundation upon which to build learning programs, but also to take into

consideration the context of the learning program. As such, this redesign was completed

keeping in mind “who the learners […] are and what they will need, individually and collectively,

to reach the desired results” (Wiggins & McTighe, 2005, p. 191). In our school context, this

involved focusing on the prevalence of students who are gifted and talented in creative and

performing arts in our program design. Moreover, the unit was redesigned to mediate the

challenges to literacy and numeracy that have posed difficulties for our cohort overall.


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Area of focus – Coherence of program design

Context

A clear, complete, and precise learning program provides the foundation upon which all quality

learning experiences are built. In contrast, an unclear or vague unit of work can make it difficult

to plan and execute quality learning activities for students, thereby complicating the process in

an already demanding role. As such, it is vital that the learning programs themselves are of a

high quality, to maximise efficiency and clarity in the teaching

Method

Improved coherence of the program design has been achieved through:

• Inclusion of more professional documentation

• Formatting improvements

• Sequencing of learning activities

• Prescription of texts

• Detailed description of activities

Justification

A key focus of the redesign was streamlining the coherence of the program. This was firstly

achieved through the inclusion of more guiding documentation. The revised program not only

includes the unit of work itself and assessment task, but also a scope and sequence and

concept map. The inclusion of this guiding documentation is vital in the planning of English units

(Dixon, Gold, & Yager, 2013) and provides the clarity that enable teachers to more efficiently

plan and prepare learning sequences. Moreover, as the visual layout of the original unit was

somewhat cluttered, the new unit has been structured to maximise focus on clarity of the

learning activities and resources. The font size was changed for ease of reading, and the table

layout was rearranged to allow for expansion on the teaching and learning activities.

The new unit is distinctly more prescriptive than the original, which very open-ended in

terms of the texts to be examined and brief in terms of the learning activities. The learning

sequences are broken into discrete week-long blocks, which allows teachers to better manage

their time in their planning and teaching of lessons. Moreover, the options of poems and picture

books to be studied are specified, and the specific learning activities to be undertaken are


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described in more depth. Although some teachers would argue that the non-prescriptive nature

of the original unit allows for the flexibility to meet students’ needs, by providing greater

specificity in the learning activities and resources necessary, we simplify the planning process

and ensure consistency between classes in terms of content, approaches, and opportunities.

Further, although the new unit is more prescriptive, it still allows for choice and differentiation – it

simply takes the guesswork out of planning by providing a clear and precise framework within

which we can operate.

Area of focus – Developing student literacy

Context

Developing student literacy is a key general capability in the Australian Curriculum (ACARA,

2011). Nepean CAPA High School students typically perform slightly below the national

averages in the reading, writing, and language conventions NAPLAN tests, thereby indicating

that literacy development is lacking. As such, the inclusion of evidence-based literacy supports

is a key aspect of the current program redesign.

Method

Improved literacy supports have been achieved through:

• Support for acquisition of metalanguage and threshold concepts

• Explicit modelling and scaffolding of poetic and visual analysis

• Explicit modelling and scaffolding of PEEL paragraph development

Justification

A lack of understanding of metalanguage and threshold concepts poses a significant risk to

student understanding and achievement (Meyer & Land, 2006). This issue was a focus of the

redesign, as the Poetry and Pictures unit requires a clear understanding of the language of

analysis, along with visual and poetic literacy. As such, the new unit incorporates a number of

literacy supports that help with the acquisition of these language features. The provision of

glossaries and vocabulary sheet resources define the metalanguage and threshold concepts

necessary for students to engage meaningfully in the program, and the inclusion of the concept

map, which shows the explicit connections between these key concepts to promote conceptual

understanding. These supports develop students’ poetic and visual literacy, by providing an


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explicit foundation of threshold concepts and metalanguage through which to engage in the

learning activities.

This inquiry program also requires the development of strong skills in analysis and

critical thinking. However, the original program did not provide enough supports to promote the

development of the poetic and visual literacy required. As such, the new unit includes explicit

modelling and scaffolding of the annotation and close reading practices. By using guided close

reading and annotation, then gradually removing this scaffolding to provide opportunities for

students to engage independently, students are better supported in developing the poetic and

visual literacy necessary to produce quality analysis.

