contentss3-ap-southeast-2.amazonaws.com/wh1.thewebconsole.com/wh/... · 2015. 2. 16. ·...

Words’Wor th April 2013 • Volume 46, Number 1 1

CONTENTS

Editorial 2

ETAQPatron’sMessageCatherineBeavis 3

President’sAddresstothe2013AnnualGeneralMeetingGarryCollins 4

ValeJimBuckleyGarryCollins 8

“Creativityisasimportantasliteracy”:MakingafilmtrailerrespondingtoliteratureAnitaJetnikoffandChrystalArmitage 9

BringingInanimate AlicetolifeintheclassroomCarlyZandstra 16

2012AATENationalConferenceFionaLaing 22

AsianrepresentationsinfilmsfortheAustralianCurriculum:anannotatedguideAnitaJetnikoffandMelissaKelly 23

Year10unitoverview:ClassicworldliteratureLauraPegg 29

2012ETAQ/QIEU/JamesCookUniversityLiteraryCompetitionWinningentriesandjudges’reportsSectionsAandB(Years11and12)DebPeden 47

BooksandResourcereviews 60

ETAQ Issue 46_1.indd 1 11/04/2013 11:07:04 AM

The English Teachers Association of Queensland2

EdiTOriAlStewart riddle

University of Southern Queensland

WelcometothefirstissueofWords’Worthfor2013;myfirstasincomingeditor.Iwouldliketotakethisopportunityto

acknowledgethegreatworkofSueGrotherr,whohasleftsomebigshoesformetofill!Duringherfouryearsaseditor,SueworkedcloselywithgreatEnglishteacherstosharewithussomeoftheexcellentworkbeingdoneinclassroomsaroundthestate.Duringthattime,we’veseentheintroductionoftheAustralianCurriculum:English,theimpactsofC2C,andanever-persistentoptimismfromEnglishteachersworkingwiththecomplexitiesofourtime.AsItakeontheroleoftryingtocontinuethisgoodwork,Isensethatthefunisfarfromover;itcontinuestobeimportantfortheongoingvitalityofourworkandtheassociationthatwekeepsharingthetrialsandtribulationsofEnglishteachingthroughforumssuchasthestateandnationalconferences,seminarsandWords’Worth.

Alittleaboutme:IwasanEnglishandMusicteacherforsevenyearsbeforemovingintomycurrentroleasaLecturerinliteracieseducationattheFacultyofEducation,UniversityofSouthernQueenslandin2010.MyMastersresearchinvolvedlookingatnegotiatingEnglishcurriculumwithYear8boys,whilemyPhDinvestigatedlinksbetweenmusic,literacieslearningandschooling.IhavehadthepleasureofservingontheETAQmanagementcommitteesincethebeginningof2012andhave

nowtakenontheroleofeditingWords’Worth,whichIthinkisaveryexcitingstepformyownprofessionaldevelopmentasIgettotapintotheworkandthinkingofsomeofourmostinspiringandinterestingcolleagues.

Thisissuecontainssomegreatpracticalclassroomcontributions,including:howtomakefilmtrailersinresponsetoliterature;usingdigitalnarrativesasmultimodaltexts;filmsthatmeettheAsiaandAustralia’sengagementwithAsiacross-curricularpriority;andaYear10unitonclassicworldliterature.Aswell,wehaveGarryCollins’2013AGMPresident’sAddressandeulogyforJimBuckley,whowasanETAQFoundationmemberandTreasureroftheAssociationfortwentyyears.Thereareanumberofwonderfulwinningentriesfromthe2012LiteraryCompetitionthatIthinkyouwillfindaveryenjoyableread,aswellassomebookandresourcereviews.

IfyouwouldliketocontributetoWords’Worth,pleasefeelfreetosendsubmissionstome.Ifyouhaveanyquestions,donothesitatetocall.Mycontactdetailsare:

DStewartRiddleUniversityofSouthernQueenslande:[email protected]:0734704343POBox4196SpringfieldCentralQLD4300



ETAQ PATrON’S mESSAgE

dear ETAQ members,

i hope the year has started well for you and that you have had a satisfying and productive Term 1. i also hope you had a good break over the Easter period and are well into the swing of things for Term 2.

Professor Catherine BeavisGriffith University

Wearewellplacedinthisinrelationtomanyothercountriesintheworld,andareingoodcompany.IwasinterestedtoreadrecentlyapolicypaperfromtheUSbasedorganization,theInternationalReadingAssociation-theirAdolescentLiteracyPositionStatement,updatedin2012.‘Whoareadolescentreadersandwriters?’thestatementasks,and‘Whatisadolescentliteracy?’Internationally,adolescentreadersandwriters,astheyseethem,‘representadiverserangeofculturallinguisticandsocioeconomicbackgrounds’who‘engageinmultipleformsofliteracythroughouttheday.’Examplesgiveninclude‘traditionalprintmaterials,theInternet,socialmedia,instantmessaging,texting,andvideogames,allofwhichcanbeusedastoolsforunderstandingacademiccontentaswellasformingsocialrelationships.’YoucanreadmoreoftheiraccountofwhatAdolescentliteracyentailsontheirwebsite,http://www.reading.org/general/AboutIRA/Position Statements/AdolescentLitPosition.aspx.YoumightalsowanttolookatourownAATEstatement,TheTeachingofEnglishinAustralia,http://www.aate.org.au/index.php?id=39,whichprovidesawideandcomprehensiveoverview.So,excitingtimes.WatchoutforsomegreatresourcesandideasbeingdevelopedtosupportEnglishteachinginthenewCurriculum,particularlyresourcescominguponline.ETAQ’shalf-dayseminarsalsoprovideanexcellentvenueforhearingaboutwhatothersaredoing,andagreatspacefortalkingovernewapproachesandideas.Doseeifyoucangettothem,ifyouhavenotdonesoalready.Andthisyear,weareparticularlyluckytobehostingtheNationalconferencefortheAustralianAssociationfortheTeachingofEnglish,inpartnershipwiththeAustralianLiteracyEducator’sAssociation,inBrisbaneinJuly.Somethingforallofustolookforwardto!Wishingyouallthebest,andhappyteaching.

i’vebeenlookingrecentlyatapproachestoliteratureandliteracy,inparticularmultimodalliteracy,andthewiderange

ofliterarytextualformsthatwehavehereinAustralia,bothinstatedocumentsandintheAustralianCurriculum:English.WhiletheseareearlydaysfortheAustralianCurriculum,it’scleartherearegreatpossibilitiesheretodevelopandimplementchallengingandcreativeteachingandlearningwithawiderangeoftexts,tappingintotherichrangeofstoryinmultipleforms,availabletoourstudentstoday.Whetherthisisthroughthestudyandteachingoftraditionalclassicliterature,orthroughexploringmultimodalformsrangingfromfilmandtelevisionthroughmanga,graphicnarratives,picturebooksordigitalpoetry,therangeofaesthetictextsandpossibilitieswehavehereisexciting.Similarly,therangeofcreativeandproductiveoptionsopentostudents,throughallmannerofweb2spacesandtechnologies,andthroughwriting,makingandcreatinginspoken,oralanddramaticforms,makethisaninvigoratingtimeforteachingandlearning,forusaswellasourstudents.Oneofthethingswedoparticularlywellhereistocreatespaceforthiskindofspreadanddiversity.Alongsidewrittentextsandformsofmanykinds,we’regoodatrecognisingandmakingspaceforstudents’digitalexperiencesandexpertise,andaligningthesewithcorevaluesandelementsinEnglishteachingandcurriculum.ThefirstaimoftheAustralianCurriculum:English,signalsthisfromthebeginning.Astheywritethere,thecurriculum‘aimstoensurethatstudents‘learntolistento,read,view,speak,write,createandreflectonincreasinglycomplexandsophisticatedspoken,writtenandmultimodaltextsacrossagrowingrangeofcontextswithaccuracy,fluencyandpurpose.’(http://www.australiancurriculum.edu.au /English/Aims)



PrESidENT’S AddrESS TO ThE 2013 ANNUAl gENErAl mEETiNg

garry CollinsETAQ President

introductionGoodmorningfellowmembersofETAQ

Well,hereweareagain–anotheryear,anotherMarchseminar,andanotherAnnualGeneralMeeting.ThisistheeighthoccasiononwhichithasbeenmyhonourtodeliverthePresident’sAddresstoETAQ’sAGM.Iplanthatitwillbemylastbutone–apenultimateperformancethen.Moreonthatlater.

OneofthethingsthattheManagementCommitteedidduringtheyearwastoadopta“brandstatement”fortheassociation.Thiswas:

• ProvidingprofessionalsupportandadvocacyforEnglishteachers

ThestatementcurrentlyappearsonourwebsiteandtheregularETAQE-pistlememberemailbulletinsthatwesendout.Infuture,itwillroutinelybeapartofwhateverartefactstheassociationmighthavecausetoproduce.

So,accordingtothatbrandstatement,ourcorebusinessinvolvesprofessionalsupportandadvocacyandit’saroundthosetwoelementsthattherestofmyremarksthismorningwillmainlybestructured.

Professional supportTheAssociation’ssupporttomembersismainlyachievedbymeansofprofessionalsharing,eitherviaface-to-faceeventssuchasthisonetoday,orviamaterialpublishedinourjournalWords’Worth.

LastyeartheManagementCommitteewaskeptbusymountingwhathasbecomeourusualpatternofactivitieshereinBrisbane.Wehadhalf-daySaturdayseminarsinMarchand

MayatTheGapHighandBrisbaneGrammarrespectively;aStateConferenceatLourdesHillCollegeinAugust;andaLiteraryBreakfastinOctober(IrecallthatweborrowedthatlastgoodideafromtheDarlingDownsBranchsomeyearsback).Therewerealsoafter-schoolforumsinMayandJulyandaBeginningTeachersDayinApril.

WemuchappreciatethegenerosityoftheschoolsthatprovidethevenuesforourPDevents.OvertheyearsthatIhavebeeninvolved,thesehavemainlybeenprivateschools.Thisisbecausethesearetheonesthathaveagreed.Anditdoesn’thurtthattheyoftenhaveverynicefacilities.Thatsaid,Iwaspleasedthatwewereabletoconductlastyear’sMarchseminaratTheGapStateHighandhereweareatanotherEducationQueenslandschooltoday.I’msureyou’llagreethatthisisanexcellentvenue.

IfyouwouldbewillingtohostanETAQPDeventatyourschool,wewouldlovetoreceiveyouroffer.SeparatePDeventsarealsoconductedbybranchesbasedinToowoomba,Townsvilleandmorerecently,inCairns.JustlastSaturdayItookadrivetoattendaveryusefulactivityrunatToowoombaGrammarSchoolbytheDarlingDownsBranch.

Inadditiontotheseface-to-faceeventswealsoranatrialwebinarlastMarch.Thereweresometechnicaldifficultieswiththatfirstforayandplanstorunasecondonelaterintheyeardidnotcometofruition.However,wecertainlyseetheutilizationofdigitaltechnologytoserviceourcountrymemberstobethewayofthefutureanditremainsveryfirmlyonour“to-do”list.


Words’Wor th April 2013 • Volume 46, Number 1 �

National conferenceNormallywewouldrunourStateConferenceinAugust.Thatwon’thappenin2013.TherewillbeaPDeventintheAugusttimeslotbutitwillbea“Saturdayseminar”liketoday.ThisyeartherewillbenoETAQStateConference.Thisisbecause–andIreallyhopeyouallalreadyknowthis–inearlyJuly,towardstheendofthewintervacationforEQschools,thejointAATE/ALEAnationalconferencewillbeconductedatQUT’sKelvinGrovecampus.

Aswellashelpingmakeournormalpatternofactivitieshappen,anumberofushavebeenbeaveringawayonpreparationsforthisnationaleventthatcomestousevery8years.OurlastturnwasaverysuccessfulconferenceontheGoldCoastin2005.

ETAQishostingthisyear’seventinconjunctionwithALEAQueensland.ALEAistheAustralianLiteracyEducators’Association,mostofwhosemembersteachinprimaryschools.

Thethemeofthisyear’seventisBrave New World: English and literacy teaching for the 21st century.

Iamconfidentthatthisyear’seventisgoingtobeareallytopnotchconferenceandIstronglyurgeyoutoattend.It’simportanttobeawarethattheearlybirdregistrationperiodclosesattheendofApril.

Wedoacknowledgethatregistrationfora3-dayeventlikethisisnotcheap,butsucheventsarenotcheaptoruneither.RegistrationratesarecomparablewithrateschargedbytheQSAforexample.Irecallaflierfora3-hour,halfdayworkshopturningupinmyin-traylastyear.Thecostwasawhiskerunder$100.Themember,earlybirdregistrationrateforBrave New Worldisatadunder$600.Ifyoucan’tgetallorpartofthiscoveredbyschoolPDfunds,suchpersonalexpenditureisofcoursetaxdeductible.

ETAQwillbeofferingtocoverthecostofregistrationforseveralmembersinreturnforanarticleforWords’Worth.ThecallforapplicationsforthatsponsorshipwillbegoingoutverysoonsokeepaneyeonE-pistlesandourhardcopynewsletter,English Matters.

Words’WorthAsImentionedearlier,amajormeansofprofessionalsharingbesideseventsliketoday’sisviathepagesofourjournalWords’Worth.Ifyouhaven’tyetsharedafavouritelessonidea,unitofworkorresourceviaanarticleinthejournalcouldIurgeyoutoputitontoyour“todo”listfortheyear.

ForthelastseveralyearsthejournalhasbenefittedfromthecontributionaseditorofSueGrotherrandwethankherforhereffortsinthatrole.Fromthestartofthisyear,SuehashandedovertheeditorialreinstoDrStewRiddle,formerlyateacheratIpswichGrammarandnowalecturerineducationatUSQ,

literary CompetitionAnotheractivitythatfitsgenerallyintotheareaofprofessionalsupportistheannualliterarycompetition.ETAQworksinconjunctionwithQIEUonthiseventthathasbeenrunningforhalfacenturyandsopre-datesETAQ’sownformation.Inrecenttimes,JamesCookUniversityhasalsobeenonboardasasponsor.DebbiePedenveryefficientlyco-ordinatesourpartofthejointeffort.

Materialsforthisyear’scompetitionwillsoonbearrivinginschoolsandyouareurgedtodoallyoucantoencouragetalentedstudentwriterstoenter.Andifyou’reinterestedinservingasajudgeatsomestageinthefuture,DebbiePedenwouldlovetohearfromyou.

Advocacy – QSAInowturntosomeaspectsofETAQ’sadvocacyrole.

Asmanyofyouwouldbeaware,theQSAhasanewboss.ThejobtitlehaschangedfromDirectortoChiefExecutiveOfficerandthenewleaderofthatsignificantorganizationineducationinQueenslandisMrsPatreaWalton.ETAQsawthischangeasanopportunity,andsoIwrotetocongratulateheronhernewappointmentandtoadviseherthatwecontinuedtobeunhappythatsubjectassociationswereexcludedwhentheauthority’sSACs(Syllabus





AdvisoryCommittees)werereconstitutedasLARCs(LearningAreaReferenceCommittees).

Onthe27thofFebruary,alongwithrepresentativesofotherteacherprofessionalassociations,IwasinvitedtoameetingwithMrsWalton.Idon’twishtosuggestthatthismeetingwasaresultofourletter–itwasjustpartofthenewCEO’sprocessforsettlingintoherjob–butitwasaveryusefulopportunitytoreinforcetheissueofrepresentationontheLARCs.Inthis,Iwasstronglysupportedbyallotherrepresentativesatthemeeting.MyimpressionwasthatMrsWaltonwasgenuinelypuzzledastowhytheQSAshouldhavethoughtitagoodideatonothavesubjectassociationsrepresentedonLARCs.

I’mnotsonaïveastoexpectthattherewillbeanyrapidchangetothestatusquothere,butatleastthematteriswellandtrulybackontheQSA’sradar.

Advocacy – ACArA senior subjectsAnotherareaofadvocacyactivityinthepastyearrelatestotheEnglishsubjectcomponentsoftheYear11and12phaseoftheAustralianCurriculum.WesoughtinputfrommembersandprovidedfeedbacktoACARA.

ThefinalversionsofthefourseniorEnglishsubjectswerereleasedinDecember,anditisnowuptostatecurriculumauthoritiestodeterminehowtheywillbeincorporatedintolocalsyllabusesandassessmentprocedures.Itisdifficulttoseewhat,ifindeedany,changesweremadetotheinitialdraftsasaresultoftheconsultationexercise.

OurnextprojectonthisfrontwillbetoagainseekinputfrommembersandthenmakerecommendationstoboththeQSAandEducationQueensland.Theprocessisbeingstartedviaoneofthesessionsheretoday.ItiscertainlytobehopedthattheimplementationofrevisedseniorEnglishsyllabusesinEQschoolswillnotbemarredbyinappropriatedegreesofmandationthatwereanobjectionablefeature,inourview,oftheC2C,CurriculumtoClassroom,programinrelationtotheF-10sectionoftheAustralianCurriculum:English.

CommunicationI’vejustmentionedseekingtheviewsofETAQmembersandthatnecessarilyinvolvescommunication.Inrecentyearsamajormeansofcommunicatingwithmembershasbeenviaemail,ourETAQE-pistlememberbulletins.Theseprovideimmediacybutonlyabout30-40%ofthemessagesareopenedorclickedon.I’mtoldthatsucharesultisinfactquitegoodforthisformofcommunicationandIdoappreciatehowcluttereduppeople’sin-boxescanbeandhowlittletimeinthedaythereistoattendtoemail.However,wewouldbeamoreeffectiveorganizationifahigherpercentageofmembersdidinfactreceivethemessagesthatwesend.

CouldIjustseeashowofhandsofthosewhoregularlyreceiveandatleastscanthecontentsofETAQE-pistles?

Ifyou’renotreceivingthem,it’smostlikelybecausewedon’thaveacurrentemailaddress.Whenemailaddresseschange,pleaseremembertoadviseus.Thisisparticularlyanissuewhenthecontactpersonforaschoolcorporatemembershipchangesbecauseofrelocation,retirementandthelike.

Public debateAnotheraspectofadvocacyisengagementinpublicdebateabouteducationingeneralandEnglishteachinginparticular.Mypersonalmissioninthisregardisvialetters-to-theeditor.IproducetheseregularlyandmostaresubsequentlyprintedinEnglish MatterseveniftheyarenotselectedforpublicationbyThe AustralianorThe Courier-Mail.JustyesterdayImanagedtoscorewhatIliketothinkofas“thedailydouble”withversionsofthesameletterinboththosepapers.Thetopiconthisoccasionwasthedoublefocusofgrammar,spellingandpunctuationintheNAPLANtests.Theeditingisalwaysinteresting.

Jim Buckley’s passingLastyear’sAGMwasasignificantmilestonebecauseitwasthefirsttimein20yearsthatJimBuckleywasnotstandingforelectionas



Treasurer.Now,sadly,Jimisnolongerwithus,havingpassedawayonthe18thofFebruary.Hisfuneralonthe25thoflastmonthwasverywellattendedwithastrongturn-outofhisETAQfriends.Atthestartoftheopeningsessiontoday,infrontofalargeraudiencethanattendstheAGM,IproposetorepeattheremarksthatImadethenaspartoftheeulogy.