This intervention is supported by the meta-analysis of Abrami, Bernard, Borokhovski,

Waddington, Wade, & Persson (2015), who found that modelling and scaffolding of analytical

skills is a key means through which to facilitate critical thinking. This intervention is specifically

supported in the context of teaching English by Frey & Fisher (2013), who argue that it is

essential to provide explicit modelling and scaffolding of close reading practices in English.

Moreover, these changes reflect the tenet of gradual release of responsibility (Fisher & Frey,

2013) as a pedagogical framework of teaching. By providing highly scaffolded support which is

gradually reduced as students progress through the unit, students are able to better build their

analytical literacy skills.

Likewise, explicit modelling and scaffolding is also incorporated to support students in

developing their skills in composing PEEL paragraphs. PEEL paragraphs provide a key means

through which to develop strong written expression, which is a key aspect of literacy

development. By explicitly modelling this form of writing, providing scaffolded activities

surrounding it, then gradually providing opportunities to analyse the texts in the PEEL structure

independently, students will develop higher quality written expression. This strategy was

implemented in alignment with the study of Humphrey, Sharpe, & Cullen (2015) who emphasise

that explicit scaffolding promotes student understanding and literacy skills acquisition, which is

also reflected in improved summative assessment outcomes and NAPLAN scores.


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Area of focus – Developing student numeracy

Context

Developing student numeracy is another general capability in the Australian Curriculum

(ACARA, 2011). Nepean CAPA High School students typically perform close to the average

NAPLAN numeracy scores of similar schools, but slightly below the national averages. As such,

the inclusion of evidence-based numeracy strategies is another focus of the program redesign.

Method

Improved numeracy supports have been achieved through:

• The use of graphic organisers in teaching and learning activities, including:

o Venn diagrams

o Concept maps

o Word webs/brainstorming

Justification

The revised unit includes the use of graphic organisers as a key evidence-based approach to

enrich students’ understanding and engagement in the unit and, by extension, to develop their

numeracy knowledge and skills. Graphic organisers are visual knowledge representations,

which provide concrete means through which students can express ideas, map connections

between texts, and apply their knowledge in new ways. In the redesigned unit, students make

use of Venn diagrams to investigate the similarities and differences between specific texts and

modes of expression and use word webs to represent and express their understanding.

Likewise, the inclusion of the concept map allows students to conceptualise the focus of the unit

and understand the connections between the threshold concepts, while supporting students’

numeracy development.

Students’ use of pre-made graphic organisers as learning resources and the

construction of their own graphic organisers as a learning activity are linked to higher quality

learning (Radix & Abdool, 2013). Specifically in the sphere of English teaching, this intervention

is supported by the research of Cochrane (2010), who found that graphic organisers are a key

means through which to scaffold English skills development, by providing concrete means

through which to express learning and make connections.


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Area of focus – Personal and social capabilities

Context

Student collaboration, self-management and reflection skills are all aspects of personal and

social capabilities, which is another general capability students must develop (ACARA, 2011).

Although opportunities for collaboration, self-management and reflection are included in the

original unit, particularly in the completion of the assessment task, the unit redesign aims to shift

the focus of the unit to more consistent and meaningful collaboration, self-management, and

reflection practices.

Method

• Greater consistency and emphasis on quality contributions in collaborative activities across

the unit, through:

o More small group textual deconstruction and analysis activities

o The inclusion of collaborative peer-teaching activities

o Peer assessment and feedback activities (using a peer-marking scaffold)

• Improved self-management and reflection through:

o More opportunities to reflect on learning strengths, improvements and processes

o More resources to support self-management and assessment, including:

• Self-assessment sheet

• Activity checklist

• Assessment process flowchart

Justification

As argued by Muijs & Reynolds (2017), collaborative learning activities promote students’

personal responsibility as responsive members of their learning community. These activities

require students to manage tasks, engage with opposing viewpoints, and compromise, each of

which are vital skills for everyday life. In the new unit, collaborative activities are included every

week, including peer teaching of poetic and visual technique mini-lessons, and small-group

textual analysis. The inclusion of supporting resources, such as the peer assessment sheets

and mini-lesson checklists, ensures that this collaboration results in meaningful student

development and learning. This form of small-group collaborative analysis is a meaningful way

to promote analytical literacy (Bean, 2011), and the peer-teaching practices allow students to


17

take on the responsibility of learning with and from one another (Boud, Cohen, & Sampson,

2014). Further, collaboration through small-group analysis activities allow students to develop

skills in “critical inquiry” which are key in this inquiry-based unit (p. 8).