Succession planningOneofthethingsthatexpertsintheeffectiverunningofnot-for-profitorganizationslikeETAQregularlysayisthatitisvitaltohaveasuccessionplan.That’seasytoacceptasageneralconcept,butit’susuallyrathermoredifficulttogetanameineveryslot.

IsaidatthebeginningoftheseremarksthatthiswouldbethesecondlasttimethatIwouldbegivingthisaddressattheAGM.

SincethestartofthisyearIhavebeenPresidentElectofthenationalEnglishteacherbody,theAustralianAssociationfortheTeachingofEnglish,AATE.MembersofETAQ,andthevariousotherstateandterritoryETAs,are,asaresultofthatprimarymembership,alsomembersofAATE.Ihopeyouallknewthat.AATE’sconstitutionprovidesfora4-yearcycleinthepresidentialrole.ThisyearIamPresidentElect.On1Januarynextyear,Iwillbegina2-yeartermasAATEpresident,andthenin2016(ifImakeitthatfar!),IwillserveayearasPastPresident.Afterthat,Ianticipatedisappearingintothesunsetasfarasthisorganizationisconcerned.ThecurrentAATEpresidentisAssociateProfessorKarenMoniandI’llbesucceedingherasIdidintheroleofETAQpresident.

Asaresultofthesedevelopmentsatthenationallevel,IadvisedtheManagementCommitteelastyearthatthiscomingyearwouldbemylastasETAQPresident.IamverypleasedtobeabletoreportthatFionaLaing,currentlythe

MembershipSecretaryand,fromthestartofthisyear,ourdelegatetotheAATEnationalcouncil,hasindicatedaninterestintakingoverfromme.Butofcourse,IdoneedtoaddthatETAQisademocracynotadynasty,andanymembercouldnominate.

membershipSpeakingofmembership,itisimportanttobeawarethatany2012memberswhohavenotpaidduesforthecurrentyearbytheendofMarch,ceasetobemembers.

ThanksIwouldliketoexpressmysincerethankstoallmembersoftheBrisbane-basedManagementCommitteefortheirvariouscontributionsduring2012.ThesameappreciationalsoappliestothemembersinToowoomba,TownsvilleandCairnswhoseuntiringeffortsmaketheregionalbranchesfunction.Weshouldnotforgetthatitisprobablyaharderjobinthebranchesbecausethereisasmallerpoolofpeopletodrawon.Asalways,itisarealpleasuretohavetheopportunitytoworkwithagroupofsuchfriendly,generous,talentedandprofessionallycommittededucators.

AllofthoseelectedatthelastAGMstayedthecourseandallbutthreeofthemhavenominatedforanotherterm.SueGrotherr,editorofWords’Worthforthelastseveralyears,alongwithKarenFarrowandIanHoddinotneed,foravarietyofreasons,toreallocatethetimeandeffortdevotedtothisassociationduring2012tootherareasoftheirlives.Thankstothem,andtoallmembersoftheManagementCommitteefortheirdiligentworkonbehalfofmembers.

Andthat,fellowEnglishteachers,concludesmyPresident’sAddressforthe2013AGM.Itrustyouallhaveaprofessionallysatisfyingyear.

GarryCollins



The English Teachers Association of Queensland�

“IamverygratefultohavetheopportunitytosayafewwordsaboutJimonbehalfoftheEnglishTeachersAssociationofQueensland(ETAQ)andthemanymembersoftheassociationwhoheldhiminhighesteem.

JimwasanEnglishteacherandjoinedthesubjectassociation,ETAQ,intheveryyearthatitwasformed.Thatwasin1967whenhewasonthestaffatDownlandsCollegeinToowoomba.Jimoftensaidthathegreatlyappreciatedtheprofessionalsupportthathereceivedfromtheassociation–mainlyviaarticlesinitsjournal–whenhewasworkingincountryQueensland.

WhenhereturnedtoBrisbanetowardstheendofthe1980sheexpresslysetaboutgivingsomethingbacktotheorganizationbyjoiningitsManagementCommittee.HesoonbecametheTreasurerandheldthatpostforanunbrokenperiodof20years.Hisprudentmanagementoftheassociation’sfinancialaffairsmeantthatwewereabletorecoverfromamoney-losingnationalconferencein2000andwhenhepassedoverthereins,wewereinaverysoundfinancialposition.

Fromwhenheretiredfromfull-timeteachingin2003until2yearsagohewasalsoourpart-timeAdministrationOfficer.Well,itwasnominallyapart-timejobbutatbusyperiodsI’msurethatitabsorbedmostofJim’swakinghours.Inrecognitionofhislong,loyalandmeritoriousservice,JimwasmadeaLifeMemberoftheassociationin2009atitsannualStateConferenceheldthatyearinTownsville.ThelocationwasquiteappropriatebecauseitwasinTownsvillethatJimbeganhisteachingcareerinthelate1950swithaGrade5classof84students.

Notunreasonably,manypeopleareinvolvedinorganizationsprimarilyforwhattheycangetoutofthem.Incontrast,JimBuckleywasfocusedonwhathecouldcontribute.Toadapt

At Jim Buckley’s funeral on Monday 25 February 2013, ETAQ President Garry Collins made the following contribution to the eulogy.

These remarks were then repeated at the start of the opening session of the PD activity conducted at Centenary State High School on Saturday 16 March.

Vale Jim Buckley1May1938–18February2013

ETAQ foundation memberOur Treasurer for 20 yearsA generous friend to many

thewordsofUSPresidentJohnFKennedy,forJimitwasalwaysacaseof:“Asknotwhattheassociationcandome,butwhatIcandotheassociation”.

Itissometimesanotverymeaningfulclichétodescribesomeoneas“agentlemanandascholar”butthosewordsareexceedinglyaptforJimBuckley.Andtheword“gentleman”appliedinadoublesense.Aswellasdisplayingunimpeachableintegrityandhighpersonalstandardsofbehavioringeneral,hewasalsoagentleman.

SinceadvisingETAQmembersofJim’spassingI’vereceivedanumberofemailmessagesnotingthevariouswaysthatmembersrememberhim.Thesearesomeofthecharacteristicstheymentioned:

• gentlemanlydemeanour,loyaltyandstrongsenseofduty

• kindnessandsenseofhumour

• expertiseandgraciousness

• generosityandphenomenalmemoryforpeople

• thenowquaintterm"nature'sgentleman"appliedtohim.Hewasthefriendlyfacethatgreetedusatseminarsandconferences,knowingsomanybyname.

• aninspirationandalwayssowillingtolistentoandempathisewithteachers

Thanks,Jim,foreverythingyousogenerouslygavetotheassociationandtoyourfellowEnglishteachers.TheworldofEnglishteachinginthisstateisdiminishedbyyourpassing.”

Note: The Management Committee is currently considering an appropriate mechanism to memorialise Jim’s contribution to the association. One proposal is that the sponsorship that is provided to assist country members to attend the State Conference be called “The Jim Buckley Memorial Scholarship”.



Anita Jetnikoff and Chrystal ArmitageQueensland University of Technology

“CrEATiViTy iS AS imPOrTANT AS liTErACy”: mAkiNg A film TrAilEr rESPONdiNg TO liTErATUrE

ThefirstpartofthetitleisfromSirKenRobinson(Robinson,2009),theesteemededucatorandchampionofcreativityinschools.Sometimesinthefaceofmeetingthedemandsoftime,timetabling,demandingadministrationtasksandteachingforhighstakestestingaccountability,wecanfindourselvesdesperatefortimetorememberthatEnglishhasalwaysbeenoneoftheplacesinschoolswherecreativitycanflourish.Englishisaplacefortheplayoftheimagination.Englishteachersarethepurveyorsofnarrative;thekeepersandteachersofstories.ThenewAustralianCurriculum:English,(AustralianCurriculumandAssessmentReportingAuthority(ACARA),2012)asksustobeusingICTtechnologiesincreativewaystotellthosestories.Thecurriculumasksstudentstoaccesstextsreceptivelyandtothenspeakabout,writeandcreatetextsproductively.Therearesomanyinterestingthingstodowithtextsbeyondwordprocessingofprintbasedresources.Respondingtoliteraturethroughmediaisalwaysanalternativeoptiontowritingorsimplyspeakingaboutit.InthispapermyQUTpre-servicestudentChrystalArmitagedescribeshowshemadeaministoryviaafilmtrailerinresponsetoashortstory,‘Turned’(Gilman,1987)intheunit,LiteratureinSecondaryTeaching.Theproductionprocessdescribedherecouldbelocatedinthesynthesisingphaseofajuniorsecondaryunit,sincewethinkthatteachersmaymostwanttoknowthetechnicalaspectofthetask.

Respondingtotextsviamediaproductionisbecomingmorerealisticasschoolsbecomeequippedwithlaptopsforstudentuse.Laptopsand/orcameraandvideoequippedtablets,makeaccesseasier,sincenotalltheclasshastobeworkingattheonetimeinacomputerlabatschoolinschoolhours.RecentresearchIhave

conductedwithbeginningteachers,provedthatmanyEnglishclassesstillhaverestrictedaccesstotechnologiessuchaslabspacesinschools,solaptopsandtabletsmayprovideapartialanswer(Jetnikoff,2011a,2011b).AsChrystalshowsinhermediaexperimentavideogameplatformcombinedwiththestandardissueMovieMaker(availableoneveryPC)allowedhertocreatesomethingquiteoriginal.

ThispaperalsogrowsfromthepremisethatboththeAC:Ev.3(ACARA,2012)andthecurrentQueenslandSeniorEnglishSyllabus(QueenslandStudiesAuthority,2010)categorisefilmsas“literary”texts.Thechoiceofashortstoryasaparenttextiseasierthananovel.Itisnotrealistictoexpectthatthemultimilliondollarbudgetsandexperiencedcreativeteamsthatmakefeaturefilmadaptationsfromnovelsorplayscanbeemulatedinoursecondaryclassrooms.Yettheshortstoryisanaccessibleformandthenarrativeformoftheshortfilmcontainsasimilarthreepartstructuretothatofafeaturefilm.Shortstoriesarenotoftenmadeintofilms,however,QueenslandSecondaryFilm,TVandNewMediastudentshavelongbeenmakingshortgenrefilmsinschools.Thisshortertaskofmakingatrailerisnottreadingonthatterritory.Makingafilmtrailerforashortfilmrequireslesstimeandequipmentthanawholeshortfilm,sothisallowssomethingcreativeandoriginaltobemadeinschool.ItisalsooneofthetexttypesrecommendedbytheACEandindeedthereareassessmentsamplesoffilmtrailersontheAC:Ewebsite,mostlymadewithstillshots.

Whatstopsteachersfromexperimentingwiththissortoftaskisusuallylackofaccesstoandknowledgeabouttechnologyandlackoftimebothtolearnaboutusingit,thereisalsothefearthatstudentsmayknowmore




thanteachersaboutthetechnology.Notallstudentsare‘digitalnatives’(Prensky,2007).Thistermisanoverstatement,sincetherearemanyyoungpeoplewhoarestillnotau fait withthemorecreativeusesoftechnology.ManymightstopatFacebookuse,butnotbeabletomanipulatemorecomplexcreativesoftwaretechnologiessuchaseditingprograms(Jetnikoff,2011b;O’Mara,2006).IntermsofuptakeoftechnologiesbyteachersandstudentsforthepurposesofthecreativeandproductivemodesinEnglishclassrooms,willingnessandopennessarebothimportanttraitstobringtotheiruse.Whatsomestudentsmaylackinknowledge,oraccess,theymaymakeupforinfearlessnessoftechnologicalterrain.Ifteacherslearnsomesoftwarebasicsandteachthose,studentswilllearnthesetooandthenthereislittletostopthemprogressingtowardscreatinginterestingandchallenging,productivesummativeassessmenttasksintheclassroom.

Ofcoursethiswouldappearinalargerunitcontextandtheunit’steachingandlearningexperiencesintheearlierphasescouldrevolvearoundsemiotics,visualgrammar,narrativestructure,andfilmstructure.Thispreparatoryworkwilldependoftheleveloftheclassandthepriorknowledgetheybringtoit.Thesewillnotbecoveredinthispaperasthereisanassumptionthatteachersmaybefamiliarwiththeseelementsoftextualanalysisandhowtheymightworkincreatingnewaudio-visualormultimodaltexts.Let’ssaythisisforayear10class,whohavepriorknowledgeandexperienceofsomeoftheabovementionedconcepts.Herewewillfocusonthetechnicalaspectsofthefilmtrailertaskinthefinalphaseoftheunit.Wecouldcontextualisethesummativeassessmenttaskasfollows:

Text type:Imaginative:afilmtrailernarrative

Context:Designandproduceafilmtrailerinthecontextofanupcomingfilmfestival,suchasQldNewFilmmakersawards(QNFMA).Thefilmshouldbebasedonthenarrativeelementsandrepresentationsofyourchoiceoneoftheshortstorieswehavereadthissemester(teachersinsertyourchosenanthology).

Purpose:Toentertainandpersuade

Roles and relationships:StudentsfilmtrailermakerJudgesofNMFAandfestivalfilmviewers

Mode:Multimodal

Chrystal’s experience of making the film trailerAfterbeingintroducedtotheWindowsMovieMakerprogrambyafriendandhavingselectedtheMoviesPCGameforabitoffunafewyearslater,theprocessofmergingthetwosoftwarepackagestogethertocreateatrailerforaliteratureunitatuniversitywastrulyexciting;andagreatwaytocombinetwothingsthatIlovethemost,creativestorytellingwitheye-catchingvisualsandmusic.Themostimportantpartofthetrailer’screativeprocess,forme,wastobeginwiththetextandworktowardsthetechnologywithaplan.Initially,Iselectedthemainplotpointsfromtheoriginalshortstorytoseewhichoneswouldbeincludedinthetrailer,andwhichoneswouldnot.FromthisIselectedthedialogue,eitherdirectlyfromthetext,orbywritingmyown,toaddanotherlayerofmeaningtothevisualsonscreen.ItwasthroughthisprocessthatIdecidedtousethefinalclimaxofthestoryattheveryendtoleaveaudienceswantingmoreandgetthemtothecinematoseethefilm,whichisthepurposeofthetask.TheshortstoryTurned (Gilman,1987),setattheturnofthe20thcenturyandaboutadomestictriad,involvinganeducatedwoman,andherunfaithfulhusbandandservant,lentitselfwelltothisstructurebecauseofitsratherinterestingcliff-hangerending.Mostshortstorieshaveclimaxesandfinaltwistsappropriateforthispurpose.Intheliteratureclasswehadprocessedthestoryintheusualliteraryway,examiningcharacters,plot,centralproblem,complications,discoursesandrepresentations.Myresponding/productivetaskwastodeterminewhatvisualelementsweresuggestedbythestoryandhowthesecouldrepresentcomplicationsor‘turningpoints’.Withtheplotpointsanddialoguechosen,Idecidedtouseon-screentitlesforeachofthepivotalmomentstoleadtheaudiencethroughtheplotwithoutgivingtoomuchaway.Each




on-screentitlewasaccompaniedbyimagesanddialoguechoicesthatreflectedthem.Forexample,“alovestory”wasfollowedquicklybyclipsofthemaincharactersgettingmarriedwhile“anunforgivablesin”wasfollowedbyshortactionshotsofthehusbandcheatingonhiswife,contrastedwiththeirweddingsceneasthemusicincreasedinintensity.Iusedjamendo.comformusic.Itisanonlineroyaltyfreemusicsitethatallowsfair-useofitstracksfornon-commercialpurposesacrossarangeofgenrefilters.Ichoseaninstrumentalpiecethatalsofollowedtheshortstoryandfilmtrailersstructure;aslowbuild-uptotheclimaxandthenasuccinctending.Ittookmeapproximatelyfortyminutestoplanforwhatwouldappearonscreen.Thisfactorwouldvary,dependingonthelengthandcomplexityoftheparentshortstory.However,thisplanningprocessisanimportantpartofdesignandhalvestheproductiontimeneededtofinishtheproject.WithoutplanningIwouldsayittakesaboutfourteenorsohoursincludingimportingmusic,images,dialogueetc.Witheffectivedesignandplanning,whichcanbedoneduringtheenhancingphaseofaunit,theproductiontimehalvestosevenhours,giveortakeafewdependingonyourlevelofabilitywiththeuserfriendlysoftwareIwillnowoutline.Whilstthismightseemlikealotoftime,ifoneweekofunitsynthesisingtimewasallowedforinlabs,thisshouldbeenough.

The movies (PC game)ThefirstpieceofsoftwarethatIusedwasonethatIoriginallyboughtforentertainment,butitseducationalvaluehasbeenunderestimated.The Movies isaPCSimulationGamereleasedin2005(LionheadStudios,2005).Thegameretailsnowinsomestoresforabout$8.00.Itallowsplayerstocreateandmaintaintheirownfilmstudioandcreatefilmsthatcanbeexportedthroughdigitalcharacters,removingthefearofhavingtophysicallyappearon-camera.ExportedfilesfortheWindowsversionofthegameareinWindowsMediaVideo(WMV)theMacversionsupportsQuickTimeexporting.Thefinalproducthasthelookandfeelofananimation.

Uponinitialstart-upofthegameyouneedtohireatleastonedirectorandplentyofactorstoplaytheirrolesandthenthecreativeworldiscompletelyuptoyouin‘sandbox’mode.Withaninfiniteamountofcashandtechnologyyouareabletocreateasmanyfilmsasyouwantusingthegivensetsandscenes.Itisawholelotoffunandveryeasytounderstandandworkwith.Itdoesn’ttakeverylongtomasterthebasicconceptsandeachcopyofthegamegivesyouastepbysteptutorialguidewithdemonstrationvideossoyouarenevertoofarawayfromguidance.Belowaresomeverybasicstepstomakinganewmoviewiththesoftware.

making a new movieStep1)Makesureyouhavehiredatleastonedirectorandasmanyactorsasyouneedfromthosewaitingoutsidethecastingofficeblockinthegames‘sandbox’mode(note:usetheyear1980asastartingyearwhenstartinganewgame)

Step2)BuildaCustomScriptwritingOffice




Step3)Draganemptyscript,fromtheleft,totheAdvancedMovieMaker

Step4)Completetheopeningpagebytypingatitle,selectingagenreanddraggingactorstotheirroles.

Youcanalsousethecoat-hangericonontherighttochangetheiroutfitsforthefilm.

ThoseshownbelowareMrandMrsMarronerfrommyproject.

Step5)Selectthesparklingboxesunder‘Intro’

Step6)Selectoneofthethirtyeightsettingsprovided

Step7)Selectascene,thereareplentytochoosefrom.Usingthe‘filtersprovided’chooseone.



Tutorial Button–Forguidanceabouthowtousethemoviemakertool.The Set–Addpropsandotheritemstodressupthesetforyourscenes.Props –ChangethepropsusedinaspecificsceneWeather and Lighting –Weatheroptionsincludeclear,rainorfogwhilelightingincludesday,nightandsunriseorsunset.Backdrops–Selectabackdropforyourscene.Turn On/Off Mannequin Models–Usedtoturnoffwoodenmodelswithnoactorsassignedtothem.Slider Options–Directingstrategiestochangeyourmovie.Theseincludethelevelofactioninascene,whereashotwillfocus,whetheritwillzoomoutorin,whatshottypeetc.Costume Department–Draganactorheretogivethemanewoutfit.Bin–Deleteascene,characterorobject.


Step8)Oncethesceneisonthetimelineyoucandraganddropactorsfromtheirprofilepicturesontheleftintotheirrolesonscreenanduseanyofthesidetoolsontherighttomakemodifications.

Step9)Oncethescriptiswrittenandfilmed,dragittothePostProductionbuildingforexporting.OncethefilmloadsclickontheExportmoviebutton.Select‘highestquality’forexportingtoavoidmessylinesandgrainyvisuals.

Afterit’sexportedsearchforitonyourcomputerbythefilm’stitleandyouarenowfreetoimportitdirectlyintoWindowsMovieMaker.

Windows movie maker (microsoft)

importanttimesavingthingyoucandowhenusingtheprogram,iskeepallofyourphotos,movieclipsandmusicinoneplaceforeasyimporting.

IusedWindowsMovieMaker2007formytrailerwhich,althoughanolderversion,usesatimeaccuratetimeline.Thefirst,andmost




Toimportanysourcematerialyouselectthe‘ImportMedia’iconatthetopleftandthenlocatethefileandhighlightallyourphotos,clips,musicetc.andselect‘import’.Itwillautomaticallyappearinthewhitespacetotheleftofthepreviewimage.

ImagesandclipsfromTheMovies,onceimported,canbedraggedintothetoprowofthetimelineforediting.

However,itisnottheimagesortheclipsthatbringthetrailertogether,itisthemusic.Whenyourmusichasbeenimporteditcanbedraggedtothetimelineatthebottomofthescreen.Itwillappearinthe‘Audio/Music’linebelowanyimagesandclipsthatyouwishtouse.Additionallythislinecanbeusedforspecificdialogueifyoudidnotincludeitin‘TheMovies’exportingprocess.

Onceyouhavethemusicinplaceyoucanpreviewyourvideoandcutdownthesizeofyourpicturesandfilessothattheyappearintheorderyouwantthemtoandaretimedeffectivelywiththemusic.

Youmayalsoimportopeningorsubtitlestodisplaythroughoutthemovieandevenscrollingcreditsattheveryendwiththeprogramsbuiltinoptions.

Simplyselect‘tools’andthen‘titlesandcredits’

Selectanyofthefourprovidedoptions;titleatthebeginning,titlebeforetheselectedclip,titleontheselectedclipandcreditsattheend.Thentypethewordsyouwanttoappear.

Youcanthencustomisetheseframesbyselectingthe‘changethetitleanimation’or‘changethetextfontandcolour’options


Words’Wor th April 2013 • Volume 46, Number 1 1�


Topublishyourmovie,selectthe‘publishmovie’iconandthenthe‘bestqualityformycomputer’option.Usuallyitsdefaultsavingspaceisthedesktopbutyoucaneasilychangethisand,whenit’sfinished,youhavecompletedamoviethatcanbeplayedonanydevice.Althoughitmaytakesometimetogetusedtotheprocessinitially,Iguaranteethatnotaminuteiswasted.Everypartofthecreativeprocessisexcitingandfuntocomplete,IneverthoughtthatIwouldsaythataboutauniversityassignment,butIdid,andtothisdayIstillgetenjoymentfromwatchingthefacesofpeopleIknowwhentheywatchthevideosIcreate.

ReflectionAsyoucanseethisproceduralguidetomakingafilmtrailermeansthatthispossibilityopensupanewwayofrespondingtoliterature.Wedonotneedtobelimitedtorecreatingnarrativeinprint-basedways.TheAC:Eprovidesassessmentmodelsofseriesofstillshotsonitswebsite,butthisprocessismoredynamicthanaseriesofstillshots,editedinPhotoStory3orsimilar,whichismoresuitedtodigitalstorytelling.Thereareotherwaystodothisalso,withoutusingtheadditionalgamingsoftware,byimportingclipsfromyoutubeandremixingtheminMovieMaker,butwhatimpressedmeaboutthisprojectwasthatChrystalworkedtocreateamuchmoreoriginalpiece.Moreover,itiswidelyacceptedinmediastudiesthatstudents’learningaboutprocessesandproductionoffilmthrough‘producing’orusingthetechnologiesismoreeffectivethanmerelyteachingthetheoreticalprinciplesofcinematiclanguages.Thereisnoreasonwhythisprinciplecannotbeappliedto

Englishclassroomsnowthatthehardwareandsoftwarecomponentsnecessaryforsuchcreativetasksaremorereadilyavailabletoourstudents.

resourcesTheMoviesPCGameAdvancedMovieMakerTutorial–http://www.youtube.com/watch?v=uOmhKS_SPO0TheMoviesPCGameAdvancedPostProductionTutorial–http://www.youtube.com/watch?v=XzzDOL5LQOYWindowsMovieMaker(2007)(software)Microsoft

references AustralianCurriculumandAssessmentReporting

Authority(ACARA).(2012).The Australian Curriculum: Learning area English: Version 3.Retrievedfromhttp://www.australiancurriculum.edu.au/Search?a=English&q=English.

Gilman,C.P.(1987).Turned.InB.Mellor&A.Patterson(Eds.),Reading Stories(1ed.,pp.13-23).Scarborough:ChalkfacePress.

Jetnikoff,A.(2011a).WhatdobeginningEnglishteacherswantfromprofessionaldevelopment?Australian Journal of Teacher Education,36(10),53-64.

Jetnikoff,A.(2011b).Whathappenedtotheeducationrevolution?newmediatechnologiesandTheAustralianCurriculum.InB.Doecke,G.Parr&W.Sawyer(Eds.),Creating an Australian Curriculum for English.Putney:PhoenixEducation.

O’Mara,J.(2006).BecomingL(IT)erate:Pre-serviceEnglishTeachersandICTs.English in Australia,41(3),44-48.

Prensky,M.(2007).Digital game-based learning St.Paul,MNParagonHouse.

QueenslandStudiesAuthority.(2010).English Senior Syllabus,2010.Retrievedfromwww.qsa.qld.edu.au.

Robinson,K.(2009).The Element.NewYork:VikingPenguin.

Anita Jetnikoff is a senior lecturer in English Curriculum studies at QUT. She is a former passionate Queensland secondary English teacher.Chrystal Armitage is a final year student at QUT. She is a recognised Dean Scholar and a proud participant in the Exceptional Teachers for Disadvantaged Schools program.



BriNgiNg iNANimATE AliCE TO lifE iN ThE ClASSrOOm

Carly ZandstraUniversity of Wollongong

OneofthemostintimidatingthingsIlearnedasastudentteacherwasthatthepresenceoftechnologyintheAustraliansecondaryclassroomwasunavoidable,andonmyfirstplacementIwasthrusthead-firstintotheexperience.Ihadnevertaughtalessonbefore,hadonlyplannedonetheoreticallyatuniversity,andnotonlywasInervouswithanticipationwithjusthowIwouldaccomplishwhatseemedlikeataskreservedonlyformyimaginationandfor‘real’teachers,IbecameexceedinglyapprehensivewhenmysupervisingteachertoldmethatherYearSevenEnglishclasswereworkingwithadigitalnoveltitledInanimate Aliceandthatitwastimeformetotakethereinstoengagethemwith‘Episode Three: Russia’.

MyinitialintroductiontoInanimate Alicewasafrenzied,disjointedanddiverseexplanationfromagroupofstudentswhoseintentionwastoinform,butwhoseachievementwastoconfuseandfrighten.“It’saboutagirl,butwedon’treallyknowwhosheis”,“Aliceisanannoyingweirdgirlwhomovesaroundtheworld”,and“It’sstrange–weloveit!”“Whatdoesshelooklike?”Iaskedinignorance.“Wedon’tknow.”“Whatisthestoryabout?”Iaskedagain,hopingformoreinformation.

“Um...wecan’treallysay.”

Ilookedatthesestudentswithignoranceandreticence.

NowIwasreallyquitefrightened;notonlyhadIneverevenheard ofadigitalnovel,inretrospectIwasnotevenabletoformalogicalexpectationforwhatonemightactuallylooklike.Iimaginedwords–lotsofwords–andimagestoaccompanythem.OnreflectionIsupposethatIassumedthatadigitalnovelwouldbeapicturebookintheformofadigitaldocumentratherthanaprintedtextthatonewouldhold,turningthepageswitheachnewdevelopment.ThefurtherIconsideredthisidea,themoreconcernedIbecamewithoneprimaryfactor:howdoesawhole class ofYearSevenstudents,withvaryingabilities,differinglearningneedsandacolourfulassortmentofinterestsandpersonalitiesallreadadigitaltextat the same time?

Itseemedunlikelytomethatthiscouldactuallywork,howevertheassurancesoftheteacherandtheclearinterestexpressedbythestudentsthemselvestoldmeotherwise.SocamethetimethatIsetouttoexperienceInanimate AliceformyselfinpreparationforwhatIanticipatedtobeadauntingandsomewhatintimidatingexperience,andwhatIactuallydidexperienceisrepresentativeofexactlyhowignorantIwas.

(contains teacher resources) Screenshot of the Inanimate Alice website: www.inanimatealice.com




meeting AliceThenightImetAlicewasonewhichturnedmynewlydevelopedunderstandingsoftechnologywithinthecontextoflearningupside-down,andledmetore-evaluatemyappreciationforwhatliteracyintheEnglishclassroomactuallylookedlike.TheInanimate AliceHomepageimmediatelydemonstratedtomethatthisresourcewouldindeedpresenttomefarmorethansimplyatextualnarrativewithsomeaccompanyingimages.Frominitialimpressions,onecanclearlyseethatthestoryofInanimate Alicetakesplacewithinfourchaptersandwithinfourdifferentnations,howeveronfurtherinvestigationitachievesmuchmorethanthis.

Thenarrativetoldwithinthefourchaptersthathavebeenproducedtodateexploresnotonlythelife,thestory,andtheexperiencesofAlice,butalsoherinnerjourneysasshegrowsfromayounggirlofeightyearsofageintoayoungwomaninhertwenties.AlthoughIwasgoingtobeteachingbasedonthecontentofthethirdepisode,whichtakesplaceinRussia,IstartedatthebeginninginordertodevelopasimilarrelationshipwithAlicetothatwhichthestudentsinmyclasshadalreadyestablished.Myunderstandingsofwhatadigitalnovelcomprisesweretransformedimmediately.Inanimate Aliceprovidessomuchmorethanpicturesandwords;itoffersanexperiencelikenootherandinnowayresemblanttowhatIhadimagined.MyconcernsthatsucharesourcewouldpresentdifficultiesinadiverseclassroomwerequashedimmediatelyasIwasdrawnintoaworldofvisual,auditory,sensoryandemotionalintrigue.

Inanimate AliceistoldfromthenarrativeperspectiveofAlice,withwhomitiseasytoseehowaclassofthirtystudentshadbecomessoattachedinjusttwoepisodes.Whiletextisanintegralcomponentofthisnarrative,itisbynomeansasolitarycommunicatorofmeaning;vividandsubtleimagery,enrichingmusicandcurioussound-effectsworktogetherwiththetexttoestablishanatmospherewithineachepisodethatdrawsyouintothecuriouslifeofAliceashermanyworldsareexploredwithsuchintrigueandmysteryastoconsistentlyinstigate

conjectureastowhoAliceis,wheresheisfrom,theroleofherparentsandthereasonforhermovementaroundtheglobeforthepurposeofherfather’soccupation.

Therelationshipbetweenthisyounggirlandherparents,JohnandMing,isshroudedwithmysteryandcloudedwithintrigue.Whilewearegivensubtlecluesastothepersonalities,occupationsandrelationshipswithinthissmallfamily,somuchislefttotheimagination.HereliesoneofthemostnoteworthyaspectstoInanimate Alice:theemotionsthatareinterwovenintothestory.Itisremarkablehowthequitesubtleimageryandsoundcombineswiththeminimalinclusionoftexttoestablishsuchastrongandemotiveexperience.

Oftenhumorousandattimesquiteeerie,sometimesevenfrightening,Inanimate Alicedoesnotfailtokeeptheviewerinterested,engagedandwantingmore.Mostnotably,thereisastrongdesiretoreallyknow Alice,evenatsuchtimesasherbehaviourandattitudescanbefrustrating(hereiswhereIlearnedwhysomeofthestudentsreferredtoherasa“weirdlittlegirl”).However,Inanimate Aliceisnotsimplyanarrativeaboutayounggirlandherfamily,italsoexplorestheinnercharacterofAlicewithsuchskillthat–whilewedonotknowwhereAliceisfrom,whatshelookslike,oranythingbeyondtheverybasicaboutherlife–wearedrawnintotheverycoreofherpersonalitythroughaskilfulandverypersonalportrayaloftheinnerworkingsofherthoughts.Aswellasthetextual,visualandauditoryaspectsofthisdigitalnovel,itdoesnottakelongfortheviewertodiscovertheimportantroletechnologyhastoplaynotonlyinviewingthetext,butalsoinformingarelationshipwithAliceherself.

Fromthefirstepisodetothelast,acentralcharacterinthenarrativeofInanimate AliceisthatofBrad,adigitalavatarthatAliceherselfdescribesashavingcreatedherself.AlthoughwearedirectlytoldthatBradisjustagraphicimage,asthestorygrowssotoodoesAlice’srelationshipwiththis‘imaginary’friend,whichaddsfurthermysteryandintriguefortheviewerasthetwoseeminglyinteractonfarmorethanjustadigitalandimaginativelevel.Theviewer


The English Teachers Association of Queensland1�


islefteitherquestioningthefictionalexistenceofBradorthepsychologicalstabilityofayounggirlwhointeractswithhim.Eitherway,thisrelationshipprovidesawonderfulopportunityforclassroomdiscussionandengagement.

InadditiontoBrad,Alicealsodemonstratesherinterestinthegamingworldbycreatinginteractivegamesthatareincorporatedintothenarrative,andasthestoryprogressessotoodoherabilitiesandthecomplexityofhercreations.Thegamesbecomeamoreintegralcomponenttotheevolutionofherstoriesasthisdigitalnoveltransformsfrombeinganexperienceofviewingandlisteningtoonewhichactivelyengagestheviewerbynecessitatingthecompletionofhergamesinordertoprogressthroughthestory.ThisagainreflectsthegrowthofAlicefromayounggirlintoayoungwoman,demonstratingherdevelopingmaturityandskillsasagamedesigner.TheimageofBrad,too,transformswithAlice’sgrowthasadigitalanimator,andinmyownprivateviewingofInanimateAliceIcouldseeimmediatelythatthiswouldbeanareaworthexploringwithintheclassroomcontext.

Previousignoranceinrelationtodigitalnovelsabated,IfeltsignificantlymoreconfidentaboutbringingalearningexperiencebasedonEpisodeThreeintotheYearSevenclassroom.However,havingstillnevertaughtwithtechnology,Iwonderedhowonestorywhichrequiredtheinteractionofonlyonepersonwouldengageaclassroomofthirtystudents.InwatchingEpisodeThree,IhadmovedthroughtothefinalstagesofthestorybeforeIrealisedthatthecompletionofthegameAlicehadinventedwasactuallyarequirementinordertoprogresstotheendofthechapter,andasaresultIhadtore-visitmuchofthestorytocompletethetask.Ittookmearoundfortyminutestocompletetheentirechapter.Thisiswheremyignoranceraiseditsuglyheadagain;ImadetheassumptionthatthegamewouldseemasdifficultandtimeconsumingforaYearSevenstudentasithaddoneforme.HowwrongIhadbeen.

Themuchanticipateddayhadarrived;thelaptopwasconnected,theprojectorturnedon,andthechapterwasloadedandreadytogo.I

madeanotherassumptionthatIwouldhavetochoosesomeonetooperatethestoryandassistthemwhereneeded,butIfoundthatthestudentswerehappytodemocraticallyelectsomeonewhohadnotalreadyheldthemuchcovetedpositionofInanimate Aliceoperator,andwhomwasunderstoodtobeagamingwhiz.Theengagementofthisclassduringtheviewingwasanexcitingthingformetobehold,aswasthewayinwhichtheclasssupported,clappedandcheeredtheoperatorashe(withgreatspeedandefficiency)progressedthroughthegameAlicehadcreated.Fromtheroomtherewaseithersilence,orthereweregaspsofsurprise,groansoffrustrationandsighsofrelief,anditwasclearformetoseethatthesestudentshadbecomeasattachedtoAliceasIhad.

Screenshot of the opening text in ‘InanimateAliceEpisode1:China’

lesson One NB: this lesson was facilitated by the regular teacher, but I became involved in discussions.

ThestudentswatchedInanimate Alice.Beforeitrequiredanyinteractivity,studentsdiscussedthemusicandwhattheyexpectedfromtheopeningscenesbasedonwhattheyheard.Allofthestudentssaiditsoundedscary,andthatAlicewasprobablyeitherstucksomewhereorfightingwithherparents.IaskedthestudentstopayparticularattentiontoBrad,whathelookslike,atwhattimeshecomesintothestory,andAlice’srelationshipwithhim.

Theepisodewaspausedatintervalstodiscusssetting,narrativeandimagerythatprovidedtheviewerwithasenseofplace.WealsodiscussedAlice’sfatherandwhathedidforaliving,linkingthefamily’sescapeattheendoftheepisodetotheimagesofindustrialSerbia.




Therewasalsoafocusonthewaysinwhichthecreatorsrepresentpeoplewithoutshowingfaces,inparticularthefaceoftheguardattheairportandtheuseoflightinthecar.

OnfurtherdiscussionaboutBrad,manyofthestudentssaidtheyweren’tsureanymoreifhewasmadeupafterall,becauseheseemedtogiveAliceadvice,howevermanyofthestudentsbelievedthatAlicehadtoogoodanimaginationandthathewasn’trealatall.WediscussedwhyBrad’swasoneoftheveryfewfacesweactuallysaw.

lesson Two Thelessonbeganwithdiscussion,wherestudentsrespondedtopromptingquestionsaboutAlice’srelationshipswithherparentsandBrad.IwantedthestudentstofocustheirattentiononBrad,andaskedthemtobuildargumentstosupportwhytheybelievedheeitherwasorwasnotreal,withstudentsworkinginpairstocomeupwithsomepointsabouttheirarguments.WediscussedhowBrad’simagehadevolvedasAlice’sskillsasadesignerimproved,andIaskedstudentsaboutthedifferencebetweenarealperson,acharacterinastory,andanavatar.ThediscussioncamebackaroundtoBrad,andthestudentsdiscussedtheirargumentsastowhetherBradwasacharacterinthisstory,oranavatar.

ManystudentssuggestedthattheimageofBradwasimaginedandcreatedbyAlice,butthattherewasarealpersonwhotheimage‘represented’.Thisledexcellentlyintothenextactivitywhichrequiredstudentstoconsiderthewaysinwhichpeoplerepresentedthemselvesthroughtheuseoftechnology.

Thestudentsworkedagaininpairsorsmallgroupstolistsomecharacterstheyknewoffromtelevision,books,moviesetc.,andthenlistedsomeplaceswhereapersonmightuseanavatar.Theysharedtheirideas,andafewstudentswhowerestrugglingbetweenthedifferencebetweenarealpersonandanavatarwereabletounderstandtheconceptsthroughpeerdiscussionandexamples.OneofthechallengesforsomewastheideathataFacebookphotographwasnota‘realperson’,butsimplyarepresentationofthatperson.

WhenIknewthatallstudentsunderstoodtheconcepts,Igavethemeachasheetofpaperthataskedthemtolistsomeaspectstotheirownidentitiesthattheywouldhappilysharewithothers.Thepromptingquestionsontheworksheetaskedthemabouttheirhobbies,interests,family,friends,schooletc.