Like collaboration, self-discipline and goal setting skills are vital for students to

become successful learners (ACARA, 2012c). Although the original unit indicates that students

should receive support in completing the assessment, the inclusion of specific self-management

activities and resources provides a clear framework of support for students in developing the

skills necessary to prioritise their time and ensure that they have completed all components of

the assessment task to a high standard. The inclusion of these specific self-management and

reflection activities and resources aligns with the work of Sadler (2013). As argued in Sadler’s

work, by including the resources and activities which support students to examine, manage, and

reflect on their own learning processes, students are able to make valuable appraisals of their

progress, which aligns with best practice for student outcomes.

Area of focus – Creative engagement

Context

Nepean CAPA High School has a large selective cohort of students who are gifted and talented

in Creative and Performing Arts. However, the original unit design did not provide adequate

opportunities to maximise the strengths of these students in their engagement with the content

and learning activities.

Method

The engagement of students who are gifted and talented in creative and performing arts in the

unit is primarily achieved through greater student choice. Students are able to choose between

more conventional forms of expression (e.g. writing a paragraph) and more creative means of

expression (e.g. creating visual art based on the text), depending on their connection with the

text and personal experiences. The key creative and performing arts-based activities included in

the new program are as follows:

• The peer-taught mini-lesson on poetic and visual techniques, in which students use a

creative means through which to teach the class about their allocated technique, through:


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o Song

o Artworks, or

o Sketch

• The creative reimagining component of the independent poetic analysis activities, in which

students have the choice of reimagining the poem in a number of forms, including:

o Poetry

o Narrative

o Song

o Artwork

o Spoken word performance

Justification

As argued by Wiggins & McTighe (2005), contextual relevance is the foundation of

quality unit design. As such, it is vital that units are designed with the specific school and

student cohort in mind, in order to provide opportunities that align with the strengths and

interests of the students in the wider school context. As there are many students who are gifted

and talented in creative and performing arts at Nepean CAPA High, the adjustments to the

program were made to increase student engagement by providing engaging creating and

performative modes through which to explore the content and texts. These changes also align

with the principles of culturally relevant pedagogy (Ladson-Billings, 1995), which suggests that

aligning the pedagogical approaches with the needs and interests of the wider school context is

a key means through which to facilitate deep and meaningful engagement, thus producing beter

outcomes for students.


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Redesigned program documentation

Scope and sequence Semester: 2 Year: 9 Class: EN9A

Term

1

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10

Memories Film study – Bran Nue Dae (PG)

The film Bran Nue Dae is the focus of this unit to show the ways music and humour have been used to challenge stereotyping. Other techniques can be explored using texts such as Deadly, Unna?; Listening to Country; Melbourne Museum; and Spirit Song: A Collection of Aboriginal Poetry.

Types of texts: film, fiction, nonfiction; media, multimedia and digital texts

It is through our personal memories that we create a sense of the self and it is in shared memories that we learn about the world around us. Students develop an understanding of the ways memory is interpreted in texts and further extend their understanding of the ways language and form shape meaning and influence the ways readers respond.

Suggested texts: The Happiest Refugee; Touching the Void; Samuel Pepys Diary

Types of texts: nonfiction; print, media, multimedia and digital texts

Focus outcomes: EN5-1A, EN5-3B, EN5-6C, EN5-7D, EN5-8D, EN5-9E


Term

2


Poetry and Pictures

In this unit students explore the interrelationship of the written and the visual in their examination of poetry and picture books. Students develop their skills in written and visual literacy, examining and analysing the ways in which these modes of communication can be used to express perspectives and explore important social issues which shape our world. Types of texts: poetry, picture books.