Nextthestudentshadtodrawanavatarthattheywouldusetorepresentthemselvesonline.

lesson Three Icollectedtheworksheetsandavatarsfromthepreviouslessonandusedtheinformationprovidedtodividetheclassintogroupsofthree/four,tryingtoplacepeoplewithsimilarhobbiesandinterestsinthesamegroup.

Iprovidedeachgroupwithaphotographbasedonthis(forexample,onegrouphadanimageofamanwithanenormousgoldnugget,anothergroupasurfer,anotherhadasoccerplayerscoringagoal)andtheirtaskwastoworkinreverse,imaginingthatthiswasanavatarandtheyweretocreatethepersonality.Ialsoprovidedeachgroupwithalargesheetofcardboard,pens,markers,glueandsomeblankpaper,makingitclearthateverypersonhadtocontributetotheposterbywritingonthepaperandgluingitontothecardboard.ItwasariskdividingaclassintogroupsthatIdidn’tknowverywell,buttheyrespondedverywelltotheactivityandmanystudentswhodidn’tusuallyworktogetherfoundcommongroundintheirinterests.

Theclasswasinstructedtousefirst-personvoiceintheirposters,whichwasachallengeforsomesoIwrotesomepromptinglinesontheboardforthemtoreferto,e.g.“Mynameis…Ilive…Iam…Ilike…Ihave…Ienjoy…”Allofthestudentsparticipatedwell;theymoderatedtheirownbehaviourandregulatedtheirtime.MyrolewasasfacilitatorasImovedaroundtheroomanddiscussedworkwithgroups.

Allstudentswereawarethattheposterswouldbepresentedandsopaidparticularattentiontospelling,grammarandtheiruseofcolourandtextsize.Theywereallveryimaginativeandcreatedsomeverycomplexcharactersandlife-stories.



Discussionattheendofthelessonprovidedmewithanunderstandingthattheywereallcreatingapersonthattheywouldliketobefriendswith,andwhomtheybelievedwouldrepresentintheirownliveswhatBradrepresentedinAlice’slife.

lesson four Thislessonwasmuchthesameasthelast,withgroup’sfurtherworkingontheirposters.Studentswereabletomoveintotheirgroupswithminimumdisruptionandbeginworkingeffectivelywithtime-managementinmind.

lesson five NB: I only taught ½ of this lesson as their teacher had to give them an assessment notice

Studentspresentedtheirposterstotheclassandtheirregularteacher,whowasparticularlyproudoftheparticipationofsomeofthemorechallengingstudents.Theywereallverysupportiveandencouragingintheirfeedbacktoeachother,andsomeevenaskedquestionsaboutthecharactersthathadbeencreatedasiftheywererealpeople.

Manyofthestudentsagreedthattheyfeltattachedtothecharacterstheyhadcreated,whichledtodiscussionaboutAlice’srelationshiptoBrad.AfewwhohadpreviouslyheldtheviewthatAlicehadtoogoodanimaginationstartedtounderstandhowsomeoneaslonelyasshecouldfindcomfortinan“imaginaryfriend”.

WediscussedwhatwemightexpectfromfutureepisodesofInanimate Alice,andIaskedstudentsiftheythoughtthatBradwouldbecomelessimportantinAlice’slifeasshegrewolder.Somebelievedhewould,whileothersbelievedthathisavatar,personalityandinvolvementinAlice’slifewouldbecomemorecomplexanddetailed.

ThiswasthelastlessonItaughtthisclass,butthepostersareafeatureontheirclassroomwalls.


links to the Australian Curriculum: EnglishNotes on Carly’s lessons by Kelli McGraw

IwasimpressedbyhowmuchlanguageinstructionandcreativeactivityCarlyZandstrawasabletoplanforjust4–5lessons,andwantedtoprovidesomeadditionalmaterialattheendofthisarticletohelpteacherslinkthelessoncontenttothenewAustralianCurriculumforEnglish(AC:E).

WhileYear7hastraditionallybeentaughtinQueenslandprimaryschools,thisYearlevelwillsoonbebroughtintohighschoolsandtaughtwithinsecondaryEnglish.Thisprovidesuswithanopportunitytore-thinkhowweengageouryoungeststudentcohortwithinnovative textsthatarerelevanttotheirexperience,andthesetoflessonsprovidedaboveareanexampleofthisapproachinaction.

AC:E Content in lessons on inanimate AliceContentdescriptorsfromtheAC:Ethatarecloselyattendedtointhelessonsaboveinclude:

Language Strand Content

• Understandthewaylanguageevolvestoreflectachangingworld,particularlyinresponsetotheuseofnewtechnologyforpresentingtextsandcommunicating(ACELA1528)

• Understandthatthecoherenceofmorecomplextextsreliesondevicesthatsignaltextstructureandguidereaders,forexampleoverviews,initialandconcludingparagraphsandtopicsentences,indexesorsitemapsorbreadcrumbtrailsforonlinetexts(ACELA1763)

Screenshot of Brad in ‘InanimateAlice




• Analysehowpointofviewisgeneratedinvisualtextsbymeansofchoices,forexamplegaze,angleandsocialdistance(ACELA1764)

Literature Strand Content

• Reflectonideasandopinionsaboutcharacters,settingsandeventsinliterarytexts,identifyingareasofagreementanddifferencewithothersandjustifyingapointofview(ACELT1620)

• Comparethewaysthatlanguageandimagesareusedtocreatecharacter,andtoinfluenceemotionsandopinionsindifferenttypesoftexts(ACELT1621)

• Recogniseandanalysethewaysthatcharacterisation,eventsandsettingsarecombinedinnarratives,anddiscussthepurposesandappealofdifferentapproaches(ACELT1622)

Literacy Strand Content

• Analyseandexplaintheeffectoftechnologicalinnovationsontexts,particularlymediatexts(ACELY1765)

• Comparethetextstructuresandlanguagefeaturesofmultimodaltexts,explaininghowtheycombinetoinfluenceaudiences(ACELY1724)

• Plan,draftandpublishimaginative,informativeandpersuasivetexts,selectingaspectsofsubjectmatterandparticularlanguage,visual,andaudiofeaturestoconveyinformationandideas(ACELY1725)

Connect with the Alice teaching communityThecreatorsandfriendsofInanimate AlicehaveestablishedspacesforteacherstocollaborateandconnectonFacebook,TwitterandEdmodo:https://www.facebook.com/InanimateAlicehttps://twitter.com/inanimatealice/http://www.edmodo.com/publisher/inanimatealice

TeachingmaterialsarealsoregularlyuploadedonthePrometheanPlanetwebsite(IWBresources)andonPinterest:http://community.prometheanplanet.com/en/user_groups/inanimate__alice/default.aspxhttp://pinterest.com/source/inanimatealice.com/



National conferences are a great place to catch up with colleagues and be re-invigorated in your teaching. Spending time in the harbour city provided plenty of opportunities for both of these. my conference opened with a masterclass at the Conservatorium high School, perched high above Sydney harbour and within the royal Botanical gardens in the heart of the city.

2012 AATE NATiONAl CONfErENCEfiona laing

DrNeilJames,sponsoredbythePlainEnglishFoundation,presentedafascinatingfulldayworkshopentitledRediscovering rhetoric: The lost craft of persuasion.ThisdaybeganwithatripdownancienthistorylanetotheoriginsofrhetoricinAncientGreeceandRome.TheprinciplesofAristotleandCiceroprovideaverysolidbasisforunderstandingpersuasion.Politicsandcommercetodayrelysoheavilyontheseprinciplesandtheyremaincentraltomuchofwhatweteachinwritingandspeakingwithinschools.Ifoundhisprocessoftestingargumentsastotheirrelativeworthparticularlyhelpful.

ThemiddlesegmentofhisdayrevolvedaroundthePlainEnglishFoundation’sprinciplesofwritingwiththeleastamountofgobbledegookintherealmsofbusinessandpublicdiscourseingeneral.Thereissomeconflictbetweenthestyleheisteachingandthepush,inschoolEnglish,toteachnominalisationtoourstudents.Forthosewellschooledinnominalisation,itcanbecomeusefulto‘dropit’inpublicdiscoursewhenmoredirectcommunicationismosthelpful.However,itcertainlyneedstobetaughttoourstudentsfirst.

Thelastpartofhisworkshopofferedveryvaluableadviceabouttherhetoricofstylewithgoodold-fashionedanalysisofgreatwritingandthetechniquesusedtomakeit‘sing’.Mylistofformsofrepetitionwasexpandedfromalliteration(andafewothers)toepanalepsis,anadiplosisandantimetabole(whichareactuallyveryhelpfultostudentsinwritingpersuasionforNAPLAN).Overall,thedaygavedepthtomyunderstandingofthingsIhadknownaboutandofferedmeanewarsenalinmyteachingofpersuasion.

OurconferencepropermoveduptowntoSydneyGrammarSchoolwithmytwomainhighlightsbeingpapersfromProfessorWayneSawyerandAssociateProfessorJackieManuel.Sawyerreportedonhisresearchwithinthe

Teachers for a Fair Go Project.Thirtyteachers,identifiedas‘makingadifference’tostudentsfrompoorbackgrounds,werestudiedindepthtoidentifythepracticesthattargetedunderachievement.SawyersharedthepracticeoftheEnglishteacherswithinthatgroup.Itwashelpfultolookinsidetheseclassroomsandanalysewhatgoodteachersdowiththeirstudents,remindingalloftheneedtokeepexcellentpracticeattheforefrontofwhatwedo.Thefindingsareoutlinedintherecentlypublishedbook,Exemplary Teachers of Students in Poverty, editedbyGeoffMunns,WayneSawyer,BronwynCole.

JackieManuel’spaperfocusedonherstudyofalargegroupofAustralianteenagers’readingpractices.AsaHODinalowerendSESschool,ithasbecomeveryclearthatimprovedreadingremainsthecornerstoneofrealimprovementthatwillsustainlong-termacademicsuccess.Therefore,gettinginsidetheheadsofteenstounderstandtheirchoicesaroundreadingwasveryhelpfulinassistingmeinplanningthereadingjourneybackatmyowncampus.

Itwasveryenjoyabletofinishourconferencewiththecomedian,JonathanBiggins,bynomeansanobviouschoiceforanEnglishteachers’conferencebutneverthelessahighlight.Placedattheendoftheprogram,hisreverieoncreatinghumourprovedreflectiveandinsightful.Hesharedhiscareertrajectoryandhisprocessofcreatingcomedy.WithsatirenowastapleofthenewAustraliancurriculum,itwasveryusefultospendthelasthourofourconferenceplayingaroundwithacomedianandhiscraft.

Sydneyprovedastimulatingexperienceandofferedplentyoflearningstobetakenbacktomyclassroomandschool.ItalsoofferedmuchthathasprovedinvaluableasourcommitteebeaversawayonfinalisingthedetailsforthenextAATEconferenceinBrisbaneinJulythisyear



ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm:

AN ANNOTATEd gUidEAnita Jetnikoff and melissa kelly

Queensland University of Technology

inthisannotatedguideweofferareferencelist,withbriefsynopses,ofpossiblefilmsforinclusioninschoolsandlinkedtothe

AustralianCurriculum:English(AC:E).ThesefilmsmeetoneofthethreecrosscurriculumprioritiesintheAustralianCurriculum,whichisStudiesofAsia,specificallyAustralia’scontributiontoAsiaandAsia’simpactonAustralia.Thisprioritywasrecentlyintroducedtocurriculumpolicyinthe2008MelbourneDeclaration(MinisterialCouncilforEducationEarlyChildhoodDevelopmentandYouthAffairs,2008).

InthisguideweincludeAustraliansfilmsmadebyAsianAustralianfilmmakers,aswellasfilmsaboutpeoplefromAsiancountriesinAustralia,whererepresentationsofAsiaareasignificantpartofthefilm’scontent.AstheAustralianCurriculum:English,(AC:E),states,“(s)tudentsuseinterculturalunderstandingtocomprehendandcreatearangeoftexts,thatpresentdiverseculturalperspectivesandtoempathisewithavarietyofpeopleandcharactersinvariousculturalsettings”(AustralianCurriculumAssessmentandReportingAuthority,2013).TheACARAdocumentalsostates:

IntheAustralianCurriculum:English,thepriorityofAsiaandAustralia’sengagementwithAsiaprovidesrichandengagingcontextsfordevelopingstudents’abilitiesinlistening,speaking,reading,viewingandwriting.

TheAustralianCurriculum:EnglishenablesstudentstoexploreandappreciatethediverserangeoftraditionalandcontemporarytextsfromandaboutthepeoplesandcountriesofAsia,includingtextswrittenbyAustraliansofAsianheritage.ItenablesstudentstounderstandhowAustraliancultureandtheEnglishlanguagehavebeeninfluencedbythemany

AsianlanguagesusedinAustralianhomes,classroomsandcommunities.

Inthislearningarea,studentsdrawonknowledgeoftheAsiaregion,includingliterature,toinfluenceandenhancetheirowncreativepursuits.Theydevelopcommunicationskillsthatreflectculturalawarenessandinterculturalunderstanding.(ACARA,2013)

InEnglish,thisCrossCurriculumPriority(CCP)meansrespondingtofilmthroughbothcriticalandaestheticfaculties,thatistosay,wewantstudentstoengageincreativeandcriticalthinkinginresponsetothesetexts.Whenwebegantoresearchthisarea,wefounditwasdifficulttofindfilmtextssuitableforschoolsinthefirstplace.WehopethisannotatedreferencelistmightservetofillthatgapforteachersandtoalsoalignthisnewCCPwithsomeoftheknowledgeoftheotherrequiredGeneralCapabilitiesoftheAC:E,whichwehavemappedinthetable.

Aswellas‘criticalandcreativethinking’,wealignthefilmsherewithfosteringof‘interculturalunderstanding’,‘literacy’,(inparticular‘cineliteracy’orthelanguageoffilm),‘ethicalunderstanding’,‘personalandsocialcapability’.Inaddition,InformationandCommunicationTechnology(ICT)capabilitiesmightbedeployedinordertocomposeresponsestothefilms.SincetheAC:Edefinesfilmasa‘literaryform’,inclusionofoneormoreofthesefeaturefilmsshouldalsodevelopallthreeAC:Estrandsoflanguage,literatureandliteracy,dependingontheframingoftheunitcontextinwhichtheyareviewed.Wealsosuggestsomecompaniontextsthatmaybestudiedalongsidethesefilmstomakeintertextualconnectionsbetweenliteraryandnon-literarytexts.ThefilmshereareallavailableonDVDandalthoughthelistisinnowayexhaustive,itisaplacetobegin.



ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE

Australian features films by Asian Australian directors and/or Asian Australian themes

Film (year),genreandlanguage

Director/ProductionDetails

Film Synopsis

Year level suitability

AC:E GCs Suggested Companion Texts

Lucky Miles (2007)

English,Arabic,BahasaIndonesianandCambodian(EnglishSubtitles)

Michael Rowland

Twogroupsofasylumseekers,fromCambodiaandIraq,arestrandedonaremoteWesternAustralianbeachbythecrewofanIndonesianfishingboat.Theyareinstructedtowalkoverthedunestoaroad(whichdoesn’texist)andwaitforabus(thatwillneverarrive).Realisingtheyhavebeenduped,thetwogroupssetoffindifferentdirectionstofindPerth.Althoughmostoftheasylumseekersarequicklyroundedupbylocalauthorities,oneIraqi,oneCambodianandanIndonesianfromthestrandedboatcrewbeginanepicjourneysouththroughthevastPilbararegion,pursuedbyareluctantarmyreservistunit.

Junior Secondary (9 or 10)

AC:E GCs: Literacy; ethical understanding; intercultural understanding; personal and social capability

Short stories(includingpersonallife-storiesbyyoungrefugees)No place like home: Australian stories.(Dechian,2005)

Another Country: writers in detention(Keneally&Scott,2007)

Film:Southern Cross (deFreist,2004)

Bondi Tsunami (2003)

Roadtrip-drama/comedy/MTV

EnglishandJapanese(withEnglishsubtitles)

Rachael Lucas(writer,director)

Bondi TsunamiisamixedgenrefilmwhichfollowstheadventuresofJapanesesurfingtourists,YutoandSharkonasurreal,anime-inspiredroadtripastheytravelnorthfromBondi,headingtowardsSurfersParadise.OnthewaytheypickupKimikoandthemysteriousGanjaMan.Theirtreknorthismarkedbyvisitstoanumberof‘big’Australianlandmarks.Thefilmoffersauniqueperspectiveof‘temporaryAsian-Australians’astheyobserveandparticipateinAustralianculture.

Upper Secondary (10 or 11)

AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability

FilmorTVseries: Puberty Blues (Beresford,1981/2003)(Banks&Edwards,2012-)

Film:Japanese Story(Brooks,2005)

ShortStory:Tourism(Law,2008)

Floating Life (1996)

Drama

EnglishandCantonese

Clara Law(writer,director)

AChinesefamilymigratefromHongKongtoAustraliaandfindthemselvescaughtbetweentwocultures.(NFSA,http://www.nfsa.gov.au/)

Clara Law is a Hong Kong Second Wave film director, now relocated to Australia.

Junior Secondary (9 or 10)


SBSTVseriesHybridLifeshortfilm:Delivery Day(Manning,2000)

Film:The home song stories (Ayres,2007)

LifeStories:Plantings in a New Land (Ling,2001)

GrowingupAsianinAustralia(Pung,2008)





Footy Legends (2006)DramaEnglishandVietnamese

Khoa Do(writer,director)

LucVuisoutofworkandstrugglingtocareforhissister,Anne.WhenauthoritiesthreatentoremoveAnneintocare,LucdecidestheonlywayforhimtopullhislifetogetheristoreunitehishighschoolRugbyLeagueteamandenterthelocalchampionshipcompetition.ThisfilmexploresanumberofdifferentmasculinerepresentationsasLuc’shighschoolmatestrytorecapturetheirglorydays,andprovetotheirthemselves,theirfamiliesandtheworldtheyhavewhatittakestobechampions.

Born in Ho Chi Minh City, Vietnam, Khoa Do is a film director, screenwriter, professional speaker and philanthropist who received the Young Australian of the Year Award in 2005. The Do family arrived in Sydney as Vietnamese refugees in 1980.

Junior Secondary (9 or 10)Moderate language


Novels:Deadly Unna(Gwynne,1998);Nukkin Ya(Gwynne,2000);Film:Australian Rules(Goldman,2002)Autobiography:The Happiest Refugee (Do,2010)

Jammin’ In The Middle E (2006)TVdramaEnglishandArabic,(Englishsubtitles)

Mkim Mordaunt(writer,director)

SetinSydney’s‘LittleLebanon’,Jammin’ in the Middle Eisashortfeature(50mins)aboutanArabAustralianfamily.Naima,aunistudent,isagoodgirlwhocomplieswiththewishesofhertraditionalfather,Said,andtakescareofherfamily.Herbrother,Ishak,can’tseemtostayoutoftroubleandfindshimselfonthewrongsideofthelocal‘tough’,Sharief.Withthehelpofhismechanicfriend,Rafi,Ishakdesperatelytriestopreparehiscarforastreetrace.Whenitbecomesclearhisunreliablecarwilllose,IshakinsteadchallengesSharieftoarapslam.

Year11and12


ShortStories:Nothing Interesting about Cross Street(Yahp,1996)Play:The Modest Aussie Cossie (Valentine,2010)

Japanese Story (2002)DramaEnglishandJapanese(Englishsubtitles)

Sue Brooks Australian‘sheila’SandyreluctantlyacceptsthejobofdrivingJapanesebusinessmanHiromitsuonatourofthePilbaraminingregioninWesternAustralia,inthehopeofsellinghimthegeologysoftwaredevelopedbyhercompany.DespitebeingawareofthemanydangersoftheremoteareasofnorthWesternAustralia,SandycapitulatestoHiromitsu’stouristdemands,untilthedangerthatisalwayspresentirrevocablychangestheirlives.

Senior (11or12)Moderate language, nudity, sex scenes

AC:E GCs: Literacy (cineliteracy); intercultural understanding; personal and social capability

Films:Bondi Tsunami(Lucas,2004);The Goddess Of 1967(Law,2000);





Mao’s Last Dancer (2009)DramaEnglishandMandarinChinese(Englishsubtitles)

Bruce Beresford

Theinspirationaltruestoryofayoungboy’sextraordinaryjourneyfrompovertytointernationalstardom.FromgruellingapprenticeshiptoclassicaldancerincommunistChina,tothegloryofcreativefreedominAmerica.But,thereisapainfulpricetobepaidforhisquestforself-expression.Mao’s Last Dancercapturestheintoxicatingeffectsoffirstloveandcelebrity,thepainofexile,andultimatelythetriumphofindividualendeavouroverideology.“Beforeyoucanfly,youhavetobefree”.Mao’s Last Dancer Press Kit(Smith,2010)

9or10 AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability

Novel:Mao’s Last Dancer(Li,2008)

Southern Cross (2004)

Drama

English

Mark DeFriest(writer,director)

Thisisaquestfilm.Withtheirmotherdead,illegalimmigrantsLiangandBodecidetoescapefromtheoutbackdetentioncampwheretheyarebeingheld.Armedonlywiththeknowledgeto‘followtheSouthernCross’thekidsmakeadaringescapetofreedom,onlytorealizefirsthandthatWesternAustraliaisavastandhostileland.

Year7,8 AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability

Documentary:Letters to Ali(Law,2004)

Poetryandlifestories:Another Country: writers in detention(Keneally&Scott,2007)

No place like home: Australian stories.(Dechian,2005)

The Finished People (2003)

Mockumentary

English

Khoa Do(writer,director)

Do’salmost-documentaryoffersaglimpseintothelivesofhomelessyouthsinCambaratta,insouth-westernSydney.Featuringstorieswrittenandperformedbysomeofthesubjects,The Finished Peopledocumentstheirstruggletosurvivedespitetheharshrealitiesofanexistencewithanuncertainfuture.

Born in Ho Chi Minh City, Vietnam, Khoa Do is a film director, screenwriter, professional speaker and philanthropist who received the Young Australian of the Year Award in 2005. The Do family arrived in Sydney as Vietnamese refugees in 1980.

12

Drugs, crime, HIV aids


Shortstories (Personallife-storiesbyyoungrefugees): No place like home: Australian stories.(Dechian,2005)

Film: Walking on Water(Ayres,2003)





The Goddess Of 1967 (2000)DramaEnglishandJapanese (EnglishSubtitles)

Clara Law(writerwithEddieLing-ChingFong,director)Nudity,moderatesexscenes,incest,moderatelanguage

ThetitularGoddess,a1967CitroenDS,drawsawealthy,boredandnaiveJapanesemanfromTokyotoAustralia.Havingagreedtopurchasethecar,hearrivestofindthevendorsdeceased,andagreestodriveayoungblindgirlonafivedayjourneyintotheopal-miningregionofAustraliatoacquirethenecessarypapersfromthecar’scurrentowner,BG’sgrandfather.ThestoriesofJMandBGaretoldthroughaseriesofflashbacksastheytravelthroughregionalAustralia,providinginsightandimpetusfortheirindividualquests.Clara Law is a Hong Kong Second Wave film director, now relocated to Australia.

Senior(11,12)

Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability

Japanese Story (Brooks,2004);Bondi Tsunami (Lucas,2004);

The Home Song Stories (2007)DramaEnglish,Mandarin,andCantonese(EnglishSubtitles)

Tony Ayres(writer,director)

ThisautobiographicalfilmfollowsthestoryofRose,aglamorousnightclubsingerfromHongKong,aswitnessedbyheryoungson.Alwayslookingforgreenerpastures,RosedragsherchildrenfromHongKongtoMelbourne,viamarriagetoasmittennavalofficer,andonthroughasuccessionof‘uncles’asshepursuesthelifeshebelievessheisdestinedtolead.Thefilmdealswithissuesofdysfunctional,familialrelationshipsandhybrididentities.Tony Ayres (born 16 July 1961) is a Chinese-born Australian screenwriter and director.

Senior (11, 12)Moderate sex scenes, moderate language, suicide


Autobiography: Unpolished Gem (Pung,2006)Lifestoriesandshortstories: Growing up Asian in Australia (Pung,2008)Quarrel(Chan,2008)The Year of the Rooster(Chou,2008)

My Tehran For Sale (2009)DramaPersian(EnglishSubtitles)

Granaz Moussavi(writer,director)HIVaids;genderissues

MarziehisayoungfemaleactresslivinginTehranwhosetheatreworkisbannedbytheauthorities.Atanundergroundrave,shemeetsIranianbornSaman,nowanAustraliancitizen,whooffersherawayoutofhercountryandthepossibilityoflivingwithoutfear.Thisfilmdealswiththeplightofthosewantingtoexpressthemselvesartisticallyinanoppressivecountryandtheproblemsofdetention.(NFSA,http://www.nfsa.gov.au/)Granaz Moussavi is an Iranian-Australian contemporary poet, film director and screen writer. She is primarily renowned for her avant-garde poetry in the 90’s. Her award winning debut feature film My Tehran for Sale is an acclaimed Australian-Iranian co-production in conjunction with the South Australian Film Corporation.


Documentary: A Wedding at Ramallah (Salama,2002)Lifewritingstoriesandpoetry: Another Country: writers in detention (Keneally&Scott,2007)GranazMoussavi’spoetryandotherIranianwomenpoets’workintranslationcanbefoundat:http://voiceseducation.org/content/granaz-moussavi




referencesAustralianCurriculumAssessmentand

ReportingAuthority,ACARA.(2013).The Australian Curriculum: English v 4.1: English Cross Curriculum Priorities.Retrievedfromhttp://www.australiancurriculum.edu.au/English/Cross-Curriculum-Priorities.

Ayres,T.(Director).(2003).Walking on water.Australia:MadmanEntertainment.

Ayres,T.(Director).(2007).The home song stories.InE.Madman(Producer).Collingwood,Vic.:MadmanEntertainment.

Banks,I.,&Edwards,J.(Directors).(2012-).Puberty Blues[Television]:Channel10Network.

Beresford,B.(Director).(1981/2003).Puberty Blues.

Brooks,S.(Director).(2004).Japanese story.InA.FilmFinanceCorporation(Producer).MoorePark,N.S.WDistributedbyTwentiethCenturyFoxHomeEntertainmentSouthPacific.

Chan,K.(2008).Quarrel.InA.Pung(Ed.),Growing up Asian in Australia.Melbourne:BlackInc.

Chou,B.-W.(2008).TheYearoftheRooster.InA.Pung(Ed.),Growing up Asian in Australia.Melbourne:BlackInc.

Dechian,S.(2005).No place like home: Australian stories.KentTown:WakefieldPress.

Do,A.(2010).Happiest Refugee: A Memoir.CrowsNest:Allen&Unwin.

Goldman,P.(Director).(2002).Australian Rules:Palace.

Gwynne,P.(1998).Deadly, Unna?Ringwood:Penguin.

Gwynne,P.(2000).Nukkin Ya.Ringwood:Penguin.

Keneally,T.,&Scott,R.(2007).Another country: writers in detention(2nded.).Broadway,N.S.W:SydneyPen&HalsteadPress.

Law,B.(2008).Tourism.InA.Pung(Ed.),Growing up Asian in Australia(pp.ix,351p.:).Melbourne:BlackInc.

Law,C.(Director).(2000).The Goddess of 1967.Australia.

Law,C.(Director).(2004).Letters to Ali.Australia:LunarFilms.

Li,C.(2008).Mao’s last dancer.NewYork:Walker&Co.

Ling,C.(2001).Plantings in a new land: Stories of survival, endurance and emancipation.Brisbane:SocietyofchineseAustralianAcademicsofQueensland.

Lucas,R.(Director).(2004).Bondi Tsunami.InBurlesque(Producer).Sydney.

Manning,J.(Director).(2000).Delivery Day.InSBS(Producer),Hybrid Life.Australia:SBS.

MinisterialCouncilforEducationEarlyChildhoodDevelopmentandYouthAffairs,MCEECDYA.(2008).Melbourne Declaration on Educational Goals for Young Australians.Melbourne:MCCEECDYA

Mordaunt,K.(Director).(2006).Jammin’ in the Middle E.InE.Murray(Producer):AustralianFilmCommission.

Pung,A.(2006).Unpolished gem.Melbourne:BlackInc.

Pung,A.(2008).Growing up Asian in Australia.Melbourne:BlackInc.

Salama,S.(Director).(2002).A wedding in Ramallah.InA.B.Corporation&A.f.Commission(Producer).Australia:HabibiFilms.

Smith,B.(Singer-songwriter).(2010).Mao’sLastDancer-PressKit.On:StarPR.Retrievedfrom:http://www.metropolefilms.com/data/ftp/Maos%20Last%20Dancer/PK_Mao%27s%20last%20dancer_Metro_Eng.pdf

Valentine,A.(2010).TheModestAussieCozzie.InA.Valentine(Ed.),Short Plays: Syllabus Stories.Redfern:SnowyOwlPress.

Yahp,B.(1996).Nothing interesting about Cross Street: a collection of girls’ voices.Pymble,N.S.W:Angus&Robertson



School name Unit title Duration of unit

HartfieldStateHighSchool ClassicWorldLiterature Thissection–5weeks(atthebeginningofa9weekunit)

yEAr 10 UNiT OVErViEW: ClASSiC WOrld liTErATUrE

laura Pegg

Unit outlineStudentscriticallyviewandreadWilliamShakespeare’sMuchAdoAboutNothinginordertostageamultimodalperformanceofascene,actfromtheplay.

Studentsdevelopanunderstandingof:

• HowtheEnglishlanguagehasevolvedandiscontinuingtoevolve

• ThestructureandpurposeofShakespeareancomedy

• Howtheuseofliterarydevicescanbeusedtoconveymeaningandaffectemotion

• Howmodulativeandperformativedevicescanbringaperformancetolifeonthestage

Inquiryquestionsfortheunit:

• WhowasShakespeareandwhyarehisplaysstillconsideredrelevanttoday?

• HowdidShakespeareutiliseliteracydevicestoconveymeaningandaffectreader/audienceemotion?

• WhatarethekeythemesofMuchAdoAboutNothingandwhatdoesthissayabouttheElizabethancultureofthetime?

WhataremodulativeandperformativedevicesandhowcantheybeutilisedinordertobringaShakespeareanperformancetolifeonthestage?

rationaleThisunitplanisdesignedaroundseveralunderlyingtheoreticalandpedagogicalunderstandings.Thefirstofthese,isthenotionthatalllearningandknowingneedstobefirmlygroundedinstudents’everydayexperience

(Kalantzis&Cope,2000);thus,learningmustberelevanttoyoungpeopleanddrawexplicitlyontheirexperiencesofdailyliving(Kennedy,2008).Further,wherepossible,popularculturehasbeenincorporatedintolessonstopositivelymotivateandengagestudentswiththecontent(Beavis,2012).Inordertomakethisconnectionbetweenthetextandlivedexperiences,theunitintegratesthecultural-critical-operationalcomponentsofthe3Dliteracymodel(Durrant&Green,2000;Green,2002).Secondly,theunitacknowledgesthatreadingisasocially,culturallyandhistoricallylocatedpractice(Rennie&Patterson,2010)and,asaresult,smallgrouptalkisutilisedasameansofextendingthecapacitiesofstudentsbyengagingtheminpurposefultalkingandlisteninginordertomediate,reflectupon,articulate,investwithmeaningandunderstandhumanexperience(Manuel,2009),basedonteacherandstudentvoices(Baxter,2009).Thirdly,theunitconcurswiththevisionofthe‘activeShakespeare’classroom(Coles,2009);wherepossiblestudentswill‘doShakespeareontheirfeet’(Coles,2009),whilecompletingtheirreadingandcomprehensionactivitiesintheirreadinggroups.Theunitisdesignedtobeassocialandcollaborativeaspossible.

TheunitSAT(amultimodalperformancetask)isbasedonthenotionthatShakespeareanplaysarealreadymultimodalperformancetexts,andrecognitionofthisfactisthekeytosuccessfulengagement(Beavis,2008).Further,itisthroughthecreativeprocessoftheatre,theperformativeactofcommunionwithanaudience,thatstudentscanfindrelevanceandanalyticalengagementwithlanguage;acollaborativeperformancetasksituatesandfacilitateslearningwithlanguageandtextsthroughanexperiencein



the‘socialworld’(Jefferson,2009).TheSATwillbeassessedaccordingtoAC:EV3achievementlevelandLSDA’sdesigned.Assessmentmustbearesponsive,developmentalprocessintegrallylinkedintotheteachingandlearningcycle(Meiers,2009);asaresult,theunitwillgraduallydevelopstudentproficiencybothwiththeplayandwiththeperformanceskillsrequiredtocompletethefinalmultimodalperformanceSAT.Toassistinthedevelopmentofthisproficiency,anexplicitformofteacherpedagogywillbeimplementedatalltimesthroughouttheunit,valuingamoregenuinelystudent-centredapproachthatmovestowardcatering,moreequitably,tothediversityoflearnerspresentintheclassroom(MyRead,2002b).Inherentinthispedagogicalapproachisthenotionthatthe


talkinlessonsshapesclassroomlearningandthelearningcontext,andsimultaneouslyisshapedbyknowledgeofthelearner;explicitteachingbuildsontowhatisknown(MyRead,2002b).EALandLBOTEstudentswillbescaffoldedintheirlearningthroughthislessontalk.Fundamentaltothisscaffoldingisthenotionthatwedonotacquirelanguagealone;rather,itisdevelopedthroughinteractionswithsupportiveothers(Vale,2009).Finally,theStudentActivityandReflectionJournalisdesignedasascaffoldforstudentsduringthereadingandcomprehensionprocessandasareflectiontoolwhenstudentsaremakingperformancedecisions;itwillalsobeutilisedasaformofformativeassessment,wherebytheteachercanmonitorstudentreadingandcomprehension.

identify Curriculum

Language Literature LiteracyGeneral capabilities and Cross-Curriculum priorities

Languageforinteraction

UnderstandthatStandardAustralianEnglishinitsspokenandwrittenformshasahistoryofevolutionandchangeandcontinuestoevolve(ACELA1563)


Comparethepurposes,textstructuresandlanguagefeaturesoftraditionalandcontemporarytextsindifferentmedia(ACELA1566)


Analyseandevaluatetheeffectivenessofawiderangeofsentenceandclausestructuresasauthorsdesignandcrafttexts(ACELA1569)

Languageandcontext

Compareandevaluatearangeofrepresentationsofindividualsandgroupsindifferenthistorical,socialandculturalcontexts(ACELT1639)

Respondingtoliterature

Analyseandexplainhowtextstructures,languagefeaturesandvisualfeaturesoftextsandthecontextinwhichtextsareexperiencedmayinfluenceaudienceresponse(ACELT1641)

Evaluatethesocial,moralandethicalpositionsrepresentedintexts(ACELT1812)

Examiningliterature

Analyseandevaluatetextstructuresandlanguagefeaturesofliterarytextsandmakerelevantthematicandintertextualconnectionswithothertexts(ACELT1774)

Textsincontext

Analyseandevaluatehowpeople,cultures,places,events,objectsandconceptsarerepresentedintexts,includingmediatexts,throughlanguage,structuraland/orvisualchoices(ACELY1749)

Interactingwithothers

Plan,rehearseanddeliverpresentations,selectingandsequencingappropriatecontentandmultimodalelementstoinfluenceacourseofaction(ACELY1751)

Literacy•reflectingonthe

changingnatureoflanguage

Numeracy•useofgraphic

organiserstoassistcomprehension

Critical and creative thinking•analysingand

interpretingtextstructureandlanguagefeatures

•planningandrehearsingamultimodalperformance

Personal and social capability•workingcollaboratively




Assessment Make judgments

Spoken/Multimodal–Performance

A3-5minutespoken/multimodalperformanceofascene,actfromMuchAdoAboutNothing,focusingontheuseofmodulativeandperformativespokenandnon-verbaldevices.Thiswillbeperformedtoaliveaudienceduringayear10EnglishShakespeareanperformanceeveningentitledANightattheGlobe.

StudentswillgainacriticalunderstandingoftheplaythroughcollaborativereadinggroupsandtheirStudentActivityandReflectionJournal(thiswillbeutilisedasatoolforformativeassessment).Studentperformancegroupswillalsoconferencewiththeteacherregardingtheirperformanceduringtheformativeprocess.

StudentswilladheretotheSATAssessingyourPerformanceChecklistandpeerassessmentwillbeprovidedtoperformancegroupsduringclassrehearsaltime;studentswillidentifypositivesandsuggestimprovementswherenecessary.

Makingjudgementsincludes:Spoken/MultimodalPerformanceReadandviewarangeofspoken,writtenandmultimodaltexts,identifyingandexplainingvalues,attitudesandassumptionsSelectappropriatetextualevidencetosupportinterpretations,andwithawarenessofwhatisstatedexplicitlyinthetextandwhatisimpliedIdentifyandevaluatestrategiesusedbyspeakerstorespondtoandinfluenceaudienceexpectationsInconstructinglongerspokentextstheylogicallysequenceandorganisecontenttomanagetheflowofinformationandideas,toengageaudiencesandcreateaestheticandemotionalappeal

Teaching and learning

Teaching strategies and learning experiences Resources

Orientating: Lesson 1: Stepping into roleAnticipatory set–IntroductiontotheBard(briefbackgroundofShakespeare).StudentsbrainstormwhattheyalreadyknowaboutShakespearethemanandhiswork.TheseanswersarewrittenontheboardintheformofaKWLChartbyastudentscribeandcopiedintonotebooks.Note:thisKWLChartisleftontheboardandwillbereferredtoattheendofthelesson.

Scenario improvisation–Insmallgroupsstudentsaregivenoneoftwoscenariostobrieflyrehearseandperformfortheclass.EachofthesescenariosisbasedonthethemescontainedwithintheplayMuchAdoAboutNothing.Studentswillconsiderwhetherthesethemesarerelevanttoyoungpeopletodayandtheiranswerswillbediscussedasaclass.

Shake-em-up Shakespeare –StudentsaregivenalistofwordsinventedbyShakespeare.Studentswritethesewordsontoflashcards.Insmallgroups,studentsmimeeachofthesewordsinturnwhiletheothermembersofthegroupguesstheword.Thegroupwiththemostcorrectguesseswins.

Translation–StudentsexamineShakespeare’swordsandtheirmoderndaytranslation.Thesewillbediscussedasaclass.

KWL Chart–ThestudentsreferbacktotheKWLChartbegunatthestartofthelessonandprovideexamplesofnewknowledgetoenterintotheLcolumn,copyingthesesuggestionsintotheirbooks.