Novel study

Close study of a novel.

Focus outcomes: EN5-2A, EN5-3B, EN5-6C

See next


20

Scope and sequence Semester: 2 Year: 9 Class: EN9A

Term

3


Novel study

Close study of a novel.

Suggested texts include: To Kill a Mockingbird; All I Ever Wanted; Blue Noise; Chenxi and the Foreigner

Types of texts: fiction; print texts

Mass media madness

Students examine the role of the mass media in our lives. They explore how issues develop and how language and the conventions of multimodal texts can be used to persuade audiences.

Types of texts: nonfiction; spoken, media, multimedia and digital texts

Focus outcomes: EN5-1A, EN5-3B, EN5-5C, EN5-7D, EN5-9E


Term

4


Genre study: mystery

Students develop their understanding of the ways narrative conventions create suspense.

Suggested texts include: Mice; Tomorrow, When the War Began; The House That Was Eureka; Picnic at Hanging Rock; Goat on a Cow

Types of texts: fiction, film; print texts

Comparative study: The Rabbits and Animal Farm

Students compare the use of allegory and satire in picture books using The Rabbits as the focus text, along with Animal Farm in either print or film form.

Types of texts: fiction, visual, print, media, multimedia and digital texts

Focus outcomes: EN5-1A, EN5-3B, EN5-4B, EN5-6C, EN5-7D, EN5-9E

Focus outcomes: EN5-2A, EN5-3B, EN5-5C, EN5-7D, EN5-9E

Please note: Terms 1, 3 and 4 have been sourced from the NSW Education Standards Authority (NESA, n.d.).


21

Nepean Creative and Performing Arts High School

Assessment task

Assessment task number: 2 Assessment weighting: 25% Total marks allocated: 25

Due date for completion of task: Monday, 12/06/18 (week 8B)

You must submit your assignment to your teacher at the start of class on this day.

Outcomes to be assessed:

EN5-2A 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

EN5-3B 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

EN5-6C investigates the relationships between and among texts

Task description:

1. Write a poem about a topic of your choice which addresses a specific social issue. Your poem must include examples of all the following techniques: simile, personification,

metaphor, alliteration, onomatopoeia, rhythm and rhyme.

2. The poem must become the text of the picture book: Your picture book must be 5-10 pages in length, and can be produced by hand, digitally, or through a combination of these means.

• You need to choose or create pictures that relate symbolically to the different sections

and descriptions within the poem. You must design and decorate your book

appropriately.

• Think carefully about the layout, choice of pictures, colour and symbols that you use.

• Remember: we are not marking you on your artistic ability; the interaction of the

meaning behind the text and pictures is the focus of this assessment..

Keep in mind:

• Teachers will not be responsible for technological issues including problems with

printing. This is not the teacher’s responsibility and students need to take into

account possible issues and have work ready for submission on the due date.

• A zero will be awarded to all tasks that are late unless appropriate documentation has

been viewed by the Head Teacher and this is at the Head Teacher’s discretion.

Year: 9

Course Name: English – Poetry & Pictures


22

Marking Guidelines

Grade Criteria Marks

A

• Demonstrates a detailed and insightful understanding of the poetic techniques used in their texts.

• Demonstrates a superior standard of layout, choice of pictures, colour and symbols to support ideas and descriptions in the poem.

• Excellent exploration of a theme or social issue in the poem.

• Produces well expressed and imaginative pieces of writing.

• Exhibits the ability to compose interpretively with sustained flair and sophistication in order to communicate ideas effectively using both writing and pictures.

• Employs the correct grammar in a sustained manner throughout their writing.

21-25

B

• Demonstrates a detailed understanding of the poetic techniques.

• Demonstrates a high standard of layout, choice of pictures, colour and symbols to support ideas and descriptions in the poem.

• High level exploration of a theme or social issue in the poem.

• Produces reasonably well expressed and imaginative pieces of writing.

• Exhibits the ability to compose sustained texts with some sophistication in order to communicate ideas effectively using both writing and pictures.