SAT introduced–StudentsaretoldthattheirSATforthisunitisaperformancepieceofascene,actfromMuchAdoAboutNothing.ThisperformancewilltakeplaceduringanEveningattheGlobe,andwillbeviewedbyinvitedmembersoftheschoolcommunity.

StudentActivityandReflectionJournal:Lesson1PaperandscissorstocreateFlashCards




Orientating: Lesson 2: Treading the Boards… Introducing the Characters of Much Ado About Nothing

Anticipatory set–Studentsareaskedtoreflectonthetwoscenariostheyimprovisedinthepreviouslessonandsuggestpossiblethemesthatthosescenariosmightrepresent.Thesearelistedontheboard.Studentsarethenaskedtopredicttheplotoftheplaybasedonthesethemesuggestions–thesearesharedwiththeclass.

Much Ado About Nothing, Digital Theatre, 2011–Studentsviewthefirsthalfoftheplay.Whileviewingtheplay,studentscompleteacharactertableandcharacterrelationshiptable.

Discussion–Theteacherdisplaysacopyofeachofthesetablesontheclassroomprojectorandstudentsprovidetheiranswersinordertocompletethetableasaclass.Theanswersarediscussedasaclassastheyareprovided.

Reflection –Studentsareaskedtonamethecharactersoftheplaywithoutreferringtotheiractivityandreflectionjournal

CopyofDigitalTheatre(2011)–MuchAdoAboutNothing

Laptopandclassroomprojector

StudentActivityandReflectionJournal:Lesson2

Orientating: Lesson 3: Treading the Boards… Critiquing Much Ado

Anticipatory set–StudentsareaskedtosummarisetheplotofthefirsthalfofMuchAdoAboutNothingbeforethesecondhalfisviewed.

Much Ado About Nothing, Digital Theatre, 2011–Studentsviewthesecondhalfoftheplay.Whileviewingtheplay,studentsanswerthequestionsregardingspeakingskills.Afterviewingtheplay,studentsrecordtheirreactiontotheplaybycompletingthefollowingappraisaltableintheirEnglishbooks:

Kelly,T.&Caruso,J.(n.d.).Worksheets&Wikispaces:ReferenceBooklet.Retrievedfromhttp://blackboard.qut.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_2_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_83016_1%26url%3D

Studentsthencompletethecriticexercise.Studentscancompletequestion9individuallyorinpairs.

Discussion–Studentanswerstotheactivityarediscussedasaclass

CopyofDigitalTheatre(2011)–MuchAdoAboutNothing








Orientating: Lesson 4: Background to the Bard… The Life and Times of Elizabethan England

Anticipatory set –StudentsbrainstormtheirpriorknowledgeofElizabethanEnglandinathink,pair,shareactivity:

•Howdidpeoplelive?

•Whohadpower?

•Whatdidpeoplewear?

•Howdidpeoplespeak?

The Adventure of English, 2002 –StudentswatchTheAdventureofEnglish:Episode4,introducingthemtoElizabethanEnglandandthestateofthedevelopingEnglishlanguage.Studentsthenrespondasaclasstothefollowingdiscussionquestions:

•WhatweresomeoftheoutsideinfluencesaffectingtheEnglishlanguageduringtheElizabethanperiodinEngland?

•WhydoyouthinkShakespeare’splayshavebeendescribedasthegreatestambassadorsoftheEnglishlanguage?

Background to the Bard–Theinformationcontainedwithinthistextbookisreadaloudbymembersoftheclass.Theaccompanyingactivitiesarethencompletedindividuallyorinpairs.Answersarethensharedwiththeclass.

Shakespeare’s Theatre: The Globe–StudentswatchtheYouTubeclip,Shakespeare’sGlobe2012SeasonTrailer,introducingthemtothearchitectureoftheGlobeTheatreandtheperformancesthattakeplacethere.Theinformationcontainedwithinthetextbookisthenreadaloudbymembersoftheclass.Theaccompanyingactivitiesarecompletedindividuallyorinpairs.Answersarethensharedwiththeclass.


OnlineDocumentary:TheAdventureofEnglish,2002

http://video.google.com/videoplay?docid=-7303339925719040801

ViewingTime:31:43–50:29


YouTubeClip:Shakespeare’sGlobe2012SeasonTrailerhttp://www.youtube.com/watch?v=MccR015JugE




Orientating: Lesson 5: Taking a Walk on the Comic Side

Anticipatory set–Studentsbrainstormthecommonelementsofthecomedygenre–thesearewrittenintheformofaconceptmapontheboardbyastudentscribe.

Shakespeare’s Comedies –Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.StudentsthenuseavenndiagramtocompareandcontrastthedifferencesbetweentheirownconceptmapofcomedicelementsandthoseattributedtoShakespeare’scomediesthroughathink,pair,shareactivity.

General structure–StudentsreadanddiscussthegeneralstructureofaShakespeareancomedyasaclass.Studentsareasked:

•WhatparallelscanyoudrawbetweenthestructureofShakespeare’scomediesandthestructureofacontemporarymovie/play?

•Studentsareaskedtonamethe‘good’and‘bad’charactersinMuchAdo.

•Studentsareaskedtopinpointthe‘win’attheconclusionofMuchAdo.

Comic Characters–Insmallgroups,studentsreadandcompletethecomiccharactersactivity.Answersarediscussedasaclass.StudentsareaskedtolistanyShakespeareancomiccharactersthattheyknow(otherthanthoseinMuchAdo).

What’s in a Name?–Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.Studentsanswertheaccompanyingquestionindividually.Theseindividualanswersarethendiscussedasaclass.

Strolling Through Messina–Insmallgroups,studentsreadthroughtheinformationcontainedwithinthehandoutandanswertheaccompanyingquestions.Thesearethensharedanddiscussedwiththeclass.


Enhancing: Lesson 6: The First Step: Reading Much Ado

Anticipatory set –Studentsareaskedtobrieflyreflect,asaclass,onwhattheyhavelearnedsofaraboutthecharacterswholiveinMessina.

Much Ado About Nothing: The Condensed Story–Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.Inpairs,studentsrefertotheirgeneralstructurehandoutinordertoidentifytheactsoftheplay.Studentanswersarecomparedasaclass.

Reading groups–Intheirassignedreadinggroupsof3-4,studentsreadAct1,Scene1;Act1,Scene2;Act1,Scene3andansweraccompanyingquestions.

Formative Assessment –Studentactivityandreflectionjournalsarecollectedandstudentanswersassessed.


ClasssetofMuchAdoAboutNothing






Enhancing: Lesson 7: Shakespeare in Sneakers: Language Devices Through Hip-Hop

Anticipatory set–StudentswatchYouTubeclipAkala–Shakespeareasanintroductiontothemodernhip-hoptakeonShakespeare’swork.

Hip-HopandShakespeare?–StudentsviewtheYouTubeclipHip-HopandShakespeare?andanswertheaccompanyingquestions.Studentssharetheiranswersandcommentsregardingtheclipwiththeclass.

PoeticDevices–StudentsworkthroughthePoeticDevicessectionofthetextbookasaclass.TheythenusethisinformationwhilereadingAct2,Scene1tocompletethepoeticdevicestable.Studentsreadandworkwithintheirreadinggroups.Studentsthencompletetheaccompanyingscenecomprehensionquestions.



YouTubeClips:Akala–Shakespearehttp://www.youtube.com/watch?v=Gme1YN-qZV8&feature=related

Hip-HopandShakespeare?http://www.youtube.com/watch?v=DSbtkLA3GrY

Enhancing: Lesson 8: Traipsing Through Poetry and Song in Much Ado

Anticipatory set–StudentsviewDavidTennantandCatherineTate’scomedicspoofofSonnet130

Sonnet 116–Intheirreadinggroups,studentscompletetheSonnet116handout.StudentsthenviewthethreeYouTubeclips,displayingvaryinginterpretationsoftheSonnetinperformance.

Reading groups–StudentsreadAct2,Scene3intheirreadinggroupsandcompletethecomprehensionquestions.Whilereading,studentsviewaYouTubeClipofBalthasar’sSongfromthe1993filmversionofMuchAdoAboutNothing.

YouTube Clips:Sonnet130–http://www.youtube.com/watch?v=WxB1gB6K-2ASonnet116onUkulele–http://www.youtube.com/watch?v=LWmzm8-Z_k0&feature=relatedSonnet116inperformance–http://www.youtube.com/watch?v=l2dJBSfm1P4&feature=relatedSonnet116whileplayingpool–http://www.youtube.com/watch?v=ZADPHWdIaP4


Laptopandprojector

Balthasar’sSonghttp://www.youtube.com/watch?v=gMX0fxUZEwU




Enhancing: Lesson 9: Tripping Up: Malapropisms and Insults

Reading groups –Intheirreadinggroups,studentsreadAct3,Scene1;Act3,Scene2andanswertheaccompanyingcomprehensionquestions.

Malapropisms –Theinformationcontainedwithinthehandoutisreadaloudbyamemberoftheclass.StudentsthencompletethemalapropismtablewhilereadingAct3,Scene3withintheirreadinggroups.

Insulting Shakespeare–Theinformationcontainedwithinthehandoutisreadaloudbyamemberoftheclass.TheTedEdClip,InsultsbyShakespeareisviewedasaclassandthecorrespondingonlinequestionsarecompletedasaclass.Studentsthencompletethecomprehensionactivityindividuallyorinpairs.Studentanswersarethendiscussedasaclass.


Laptopandprojector

TedEdClip:InsultsbyShakespearehttp://ed.ted.com/lessons/insults-by-shakespeare

Enhancing: Lesson 10: Walking Down the Aisle: Themes of Love and Marriage in Much Ado

Anticipatory set–StudentsareaskedtoreviewthethemesofMuchAdothattheyhavediscoveredthroughtheirreadingandviewingoftheplay.

Reading groups–Intheirreadinggroups,studentsreadAct3,Scenes4and5witheachstudentreadingasadifferentcharacter.TheintroductioninformationforAct4,Scene1isthenreadaloudbyamemberoftheclass.StudentsthenreadAct4,Scene1(uptoIV.1.254)intheirreadinggroups.

Class debate –Withintheirreadinggroups,studentsdebatethestimulusquestionswiththerestoftheclass.Studentsmustjustifytheirresponsesusingexamplesfromtheplay.

The power of gossip–Withintheirreadinggroups,studentsanswerthestimulusquestionsaddressingHero’ssituationandmoderndaygossipmagazines.

Magazine covers–Withintheirsmallgroups,studentscreateamagazinecoverdepictingHero’ssituation.Eachgroupwillpresenttheirmagazinecovertotheclassandpersuadetheirclassmatestoreadtheirarticle.Theclassvoteforthemostpersuasivepresentation/coverstory.


Magazinecoversactivity:•Cardboard•Colouredpens•Scissors•Glue•Magazinestobecutup






Enhancing: Lesson 11: In Each others Shoes: Beatrice and Benedick

Anticipatory set–StudentsbrainstormthecharacterqualitiesofBeatriceandBenedick.Studentanswersarewrittenontheboardbyastudentscribe.Theinformationonthehandoutisthenreadaloudbyaclassmember.

Reading groups–Withintheirreadinggroups,studentsreadAct4,Scene1(Part2)andcompletethegraphicnovelactivity.StudentsthenreadtheinformationregardingBeatriceandBenedick’sattitudetosocietyandcompletethescenecomprehensionquestion.

Reader’s theatre–FourstudentvolunteerswillberequiredtoperformAct4,Scene2asareader’stheatrepiecefortheclass.Theclasswillfollowthesceneintheirbooksasthestudentsperform.Studentsthenanswerthescenecomprehensionquestion.


Enhancing: Lesson 12: Treading Lightly: Negotiating Revenge

Anticipatory set–Studentsareaskedtodefinerevenge–thesedefinitionsarewrittenontheboardintheformofaconceptmap.Studentsareaskedtoprovideexamplesofrevengeplotsinpopularmovies/novels.

Reading groups–Withintheirgroups,studentsreadAct5,Scene1,2and3,andanswerthescenecomprehensionquestions.

A way with words–Withintheirreadinggroupsstudentscompletethewaywithwordsactivity.Eachgroup’sanswersarethendiscussedasaclass


Enhancing: Lesson 13: The End of the Road

Reading groups–Withintheirreadinggroups,studentsreadAct5,Scene4andanswerthescenecomprehensionquestions.StudentsmustreferbacktotheirShakespeare’sComedieshandouttocompletesomequestions.

Character plots–EachgroupfocusesonanindividualcharacterandarrangestheirexperiencesthroughoutMuchAdoastheyoccurintheplot.

Character relationship map–Eachgroupreferstotheircharactertableandgridcompletedinlesson1inordertocreateacharacterrelationshipmapfortheirfocuscharacter.

Shakesbook –Studentscreatea‘Shakesbook’profilepagefortheirfocuscharacter.

Class presentation–Eachgrouppresentstheircharacterplot,characterrelationshipmapand‘Shakesbook’profilepagetotheclass






Synthesising: Lesson 14: Introduction to SAT, A Night at the Globe

Studentstohaveperformancegroupsandscenes,actsfinalisedbytheendofthislesson.

Anticipatory set–SATtasksheetsaredistributedtostudentsandthetaskandassessmentexpectationsarediscussed.

Modulative devices –StudentsreadthroughtheEffectiveSpeakingStrategiesHandout(seeappendix)asaclassanddiscussandmakeperformancesuggestionsforeachdotpoint.

Hot seat role play–Usingthisunderstandingofmodulativedevices,studentstaketurnstositinthe‘hotseat’(Williams,2009)andanswerclassquestionsinrole.Studentsaregivenacharacterwhentheysitinthe‘hotseat’andclassquestionsmustbespecifictothatcharacterandtheirexperiencesintheplay.Classdiscusstheuseofmodulativedevicesandtheiraffectinansweringthesequestions.

Performance groups and scenes, acts–Studentssplitintosmallgroupsof2,3or4(dependingonthescenetheywishtoperform)andselectthescene,acttheywillbeperforming.Theteacherwillensurethatthesegroupingsaresuitableforthetaskandwillmakechangesifrequired.

Homework–Studentstolearnlinesfortheirscene,act.

EffectiveSpeakingStrategiesHandout

Synthesising: Lesson 15: Rehearsal

Anticipatory set – StudentsviewtwoclipsfromBBCActingExercises.Afterviewingtheclips,studentswilldiscussthetoolsandexercisestheactorsdemonstrateandmakesuggestionsastohowtheseexerciseswillassisttheminperformingtheirownscene,act.

Rehearsal –Intheirperformancegroups,studentsrehearsetheirscene,incorporatingthetoolstheyhavelearnedaboutintheclips.

Introduction to annotation –Asaclass,studentsreadthroughtheWhatisAnnotation?Handout(seeappendix).Withintheirperformancegroups,studentsannotatetheirownscripts,focusingonstaging/blockingofperformance,props,characterisation,musicandlighting.

Homework – Studentcontinuetolearntheirlinesfortheirscene,act.

BBCActingexercisesclips:

OnetoTen–Professionalactorsdemonstrateanexercisetohelpwithactingoutemotions,fromtheverymildesttothemostintense.

EveryWordCounts–ThisexerciselooksatthemanydifferentwaystodeliverlineswhenperformingShakespeare.http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/acting_videos.shtml

WhatisAnnotation?Handout






Anticipatory set –“Thereare50waystosaying‘Yes’,andfivehundredwaysofsaying‘No’butonlyonewayofwritingthemdown.”–GeorgeBernardShaw.Studentsreviewtheirknowledgeofmodulativelanguagebytestingthistheory.Inpairsstudentswillutilise:•Rhythm•Emphasis•Stress•Tone/colour•Volume•Intonation/inflection•Pitch,pace,pause•Phrasing/parenthesisTheteacherwillcalloutoneofthesemodulativedevicesatatimeandeachpairwilltaketurnstoexperimentwiththem.Formative assessment–Performancegroupsconferencewithteacher.Studentspresenttheirannotatedscriptstotheteacheranddiscusstheiruseofmodulativedevices.Teacherassesseseachgroup’sprogressusingtheAssessingyourPerformanceChecklistontheSATtasksheet.Rehearsal–Intheirperformancegroups,studentscontinuetorehearsetheirscene.Homework –Studentcontinuetolearntheirlinesfortheirscene,act.


Rehearsal–Intheirperformancegroups,studentscontinuetorehearsetheirscene.

Peer performance –Eachgroupperformtheirscene,actfortheclass.Studentsprovideconstructive,appropriatefeedbackintheformofaPMIchart–thiswillbewrittenontheboard.

Homework–Studentcontinuetolearntheirlinesfortheirscene,act.


Dress rehearsal–Intheirperformancegroups,studentscompleteadressrehearsalofeachoftheirscene,acts.Reflection–Afterthedressrehearsalhasbeencompleted,studentsreflectontheirgroup’sperformance:•Whatwentwell?•Whatdidn’tgowell?•Whatcouldbeimprovedandhow?•Whatneedstobeaddressedbeforethefinalperformance?Performance night information–Theteacherrunsstudentsthroughtheperformanceeveningprogramandwhatisexpectedofthemduringtheevening.

Eachperformancegroup:•Costumes•Props•Script




Synthesising: Lesson 19: Performance Reflection

Studentperformancereflection–Asaclass,studentsdiscusstheperformanceevening:•Whatwentwell?•Whatdidn’tgowell?•HowdidtheyfeelperformingShakespeareforanaudience?

Studentwrittentextreflection–StudentswriteareflectionbasedontheirreadingandperformanceofthetextMuchAdoAboutNothing:•HowdidtheyfeelreadingMuchAdo?•Howdidtheyrespondtothekeythemesandcharacterswithinthetext?•HowwouldtheydescribetheexperienceofperformingShakespeareforanaudience?•Whattheylikedaboutthelessonprogram?•Whattheydidn’tlikeaboutthelessonprogram?•Howcouldthelessonprogrambeimproved?


Unit feedback

Waystomonitorlearningandassessment

Year10Teachers:•meettocollaborativelyplantheteaching,learningandassessmenttomeettheneedsofalllearnersineachunit.•createopportunitiesfordiscussionaboutlevelsofachievementtodevelopsharedunderstandings•crossmarkperformancestoensureconsistencyofjudgments;andparticipateinmoderatingsamplesofstudentworkatschoolorclusterleveltoreachconsensusandconsistency.

Curriculumleaders:•randomlysamplestudentworktocheckforconsistencyofteacherjudgments.

Feedbacktostudents Teachers:

•planopportunitiesandwaystoprovideongoingfeedback(bothwrittenandinformal)andencouragementtochildren/studentsontheirstrengthsandareasforimprovement.•reflectonandreviewlearningopportunitiestoincorporatespecificlearningexperiencesandprovidemultipleopportunitiesforchildrentoexperience,practiseandimprove.

Students:•reflectonanddiscusswiththeirteachersorpeerswhattheycandowellandwhattheyneedtoimprove.



Reflectionontheunitplan

Attheconclusionoftheunit,teacherswillcollaborativelyaddressthefollowing:

•activitiesthatworkedwellandwhy?

•activitiesthatcouldbeimprovedandhow?

•assessmentthatworkedwellandwhy?

•assessmentthatcouldbeimprovedandhow?

•commonstudentmisconceptionsthatneed,orneeded,tobeclarified?

referencesBaxter,D.(2009).SmallGroupWork.InS.Gannon,

M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.197–203).Putney,NSW:PhoenixEducation.

Beavis,C.(2008).PayingAttentiontoTexts:Literacy,CultureandCurriculum.EnglishinAustralia,43(1),23–31.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=236203897663232;res=IELHSS

Beavis,C.(2012).VideoGamesintheClassroom:DevelopingDigitalLiteracies.PracticallyPrimary,17(1)17–20.

Coles,J.(2009).TestingShakespearetotheLimit:TeachingMacbethinaYear9Classroom.EnglishinEducation,43,32-49.doi:10.1111/j.1754–8845.2009.01028.x

Durrant,C.&Green,B.(2000).LiteracyandthenewTechnologiesinSchoolEducation:Meetingthel(IT)eracyChallenge.AustralianJournalofLanguageandLiteracy,23(2),89–108.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=101584;res=AEIPT

Green,B.(2002).Aliteracyprojectofourown?EnglishinAustralia,134(?),25–32.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=122774;res=AEIPT

Jefferson,M.(2009).RichPerformanceTasks:Re-imaginingMultimediaDramaintheEnglishClassroom.InJ.Manueletal(Eds.),Imagination,Innovation,Creativity:RevisioningEnglishinEducation(3rded.)(pp.145–157).RetrievedfromQueenslandUniversityofTechnologyCourseMaterialsDatabase.

Jetnikoff,Anita(2007)Accessingthecriticalthroughdrama.Words’Worth,40(4),27–35.Retrievedfromhttp://eprints.qut.edu.au/28422/

Kalantzis,M.&Cope,B.(2000).AMultiliteraciesPedagogy:APedagogicalSupplement.InB.Cope&M.Kalantzis(Eds.),Multiliteracies:LiteracyLearningandtheDesignofSocialFutures(pp.239–248).London,UK:Routledge.

Kennedy,K.(2008).TheoreticalPerspectivesforUnderstandingStudiesofSocietyandEnvironment.InC.Marsh(Ed.),StudiesofSocietyandEnvironment:ExploringtheTeachingPossibilities(5thed.)(pp.2–18).FrenchsForest,NSW:PearsonEducationAustralia.

Manuel,J.(2009).TalkingandListeningforLearninginEnglish.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.185–196).Putney,NSW:PhoenixEducation.

Meiers,M.(2009).RespondingtoStudents’AchievementsinEnglish.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.321–330).Putney,NSW:PhoenixEducation.

MyRead.(2002a).ClassroomOrganisation.Retrievedfromhttp://www.myread.org/organisation.htm

MyRead.(2002b).ConnectingStudentstoLearningThroughExplicitTeaching.Retrievedfromhttp://www.myread.org/explicit.htm

Rennie,J.&Patterson,A.(2010).YoungAustralianReadinginaDigitalWorld.InD.Cole&D.Pullen(Eds.),MultiliteraciesinMotion(pp.207–223).NewYork,NY:Routledge.

Vale,E.(2009).TeachingSecondaryLanguageLearnersintheSecondaryEnglishClassroom.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.139-150).Putney,NSW:Phoenix




hArTfiEld STATE high SChOOl

Year 10: Classic World Literature – Multimodal Performance of Much Ado About Nothing

Teacher: Class: Student:

A Night at the GlobeTask Context: YouhavereadandviewedWilliamShakespeare’sMuch Ado About Nothing.Shakespeare’swordswerewrittenforthestageandyouwillnowbebringingthemtolifefortheschoolcommunitybyperforminganActfromtheplay.

Performance context:Eveningperformancefortheschoolcommunity

Text type:Spoken/MultimodalPerformance

Duration:3-5minutes

Register

Purpose:ToentertainandmakemeaningofaShakespeareantext

Mode:Spokenandvisualperformanceofawrittentext

Roles and relationships:Studentinroleofcharactertoentertainaudience

Medium:Performanceofacomedicscene

Subject matter:PerformanceofascenefromMuch Ado About Nothing





Assessing your performance checklist

Teacher Individual Peer

Planning and thinking

•Playwasread/viewedandreflectedupon

•Characterswerecriticallyanalysed

•Themeswereaccuratelyexplored

•Performancegroupswereselected

•Scene,Actselected

Drafting

•Assignedroles

•Performancecontext

•Linesarelearned

•Scriptsareannotatedfor:staging/blockingofperformance,props,characterisation,musicandlighting

•Costuming

Spoken/Signed features: When delivering your lines, consider the following Modulative Devices:

•Rhythm

•Emphasis

•Stress

•Tone/colour

•Volume

•Intonation/inflection

•Pitch,pace,pause

•Phrasing/parenthesis

Non-verbal features:

•Facialexpressions

•Gestures

•Proximity

•Stance

•Movement




Examples of Unit Work

Lesson 1: Stepping into RoleScenario Improvisation

• Divideintogroupsoffourorfive.Eachgroupwillbecalledtothefrontoftheroomandaskedtoimproviseoneofthefollowingscenarios:

Scenario 1:Twopeopleoftheoppositesex,AandB,dislikeoneanotherandareconstantlybickering.Showthemtauntingoneanother,thenhaveBleave.Somefriendsenter.HavethefriendsconvinceAthatBisreallyattractedtoA.DealwiththematterofwhetherAbelievesthemandwhyhe(orshe)would.

Scenario 2:Adifferentcouple,XandY,areverymuchinlove.Createascenarioshowingtheiraffectionforoneanother.HaveXleaveandfriendsenter.ThefriendshavetodosomethingtocauseYtowanttobreakupwithX.Resource adapted from:FolgerShakespeareLibrary.(2002).EducationDepartmentCurriculumGuidetoMuchAdo.Retrievedfromhttp://pages.simonandschuster.com/images/ckfinder/26/pdfs/Folger%20Curriculum%20Guides/MuchAdoAboutNothing.pdf

• NowchangethenamesofA,B,XandYtothefollowing:A:BeatriceB:BenedickX:HeroY:Claudio

ThesearethemaincharactersinShakespeare’splayMuch Ado About Nothing.Withintheplay,thesecharactersfacethesamescenariosasoutlinedabove.

• Doyouthinkthescenariosabovearerelevanttoyoungpeopletoday?Why/whynot?

Lesson 7: Shakespeare in Sneakers: Language Devices through Hip-hop Shakespeare’slanguageisthelanguageofpoetry.Hewrotethreetimesasmanylinesofpoetryasprose,soheusesalotofpoeticdevices.Oftenaverylongspeechcanbedistilledintonotmuchaction,butitconnectswithusmoredeeplythroughtheuseofpoeticdevices.

• ViewtheTedxclipHip-Hop and Shakespeare? andanswerthefollowingquestions:

• Whataresomeoftheparallelsbetweenhip-hopandShakespeare?

• WhatdoesAkalacomparetheIambicPentameterto?

• Howdoestherhythmhelpusunderstandwhatisbeingsaid?

• WhatpowerdoesbothShakespeareandHip-Hopcarry?

Lesson 9: Tripping Up: Malapropisms and InsultsInsulting Shakespeare

BytakingacloserlookatShakespeare’swords-specificallyhisinsults-weseewhyheisknownasamasterplaywrightwhoseworkstranscendtimeandappealtoaudiencesallovertheworld.

• ViewtheTedEdClipInsultsbyShakespearethenanswertheaccompanyingQuickQuizquestions,discussingeachanswerasaclass.




InMuch Ado About Nothing,BeatriceisequalinwittoBenedick,thereisakindof‘merrywar’betweenthem.

Lesson 10: Walking Down the Aisle: Themes of Love and Marriage in Much AdoAct 3, Scene 4 and Act 3, Scene 5

Insmallgroupsofthreeorfour,readthroughAct3,Scenes4and5,witheachmemberreadingasacharacter.InthesescenesHeroispreparingforherweddingtoClaudio,whileDogberrybelieveshehasapprehended‘twoauspiciouspersons’.

Act 4, Scene 1 (Part 1)

ItiswithinthisscenethatClaudiopublicallyaccusesHeroofbeingunfaithfultohimwhiletheyarestoodatthealtar(IV.1.29-41).

IntheRenaissance,thevirginityofanupper-classwomanatthetimeofhermarriagecarriedagreatdealofimportancefornotonlyherownreputationbutalsoforthatofherfamilyandherprospectivehusband.Adultery,unchastebehaviour,orpremaritalsexinanoblewomancouldbeafightingmatter—onethatcouldspuraparenttodisownorevenkilladaughter,abetrayedhusbandtomurderhiswifeorrival,oradefendertochallengeawoman’saccusertoadueltothedeathinordertoclearhername.IftheentirecommunityweretobelieveHerounchaste,thenherhonour,name,andreputationwouldsufferpermanently;Claudiowouldsufferconsiderablymorethansimplevexation;andthestressmightwell“kill”Leonato.Thisplotisfarmorethanamerelytroublesomegame.SparkNotes.(2012).MuchAdoAboutNothing:ActII,Scene3.Retrievedfromhttp://www.sparknotes.com/shakespeare/muchado/section4.rhtml

Insmallgroups,readAct4,Scene1uptoIV.1.254.

Withinthesesmallgroups,debatethefollowingquestionswiththerestoftheclass:

• WasHeroafitbride?

• WasClaudiowrongtoaccuseher?

• WasLeonatowrongtoreactinthewaythathedid?

• Whydoyouthinkhereactedthisway?

• WhydidBeatricebecomesoupset?

• Whatwastheroleofthefriar?

Beatrice: Ihadratherhearmydogbarkata crowthanamanswearhelovesme.

Benedick: Godkeepyourladyshipstillinthat mind!Sosomegentlemanorother shallscapeapredestinatescartch’d face.

Beatrice: Scratchingcouldnotmakeitworse, an‘tweresuchafaceasyourswere.

(ActI,SceneI)

• Identifytheinsult(s)inBenedick’sandBeatrice’sexchange.

• Locateanotherinterchangebetweencharactersintheplayinwhichwittyinsultsareexchanged.

Resource adapted from: Pearson (2012). English Teachers Companion: 9. Port Melbourne, VIC: Pearson Australia.

• Identifytheinsult(s)withinthisexchange.

• Writeasix-lineargumentbetweenBeatriceandBenedickusingmodern-dayinsults.Remembertokeepitplayfulandfun–itshouldbeclearthatthesecharactersactuallylikeeachother:

Resource adapted from: California Shakespeare Theatre. (2010). Much Ado About Nothing: Teachers Guide. Retrieved from http://www.calshakes.org/v4/educ/pdf/TeachersGuide_MuchAdoAboutNothing_2010.pdf




• DoyouthinkthathidingHerowasagoodsolutiontotheproblem?

Resource adapted from:FolgerShakespeareLibrary.(2002).EducationDepartmentCurriculumGuidetoMuchAdo.Retrievedfromhttp://pages.simonandschuster.com/images/ckfinder/26/pdfs/Folger%20Curriculum%20Guides/MuchAdoAboutNothing.pdf

Heroiscaughtinaseeminglyimpossiblesituation:knowingthetruthwithnooneelsebelievingit.

• Whydowordshavesomuchpowerwhenusedagainstsomeone?

• Thinkaboutcelebritygossipmagazineandwebsites.Howdothewriterschoosetheirheadlinesinordertogetyoutoreadtheirstory?Doyoubelievethearticlesinthesepublications?Whyorwhynot?

Resource adapted from: CaliforniaShakespeareTheatre.(2010).MuchAdoAboutNothing:TeachersGuide.Retrievedfromhttp://www.calshakes.org/v4/educ/pdf/TeachersGuide_MuchAdoAboutNothing_2010.pdf

• Insmallgroups,createamagazinecoverdepictingHero’ssituation.1. Brainstormtheelementsofamagazine

cover2. Decideonanaudienceforyourmagazine

(whowillreadyourmagazine?)3. Selectarelevantimageforyourcover4. Includeinformationaboutthestory

containedinside

YouwillthenpresentyourmagazinecovertotheclassandpersuadeyourclassmatestoreadyourarticleaboutHero.



The2012LiteraryCompetitionsurpassedallpreviousyears,especiallyintermsofthe

numberofentriesreceived!ThiscompetitionisestablishingitselfasaprestigiousandhighlyvaluedshowcasefortheliterarytalentofstudentsandteachersacrossQueenslandandtheNorthernTerritory.Nowinits53rdyear,theeventattracted705submissionsandwasopentoStateandTerritorystudentsinYears6to12andtheirteachers,frombothgovernmentandnon-governmentschools.Thisisasignificantincreaseoverpreviousyears(2011–458;2010–424;2009–529).

Thequalityoftheentriesreceivedin2012wasalsoexceptionalwithanumberofthejudgeshavingtolabouroverwinners,place-getters

2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT

deb Pedenandthehighlycommendedentries.Sincereappreciationandgratitudeisextendedtoourjudgesfortheirtime,commitmentandabilityinmakingsometimesdifficultdecisionsindeterminingprizewinnersandplacegetters.IwouldliketoacknowledgetheamazingworkandsupportofKayHollowayandherteamatIEUA-QNT.SpecialthanksalsotoJamesCookUniversityandRandomHousefortheirgenerousandmuch-appreciatedsponsorshipanddonations.Andfinally,butbynomeansleast,myacknowledgementgoestoallstudentsandteachersfortheirsubmissions.

Congratulationstothewinners,place-gettersandhighly-commendedawardees.Sowelldeserved!

POETry firST PriZE: SECTiON A (yEArS 11 & 12)Judge’s report – ross Clark

Somycallgoesouttoyoungpeopletoreadthisstuffcalledpoetry,readabitandthenabit

moretillyoufindwhatresonatesinyou,thenreadsomemoreofthat,alongwithsomemoreofwhatyoumightnotknowsowellinordertodiscoversomemoreofwhatyoudolike,andthenyouwillcommunewithlanguageandtheworldasnaturallyasbreathing.

Somycallgoesouttoteacherstobringpoetrytotheclassroomwithoutassaultingit;byallmeansreadandinterpretit,butallowsomepoemstojustsimmerawhile;encourageyourstudentstoreadpoemswithouthavingtodoanythingtothemorbecauseofthem;byallmeansusethepoemsasawayintowritingpoems,butletthepoemsuseyoualittle(they’llstillrespectyouinthemorning).

Iaddressedthosewordstolastyear’saudience,andthisyearIreiteratethemwithevenmorevigour.Ihadnoprobleminfindingafinewinningpoemthisyear,but(likelastyear’s

winningcohort)itwasnotingoodcompany…mostoftheentrieswereintensebutnotcrafted;notcraftedbywriterswhocareforwordsandnotjustcauses(asjustasthosecausesmightbe).Don’tgivemethenotesofanessay,shuffledabout;don’tgivemeabstractionsandrhymes;givemeapoem,shorthandoftheemotions.Findsomethingtosay,andthennearlysayit.

ConsiderthisfromArchibaldMacLeish.

Ars Poetica

A poem should be palpable and mute As a globed fruit,

Dumb As old medallions to the thumb,

Silent as the sleeve-worn stone Of casement ledges where the moss has grown –

A poem should be wordless As the flight of birds. *




A poem should be motionless in time As the moon climbs,

Leaving, as the moon releases Twig by twig the night-entangled trees,

Leaving, as the moon behind the winter leaves, Memory by memory the mind –

A poem should be motionless in time As the moon climbs.

A poem should be equal to: Not true.

For all the history of grief An empty doorway and a maple leaf.

For love The leaning grasses and two lights above the sea -

A poem should not mean But be.

I’mguessingmoststudentshavenotencounteredthispoem,buttheyshouldhave.Andlearnedthecinematicstrategiesinvolvedinwritingaresonantpoem–suggestionandallusionratherthanoutrightstatement.

Isuspectthatmoststudentsaregettingtheirideasofpoetryfromun-moderatedinternetsites,whereeverychildplayerwinsaprize,ratherthanfromthesharpandfeatherypoemsofskilledpractitioners.Soagain,asIcounselledlastyear,Isayreadpoems,thenreadsomemore,andthenevenmore;writesome,editsome,writesomemore,re-edit,throwsomeaway.Findtheminsideyouwhentheyareready.

Ihaveawardedonecommendationandoneprizeinthisyear’scompetition.

Thecommendedpoemis“UnknownRhythm”byKarliIrvine.Thisusesrhymingverseparagraphswithdronerhyme,intensifyingthepaceofitsobservation,itsnon-narration.

This heart, it beats for you, Can you hear it saying one and two?

Itbegins,andlateritdeclares

Hold me close, don’t let me go. I’m safe within your embrace.

WhileI’malittleunsureaboutthebackstoryofthispoem,Iliketheassurednessofitslines,andcommendthispoettocontinueherexperimentation.

Thewinningpoem,“MourningCycle”,byMadeleineStoermer,beginswithagnomicdeclarationthatstructuresthepoem:I am not who I was last June. I am a stranger now.Thefollowingsectionsdeclareforbright Octoberandstorm-torn Januaryandlonely April.ThepoetstandsFeet in water, hands in the sky/ a lightning rod made like a girl,butlaterfindsherselfinthatlonely April.IamremindedthatChaucerbeganhispilgrimageintheAprilofsweet showers,thoughTSEliotfamouslydeclaredthatApril is the cruellest month.

Iamimpressedbythispoet’suseofstructuringdevicesandrepetitionastheautobiographicalsliverdigsfurtherunderourskin.Thisisapoemwithmomentum(gentlebutsure)andsomethingtosuggest,apoemthatinvitesustoparticipateinthedynamicsofitsmeaning-making.

SoIcongratulateMadeleine,andagainremindstudentsandteachersthatnewpoemscomerhizomicallyfromthetopsoilofotherpoems,andfromsongsandstoriesandfilms,butveryrarelyfromtheorisingthemintoexistence.Almostnever.

Readalot,withoutexpectinganythingfromthem,andtheywillgiveyouyourself,andtheworld.

A poem should be wordless As the flight of birds. *A poem should be equal to: Not true. *A poem should not mean But be.




POETry firST PriZE: SECTiON A (yEArS 11 & 12)mourning Cycle

madeleine Stoermer St Aidan’s Anglican girls School, Corinda

IamnotwhoIwaslastJune.Iamastrangernow.Thatgirlisgone,fadedintomemory,Madeofremembrancesandnostalgichaze.Shediedadeathofherownmaking,Losttothevaleoftime.Andyet,inthesefrostedmorningsIfindacreatureofhabit.Ahintofwhatwas,Afootprintleftbehind.IamnotwhoIwaslastJune.˜IburiedmyselfinbrightOctober.Idugagraveandwept.Imournedmyloss,thebereavementheavyOntheheadofagirltoooldforheryears.Ilaidtorestmyownself,Andstood,alone,facingtheabyss.Ihid,acoward,fromtheendlessturnOfdeathandlife,lifeanddeath.IdidnothearthewhispersastheycalledAstheyspokemynameofold.IburiedmyselfinbrightOctober.˜Instorm-tornJanuaryIstoodalone.Achildnomorebutnotawoman.Istood,asrainpoureddownaroundme,Toosmallagainstthegreenishsky.Feetinwater,handsintheskyAlightningrodmadelikeagirl.TheroarofthunderhidmyvoiceTherhythmofrainwashedmeaway.Iwatchedasmyworldwentby,Icriedasmyoldselfwould.Instorm-tornJanuaryIstoodalone.˜InlonelyAprilIfoundmyself,wrappedlikeaparcel,self-addressed.Ishook,myfingersclumsyasIunravelledLayeruponlayer,apackageofnothing.Myselvesstretchedoutinbothdirections,Acarnivalparade,alldifferentyetthesame.Istaredatmyselffromtheeyesofastranger,Andknewthat,justasIhad,somedayshe’dburyme.Ourgazeslocked,andinthatmoment,Itwasdone.InlonelyAprilIfoundmyself.˜Envoi:SohereIstand,differentbutthesame,Theretheylie,deadbutnotgone


The English Teachers Association of Queensland�0


ShOrT STOry firST PriZE: SECTiON A (yEArS 11 & 12)Judge’s report – Esmé robinson

I’vealwayslovedshortstoriesbecausetheycanbereadandenjoyedinonesitting.