• Employs correct grammar throughout most of their writing.

16-20

C

• Demonstrates some understanding of the poetic techniques.

• Demonstrates an effective layout, choice of pictures, colour and symbols to support ideas and descriptions in the poem.

• Sound exploration of a theme or social issue in the poem.

• Produces pieces of writing that are imaginative.

• Exhibits the ability to compose texts that communicates ideas using both writing and pictures.

• Demonstrates a variable control over the use of grammar in their writing.

10-15

D

• Demonstrates an inconsistent understanding of the poetic techniques.

• Demonstrates an inconsistent standard of layout, choice of pictures, colour and symbols to support ideas and descriptions in the poem.

• Inconsistently explores of a theme or social issue in the poem.

• Produces pieces of writing that contain some imaginary aspects.

• Composes texts that may convey some ideas using both pictures and writing.

• Demonstrates a limited understanding of grammar.

5-9

E

• Demonstrates a limited, possibly incorrect understanding of poetic techniques.

• Demonstrates a limited standard of layout, choice of pictures, colour and symbols to support ideas and descriptions in the poem

• Limited exploration of a theme or social issue in the poem.

• Produces pieces of writing that do not convey imaginative aspects.

• Composes texts that communicate very restricted ideas both in their writing and their pictures.

• Demonstrates an inability to use basic grammar.

0-4


23

Concept map


24

Redesigned unit outline

Poetry and Pictures | Stage 5 | English

Inquiry question: Why is it important to engage with other people’s perspectives of our world?

Duration Unit Overview

Term 2

9 weeks

This unit is designed to further develop students’ understanding and skills in poetry and visual literacy, to

make explicit the link between the written and the visual. This unit particularly focuses on the way texts are

used to convey a particular perspective on our world and why it is important for us to engage with other

people’s perspectives of our world.

In this unit, students examine the way that perspectives on our world are reflected in text and examine the

issues and ideas expressed in a wide range of poems and picture books. Activities include development of

skills in analysing and composing both poems and visual images using a variety of increasingly sophisticated

language, visual and structural techniques. Students develop and demonstrate their skills in responding and

composing.

Author’s note: Significant changes made to the original unit are colour-coded to indicate the area of focus the change is

addressing. Particularly important interventions are annotated with comment boxes on the right side, to give further detail.

A number of the activities that were featured in the original unit were reworded for the purpose of clarity. As these changes occur

throughout the unit, there will not be a separate annotation for each reworded or reformatted section.


25

Outcomes

EN5-2A 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

EN5-3B 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

EN5-6C investigates the relationships between and among

texts

Assessment overview

Formal Assessment

Students create a picture book which integrates visual elements

with a poem composed by the student, using poetic techniques to

explore a specific perspective of the world.

Informal Assessment

Students find/create image that represents their world and write

explanation.

Students select poem and complete analysis of poem.

Extension students to complete essay on how their chosen poem

presents a particular perspective on the world

Sequence of learning activities

Week 1 Week 2 Week 3 Week 4 Weeks 5-6 Week 7 Week 8 Week 9

Introducing

the inquiry

focus:

Perspectives

of our world

Visual and

poetic

literacy –

small group

peer

teaching

Poetry and

perspective –

modelling

poetic

analysis

Scaffolding

independent

poetic

analysis –

self-

managed

poetic

activities

PEEL

writing, peer

assessment

and

reflection

Picture

book

analysis,

PEEL

writing

and

reflection

Preparation for

assessment –

planning and

drafting

processes

Completing

assessment –

polishing, peer-

marking, and

self-

assessment of

success

Essay writing

and reflection

on using words

and images to

convey

meanings and

challenge

perspectives of

the world.


26

Week 1: Lessons 1-3 Learning focus: Perspectives of our world

Outcomes Learning activities Resources

EN5-2A 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

EN5-3B 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

Inquiry question

Students are introduced to the central concern of this unit:

Why is it important to engage with other people's perspectives of our world?

• Students are provided with definitions of the key terms of the inquiry question (perspectives, world, engage), then create a word-web exploring the connotations of these terms.

• Class discussion: What has informed your worldview? Teacher assists students in exploring a variety of influences (family, media, personal experience), then introduces the term: context.

• Students compose a response explaining their personal view of the world, which identifies what value in their life, and explains the issues that they think are important.

A sense of our world: Poetry and Pictures

• Students compose a piece of writing explaining their own personal view of the world (What is

important to them in their life? Family? Community? Education? Career? Money? Charity?

What issues do they think are important? The environment? Refugees? The economy? War?

Mental Health/Depression?).

• Teacher then leads a class discussion on the question: What has informed your world view?

Teacher assist students in identifying some key aspects that influence worldviews, including

socialization, media representations, cultural beliefs, and personal experience. This is used to

introduce the key term ‘context,’ which is defined and written in students’ books.

• Teacher leads discussion of the way we get a sense of our world: through language and

through the visual: through poetry and pictures.

Informal Assessment: Students are to compose an image/collage/series of visuals that

represents their perspective of the world. They must present this to the class (as a projection on

screen) and accompany it with a spoken explanation of HOW they have illustrated their

perspective. Students use the perspectives of the world checklist to guide their composition and

presentation to the class.

Glossary sheet

with definitions

of the terms

from the key

inquiry

question

Data projector

Perspective of

the world

checklist


27

Week 2: Lessons 4-6 Learning focus: Developing visual and poetic literacy


EN5-2A effectively

uses and critically

assesses a wide

range of processes,


knowledge for

responding to and

composing a wide

range of texts in

different media and

technologies

EN5-3B selects and

uses language

forms, features and

structures of texts

appropriate to a

range of purposes,

audiences and



effects on meaning

Informal pretesting: Poetic and visual techniques revision

• Students are split into two groups and brainstorm either poetic or visual techniques. Teacher then calls on students to share the techniques they came up with, and teacher calls on the whole class to explain the techniques and provide examples. This provides valuable informal assessment of student background knowledge.

Small group collaboration – creating and peer-teaching techniques minilessons

• Students work collaboratively in groups of 2-3 to create PowerPoint mini-lessons on both poetic techniques and visual techniques. Students use the poetic and visual glossaries and mini-lessons aspects checklist to create a PowerPoint presentation, in which they identify, explain, and analyse their particular technique to assist their peers.

• Students then plan the presentation of their mini-lesson, with an emphasis on a creative approach. Some suggested mini-lesson techniques include the creation of art or visuals to represent the technique, composing and performing a song, or creating a short sketch that informs the class about the assigned technique in a creative manner.

• After creating their lesson, then peer-teach it to another small group as a pilot run. The small groups then teach these mini-lessons to the whole class throughout the unit. The scheduling of this peer-teaching practice is determined by the texts to be studied each week. There should be an emphasis on composition by students. Poetic techniques should include: simile, metaphor, alliteration, assonance, onomatopoeia,

personification, rhythm, rhyme.

Visual techniques should include: colour, layout, salience, vectors, symbolism, font, body

language.

Glossary of

poetic and

visual

techniques

Mini-lesson

checklist

Data projector

PowerPoint

BYOD


28

Week 3: Lessons 7-9 Learning focus: Modelling and scaffolding poetic analysis


EN5-2A effectively

uses and critically

assesses a wide

range of processes,


knowledge for

responding to and

composing a wide

range of texts in

different media and

technologies

EN5-3B selects and

uses language

forms, features and

structures of texts

appropriate to a

range of purposes,

audiences and



effects on meaning

Poetry and Perspective

• Students are presented with a well-known poem from the following selection: I Wandered Lonely as a Cloud – Wordsworth; The Passionate Shepherd to His Love - Christopher Marlowe; Stopping by Woods on a Snowy Evening - Robert Frost.

• Students split into four groups. Each group is given one stanza of the poem and are to decide how it will be read. They are to practise reading it aloud for meaning. The poem is then read from start to finish, with each group reading their stanza aloud.

• Students have the choice of either creating a sketch the image created in their mind by the poem, or assigning the poem with a song that aligns with its mood. These are shared (think, pair, share).

• Teacher distributes the poetic annotation and analysis scaffold. Students use these resources to analyse the language features used to create this image. This activity may be teacher led, completed individually, or in small groups depending on student ability.

• Students determine the theme, mood, and message of the text, and annotate the poem to show how this perspective is created. Students analyse how this perspective is presented and created in the text.

• Teacher calls on students for responses, then leads a class discussion about the context, purpose, and audience.

• Students return to the inquiry question: Why is it important to engage with other people's perspectives on the world? Students work in pairs to discuss the inquiry question and the additional guiding questions: What does engaging with this poem give us? What does it remind us of? What does it help us to see?

Selected poems

Poetic

annotation and

analysis

scaffold


29

Weeks 4-5: Lessons 10-13 Learning focus: Scaffolding independent poetic analysis


EN5-2A effectively

uses and critically

assesses a wide

range of processes,


knowledge for

responding to and

composing a wide

range of texts in

different media and

technologies

EN5-3B selects and

uses language

forms, features and

structures of texts

appropriate to a

range of purposes,

audiences and



effects on meaning

Reading Poetry

• Teacher exposes students to a selection of poetry including slam poetry (Luka Lesson), contemporary poetry (Rupi Kaur), modernist poetry (Robert Frost), and Aboriginal poetry (Oodgeroo Noonuucal).

• Students brainstorm initial responses to the poems. Students are to focus on perspectives on the world and how aspects of the human experience are conveyed, along with their experience as responders and composers, and reading poetry as a personal experience.

Self-managed independent engagement

• Students complete the activities below to complete over the remaining three lessons, based on the poems of their choice.

• Students are distributed with an activity checklist, which students use to manage their work by outlining the actions they must take to complete each activity and checking them off as each is completed.

The activities to be completed are:

o Close annotation of a chosen poem, using the poetic annotation and analysis scaffold.

o Creating a word-web to connect the language of the poems, then using Venn diagram indicating the similarities and differences in perspective between two poems.

o Writing an imaginative justification of a famous figure who could have potentially composed the poem, in which they justify how the worldview and perspectives in the poem align with the worldview of their chosen figure.

o Creating an alternative version of the poem (poetry, narrative, artwork, song, spoken-word performance), either reflecting the perspectives of the original or subverting them.

Activity

checklist

Poetic

annotation and

analysis

scaffold

PEEL

paragraph

development

scaffold

Peer marking

scaffold

Self-

assessment

sheet (strengths

improvements,

processes)


30

Informal Assessment:

• Students are to independently research and select a poem of their own choosing. From this, they are to compose an extended response analysing their chosen poem and how it presents a particular perspective using PEEL paragraphs. • Teacher models a PEEL paragraph, then distributes PEEL paragraph development scaffolds. Students use the PEEL paragraph scaffold to complete the PEEL paragraphs independently. • This response is to be peer marked, using the peer marking scaffold to guide quality feedback. • After peer marking, students use this feedback and the self-assessment sheet to complete a reflection on: • What they did well (strengths) • What they need to improve (improvements) • How they can go about making those improvements (processes)


31

Weeks 5-6: Lessons 14-18 Learning focus: Perspectives through Pictures


EN5-2A

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

EN5-3B selects

and uses

language forms,

features and

structures of

texts

appropriate to a

range of

purposes,

audiences and

contexts,

describing and

Perspectives through Pictures

• Students think-pair-share on the question: What are the similarities and differences between written and visual representations?

• Students complete a Venn diagram to represent the connections between written and visual modes of representation, which is discussed with a partner.

Initial engagement

• Teacher selects picture books that present a particular perspective, such as The Rabbits, The Arrival, The Red Tree, The Lost Thing, Way Home, My Place, or Memorial. Teacher leads students in reading picture book. If available, Youtube video of picture book could also be viewed to give students experience of text.

• Students compose initial response piece of writing (what they liked, disliked, noticed) then think-pair-share on the perspective of the world that is being represented.

Collaborative visual analysis

• Students are split into small groups and are each distributed with a different picture book, along with the scaffolded visual analysis guide.

• Students use this to collaboratively analyse the text in detail, both images and words, to understand how a particular perspective is constructed in the text.

• Jigsaw activity: student groups are split for a jigsaw activity in which students peer-teach other groups about their picture book. Students then return to their original group and share what they learned.

• Students return to driving question in class discussion: What is the perspective on the world being presented? How is it presented? Why is it important to engage with?

Selected picture

books

Scaffolded

visual analysis

guide

PEEL

paragraph

development

scaffold

Self-

assessment

sheet

(strengths,

improvements,

processes)

Data projector


32

explaining their

effects on

meaning

Independent visual analysis

• Students compose a PEEL paragraph on their picture book, using the PEEL paragraph development scaffold.

• Students complete the self-assessment sheet (strengths, improvements, processes) to track how their PEEL paragraphs are developing.

• Students select one spread from their chosen picture book and compose a response, using the visual analysis skills they have been developing. Students have a choice of written, spoken or multimodal forms.


33

Week 7: Lessons 19-21 Learning focus: Preparation for assessment task


EN5-2A

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

Formal assessment – explicit requirements and modelling

• Students are given the Assessment Task Notification and sign receipt register upon receival.

• Teacher goes through notification and helps students to complete the assessment process flowchart, in which students break the assessment down into manageable steps and sequence these to assist with their time management.

• Students examine a model assessment task (from past student), examining the visual and poetic techniques used, the narrative arc, the perspective on the world presented, how it is presented and why it is important to engage with.

• Students write a justification on why the exemplar was effective, using the assessment marking rubric to support their response.

Drafting

• Students brainstorm a variety of topics which they could explore in their assessment to represent a perspective of the world. Students then select one and create a mind-map of associations, images, ideas, and connotations, which is used to scaffold the first draft of their poem.

• Students then work independently to draft and edit their poem and the images for their picture book. This can be completed by hand or digitally. Students have access to all poetry and picture books they have studied so far for inspiration.

• As they work towards completing their assessment task, students use the assessment process flowchart to ensure that they are moving through each stage of creating a high quality assessment task and that they are managing their time effectively.

Assessment

notification &

receipt register

Model

assessment

task

Assessment

process

flowchart

Assortment of

poems and

picture books


34

Week 8: Lessons 22-24 Learning focus: Completing assessment task


EN5-2A

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

Composition and completion of assessment task

• Students should decide what part of their perspective on the world is important for others to engage with, noting their context, purpose and audience.

• Students should progress through the drafting and editing process, continuing to use the assessment process flowchart to manage their time and ensure that they are completing all the relevant steps to improve the quality of their assessment.

• Teacher should provide students with a checklist of techniques that must be included, which can be used with the glossary of visual and poetic techniques.

• Students should be given time in class to self-mark their work, using the marking checklist and reflection sheet to identify their strengths and areas for improvement., along with explicitly identifying their own specific strategies for improving their work.

• The poem and images should also be peer-marked, using the peer marking scaffold, and teacher marked.

• Students should be placed in 'composition groups' where they share their ideas and work and must comment on and offer ideas on each other's work. This feedback is undertaken using the PQP framework, in which students praise a positive element of the text, question an aspect that may not be working well, and identify an area for their peer to polish in their draft.

• Students to submit their final copy of the assessment by the due date.

Assessment

process

flowchart

Marking

checklist and

reflection sheet

Peer-marking

scaffold

Glossary of

visual and

poetic

techniques


35

Week 9: Lessons 25-27 Learning focus: Reflecting on perspectives of the world


EN5-2A 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

EN5-3B 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

EN5-6C investigates the

relationships between and

among texts

Reflection

• Students are to compose a reflection that answers the inquiry question: Why is it important to engage with other people's perspectives of our world?

• This should be in the form of an extended response and should include justification from their engagement throughout the unit. They are to make reference to both their responding and composing throughout the unit.

• Students may choose to represent this reflection as a written statement, presentation or multimodal or multimedia text. (According to student and teacher preferences and ability).

• Students reflect on the most important thing they learned throughout the unit, and how the unit has informed their perspective of the world.


36

Appendix

Original unit outline


37


38


39


40


41


42


43


44


45

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