Thisyear’stopicscoveredawidevarietyofthemes,humanemotionsandexperiencesoftensoeffectivelydealtwiththatsometimesIwasmovedtotears.

Interestingly,manyofthestoriesthisyearwerewritteninthefirstpersonandinthepresenttensewhichgavethemasenseofimmediacy.

TheHighlyCommendedshortstoriesinalphabeticalorderofauthorsare:

• White Lie,bySarahKateGooge,WestMoretonAnglicanCollege,Karrabin.

• The Man Next Door,byAbbieKanagarajah,SomervilleHouse,SouthBrisbane

• Leftovers,byPerriNewmanMtStMichael’sCollege,Ashgrove,and

• Strange Meeting,byMikaVaritimosfromIpswichGirls’GrammarSchool.

RyanKiddfromAllSaints’CollegeMerrimac,isawardedthirdprizeforThe Last Leg,adeeplymovingstorysetintheMiddleAges,atimeofsuperstition.Asthewritersays,‘Crippleswereunlucky,itwassaid.Theyandtheirkinwerecursed,ablightupontheland.’Theprotagonistisalamefiddler,whoselifehadbeensparedonlybecause‘itwasunluckytokillacripple.’However,hiswifeanddaughterhadbeenkilledbecauseofhim.Inunbearablegrief,heisforcedtoroam,hislifeeventuallychangingbecauseofachancemeetingwithastraydog.Togethertheymaketheirwayintoatownwherethehomelessfiddlerpourshissoulintohismusictothedelightofthetownspeople.Tragically,onenight,heisattackedbytwomen,hisfiddleisbrokenandthedogmortallywounded.Themangathersupthedogandmakeshiswaytoacliffoutsidethetown.Here,heandhiscompanion‘embracethewind’andarenomore.

A New Sunrise,writtenbyMichaelaMarcusfromStanthorpeStateHighSchool,winssecondprize.Thischarmingstoryofpre-weddingnervesissetoutsidethechurchwheretheweddingisabouttotakeplace.Thebride,Arora,isremindedbyherbridesmaid,Jasmin,oftheirmeetinginhospitalbothagedeight,whenJasminthoughtshewouldneverfaceanothersunrise.ArorodrewonherDreamtimestoryofthefirstsunrisetocomfortJasmin.Intheirplayinthehospitalbed,Jasmin’scrutcheswereusedtoraisetheblanketofftheirheadstoletin‘thefirstsunrise’,echoingAroro’sDreamtimestory.ThereisadelightfultouchattheendofthestoryasJasminpullsAroro’sweddingveiloverboththeirheads,evokingthememoryoftheirchildhoodgame.

Here,itisJasminwhocomfortsAroro,handingherher‘somethingold’,afadedphotographtakenwhentheywerehospital.‘It’stimeforanewsunrise’,thistimeforAroro.

MuirgenO’SeighinfromStRita’sCollege,isthefirstprizewinnerforherstoryFor Less Than Ten Shillings.

Whatatightlyconstructedstorythisis.Cinematically,Muirgensetsthescene-QueenslandintheearlydaysofEuropeanexpansionwhensettlersweretakingovertraditionalAboriginallands.ThefirstpersonnarratorisapolicesergeantwhosejobitistoclearAboriginesfromthesquatters’stations,roundthemupandshootthem.Heisaccompaniedby‘youngJimmy’,amemberoftheNativeMountedPolicewhocomplainsthatheispaidlessthantenshillingsaweekforthejobhedoes.

SergeantO’Neillrecountsthisday’sworkofkillingtwo‘blackfellas’inamatter-of-fact,unemotionalway.TheconclusionIfoundparticularlydisturbing.SergeantO’Neilldoesnotevenburythemen.‘Itwasn’tworthit.The


Words’Wor th April 2013 • Volume 46, Number 1 �1


dingoesandantswoulddojustasgoodajob.’ThisisjustanotherdayforhimandJimmy.TheonlythinglefttodoistofilehisreporttoSuperintendentWalker.‘Iglancedupattheskyandthenpulledmyfobwatchoutofmypocket.Itwasnearlyoneo’clock.IfIhurriedJimmyalong,wecouldbebackintownintimeforsupper.’Whatachillingconclusion,evenmoresoforitsunderstatement.

Iurgewriterstoproofreadcarefullyasmanyoftheshortstorieswerelitteredwithspellingandpunctuationerrors.Itisnotenoughtorelyonthecomputer’sgrammarandspellchecktools.Simplemisuseofapunctuationmarkora

spellingerrorcanspoiltheeffectofanideaorcreateanunintendedmeaning.

Students,pleasecheckonthepasttenseofverbs.SooftenIhavereadsentencessuchas‘Theboatsunk’,‘Hewaslayingontheground.’Consistencyoftensewasalsoaproblem.Agreementofsubjectandverbmustbechecked.Readingone’sstoryaloudaspartoftheproof-readingprocesscanhelpilluminatesuchinaccuracies.

Thankstoallthestudentswhoenteredthisyear,theirteachersandtheirparentsandcongratulationstoallprizewinners.

for less than Ten Shillingsmuirgen O’Seighin

St Rita’s College, Clayfield

ShOrT STOry firST PriZE: SECTiON A (yEArS 11 & 12)

Campthatdaywasasmallaffair,withonlymeandyoungJimmy.ThetoweringPepperinaprovidedsomerelieffromthebroilingsunandtherewasplentyofgrassforourhorses.WhileJimmystartedupthefireforourbilly,IhobbledthehorsesandropedtheblackfellastothesturdyPepperina.Though,intheircase,Imadesuretherewaslittleslack.Iftheblacksshotthrough,we’dhavebuckleysoftrackingthem.ThatwassomethingIdidn’twanttobeexplainingtoSuperintendentWalker.

We’dcaughttwothatday.Onewasyoungerandahalf-blood.Chanceswerethathisfatherwasthesquatterwhosestationwehadclearedthemfrom.Butthatwasn’tmyproblem.Hehadagashinhislegandthebloodwasmixingwithhissweatandpoolingaroundhisfoot.

Hespoketome,quickly,andinshortnervousbursts.Ididn’tspeakthelocallingo,butIunderstoodhisgesturessoIpassedhimthehorses’waterbag.Hedrankquickly,eyeingmeallthewhile,asifunsurehowlongmygenerositywouldlast.Theolderonestayed

silent.Herefusedthewaterbagwithaslightinclinationofhisheadwhentheyoungeroneofferedit.Hisfacewasweatheredebony,inseparablefromthebrownearthhesquattedin.Hiseyestravelledslowlyfrommybootstocap,acknowledginganddismissingmyuniformwithacrinkleofhiseyes.

‘Billy’snearlyboiled,SergeantO’Neill,’calledJimmy.

Jimmystoodbarefoot,proddingatthefirewithastick.

‘Bootstootight?’Iasked,pointingathisbarefeetasItookupmypannikin.

‘Feelslikemytoeshavebeensharingmybootswithmeat-ants,’hesnorted,swattingatablowflythathadcometoinvestigatehistea.‘Wishthey’dgiveusanewissueofclothes.’

‘Orapay-rise,’Iadded.

‘You’dthinktheNativeMountedPolice,’saidJimmy,‘wouldatleastgettenshillingsaweek.ThegarrisonsoldiersatBrisbanegetthatmuch



andtheyaren’tatriskofanullanullaorspearoneverybendoftheDawson.’

‘It’sajob,’Isaidwithashrug.‘Itputsfoodinyourgutandaroofoveryourhead,andit’sbetterthantryingtofarmaselectionthatwon’tsurvivethenextdrought.’

Wedranktherestofourteainsilence,withnomoretosayandlessinclinationtosayit.Istoodupandwithaflickofmypannikin,emptiedthetealeaves.‘I’llgotakecareofthosetwo,’Isaidwithawavetowardstheblacks.‘Yousaddlethehorsesanddousethefire.’

Iwalkedovertomyhorseandgrabbedmycoltrevolverfromitsholsteronthesaddle.Iclickedopentherevolverandcheckedthateachchamberwasloaded.Satisfied,Icockedthehammerintothefiringposition.Icouldfeeltheblacks’eyesonme,watchingmyeverymove.Theyoungeronewasnervous,pushingbackintothetreeasifhecoulddisappearinsideit.Theolderonedidn’tofferhimanycomfort.Hesimplystood,likethetreehewastiedtoo,withresignationinhiseyes.Iignoredhimandturnedmyattentiontotheyoungonestillontheground.Iuntiedthemboth.Iyankedtheyoungoneupandhecringed,fearful.Hestruggled

withpanicandgrabbedatmefranticallyasIproddedthemintothescrub–acontrasttohiselder’scomposure.

Theshotswereharshandgratingandrippedthroughthemiddayair,momentarilyinvadingthesilencearoundthebroadPepperinas.Theyoungeronetoppledalmostimmediately.Hislimbstwitchedspasmodicallyandhandsclutchedattheholeinhischest.Afterafewseconds,hismovementsceasedaltogether.Theoldermanstoodlonger,absorbingtheshockofthebulletswithabackwardsjerkastheytoreintohim.GalahsflappedupwardsfromthePepperinas,screechingandsquawkingtheirannoyanceatthenoisydisturbance.

Ilookeddownatthetwobodiesinfrontofme.Idugtheheelofmybootintothehardearthandconsideredburyingthem,butthedirtbarelygaveundermyheel.Itwasn’tworthit.Thedingoesandantswoulddojustasgoodajob.Iturnedaway,backtocamp.Thejobdone,allIhadtodonowwasfilemyreporttoWalker.Iglancedupattheskyandthenpulledmyfobwatchoutofmypocket.Itwasnearlyoneo’clock.IfIhurriedJimmyalong,wecouldbebackintownintimeforsupper.



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NON fiCTiON PrOSE firST PriZE: SECTiON A (yEArS 11 & 12)

Judge’s report – lisa Westcott and mandy Shircore James Cook University


Thankyouagain,fortheopportunitytoreadawonderfularrayof‘non-fictionprose’byAustralia’sbuddingjournalists.Withabumpercropofentriesthisyear,thejudgingtaskwasmadeallthemoredifficultasthestandardjumpedtoyetanotherlevelofliteraryartistry.Withthesubmittedpiecesfulfillingthebriefofafeaturearticleoropinionpieceforanewspaper/magazine,thejudgeswereabletoenjoytheselectionofeclecticstudentwritings,oftensuperiortoarticleswehadreadintheregularweekendbroadsheets.

Onceagainwewereencouragedbytheoriginalityofideasandtheabilityofthewriterstocritiquepertinentsocialissueswithbothintelligenceandhumour.Bookreviews,essaysonindividualism,personaladversity,romanticismandreason,theAnzaclegacy,thewaronterrorismanditsramifications,

thepowerofthemediaandadvertising,theimportanceofstreetart,andindigenouscultureremindusthatouryouthoftodayholdthekeystoourfutureandthattheyhavetheabilityandthepassiontomakeadifference.

Weurgetheyoungwriterstomaintaintheirthirstforreading,writingandcriticalthought,astheyallhavethetalenttobecomethejournalistsandthink-tanksoftomorrow.

Thisyear’swinningentry,Reality and Her Game,providedaperceptiveandsatiricalaccountofthepervasivereachofrealityTV.Thejudgesweretakenonajourneythatmadeussquirmathowfarsocietyhasdelvedintothedepthsofvoyeuristicexploitation,throughouraddictiontorealityTV.Thewriter’scleverturnofphrase,thehumourandcynicismmadethisarticleastandoutwinnerr.

reality and her gamemeeree kim

Somerville house

NON fiCTiON PrOSE firST PriZE: SECTiON A (yEArS 11 & 12)

Harmless fluff or the harbinger of social decay?Meeree Kim investigates the undercurrents of reality television and its ramifications on its most avid consumers – us.

Dark,predatory,butundeniablyalluring.Sheistheresurrectionofthenew-agefemme fatalethatweassumeddiedfiftyyearsagowiththebrassyblonde,PhyllisDietrichson,inthefinalsceneofDouble Indemnity.Butdeadsheisnot.Infact,thislowest-common-denominatorofwartsandallrecreationnowreignsastheprime-timedominatrixof“Entertainment”withherownEmmycategory.Andboyisshehot.

Notmanyofushavebeenabletoretainourpurityafterbeingofferedhersweetmorselsoftemptation–Biggest Loser sound appetising? Bachelor? The Kardashians?You’veguessedright,folks.Thisevilarchetype–loungingonhercaftanwhilstclutchinghergorysceptre–isRealityTV.

Whatwasoncedismissedbymediacriticsastelevisionschlockwithafleetingshelf-lifehasnowbecomeastapleinourmorals-starvedsociety.Gonearethedayswhenourtelevisionsetswerethegildedglassesintoouridealisedworld,wherehybridsof40sheartthrob,Clark




Gable,sweptoursepiascreens.Nowoursweatyboxesareeitherfilledwithimagesofangstyhousewivesbattlingitouttosecurethelatestcouturebag,(Real Housewives of Orange County),orraunchy(frequentlyunclothed)maniacslikeNick,flashingtheirwaytoislandconquestinSurvivor.

Sowhatisitthathasusflockingbesidethecoolertowatchpeoplegettinghumiliatedforthesakeofourcollectiveamusement?

Mostofusareluredinbythisphenomenonofschadenfreude,that“thankGodit’snotme”responsethatcanbebestparalleledbyourrubberneckingahighwayaccident.Ourlivesmaybeprettyterrible,butatleastwehaven’tquitehittheditchesastheonce-adored,now-abhorred,personalitiesofCelebrity Rehab with Dr Drew.Whocanbutbedrawntothespontaneousbreakdowns,turbulenttrystsandself-loathingorgiesthatfeatureinourwell-lovedrealitygenre,which(bytheby)couldhaveequallyworkedbeingrecoined‘Humilitainment’.Werelishallthedelectablesoapdramasofouroldschool-daysandover-the-back-fencegossipsastheyareresurrectedonthesmallscreen.

Thisvicariousfeelingofvoyeurism,however,isnotjusta21stCenturyphenomenon.Rewindingbackacoupleofthousandyears,wealightinRome100BC…andfindourforefathersofdemocracyshriekingindeliriumatthesightofhumancarnageintheColosseum.

Meanwhile,Stevensoncommentsonthisdualityofhumannatureinhisownsliceofsci-fihorror,The Strange Case of Dr Jekyll and Mr Hyde.AndImightpointoutanobviousparallelheretoourveryownpop-culture.JustasDrJekyllcreatesforadarkidentityforhimselffornight-timemolestations,sowetoouserealityTVasaventforourinnertroglodyte.

Amorbidthought,perhaps.Andmanyofuswouldarguethatwewatchrealityprogramming,merelyforthepurposesofcheapescapism.Afterall,attheendofalong,stressfuldayatwork,whatbetterwaytoemptyourminds,thantowatchtheinnerworkings(orlackthereof )ofemptyminds?Butbewareofthismindlesspassivity!Ifwehaven’tgotourcriticalradars

switchedontomaximumfrequency,we’renobetterthanthesheepinOrwell’s AnimalFarm,absorbingcollectively,themessagesthatthemediaspoon-feedtous.

ShakespeareoncespokethesewisewordsthroughLordPoloniusinHamlet:“Though this be madness, yet there is method in‘t”.OurhiddenHyde-likenature,completewithallthe“cordedandhairy”bits,isexpertlymanipulatedbymediakingslikeFoxboss,MarkDarnell–dubbedthe‘world’sscariestprogrammer’.There’sareasonwhymediaexecsarespinningdollarsfasterthanRumpelstiltskinhimself.Theywon’tletanything–notsocialresponsibility,notpublicaccountability,norethics–getinthewayoftheirpalms,itchyfromsnatchingexaltedratingsandwithit,profits.

Fox’smoney-makingdatingfranchise,The Bachelor,revealsthisparadigm.MediaSvengalishappilyexploitnon-union-coveredwomenandturnthemintotittering,backstabbingJezebels,allcompetingforachancetosnatchsomeair-timewiththeirknightinshiningArmani.BycrammingtheminthesameMcMansionforweeks,deprivingthemofsleepandproddingthemwithalittleliquor,producersareabletobrewupacat-fightwithoutnecessarilyscriptingitin.Andjustwhenallthefelinelunacygetsalittletoohay-wire,thefairy-god-mediainstantlytakeshercue.Outcomesasun-kissedcontestanttodeliverthistatteredlinewithadisingenuoussmile:“Attheendoftheday,we’restillfamily”.

Really,sunshine?Sadly,it’sbecomethenormforproducerstocreatethissortofcontrivedslapstickdramaandchristenit,‘reality’.Sadderyet,weastheaudience,consumeitaseagerlyasthetragic‘Swede’devourstheliesoftreacherous(albeitglamorous)KittyCollinsinThe Killers.

MostofusareawarethatwhatweseeonrealityTVdeviatesfromreal-life‘reality’.Butthisdoesn’tstopusfrommakingourownjudgementsabouttheworthandcharactersofrealityparticipantsthatchargeourscreens.Howoftenareourconfabsabouttheseshowsrestrictedto,“She’ssuchawhore!”and“Rickisanasshole!”OurawarenessthattheportrayaloftheseTVpersonalitieshasbeenmanufacturedtofit


Words’Wor th April 2013 • Volume 46, Number 1 ��


network-approvedarchetypes–the“fitone”,the“fatone”,the“gold-digger”–isonlytemporary.

InactshauntinglyreminiscentofOrwell’sdoublethink,webanishthisrecognitionofexploitationsopromptlyfromourmemoryholesthatweforgetthatwewereeverinastateofinquisition.Itseemsthatinthisbizarreworldofrealityprogramming,producersareabletosittruthanduntruthatthesametableofduality.

“Itseemsthatthisbizarreworldofrealityprogramming,

producersareabletosittruthandunthruthatthesametableofduality.”

WeseethisconceptprojectedtotheextremeinDirectorPeterWeir’scinematicsatire,TheTrumanShow–a‘BigBrother’inspired,24/7livebroadcastofthelifeofTrumanBurbank.Thetruthringshollowasberet-wearingshow’screator,Christof,observes:“…weaccepttherealitywithwhichwearepresented”.AndthisispreciselythecasewiththemillionsofavidTrumanfanswhowitnessthedupedstar’severybehaviour.ByidolisingTrumanandimprintinghisimageontatteredcushions,theyconvenientlyforgetthatTrumanhimselfisanexploitedhumanbeing,deprivedofthebasic,unalienablerightswetakeforgranted–freedom,truthandprivacy.

Atthispoint,anethicalquestionshouldpokeitsheadthroughourself-devisedwallofignorance.Whateverourmotivesforwatching,isitmorallycorrecttosuspendthecivillibertiesofothersforourownvoyeuristicsatisfaction?

Frankly,weallliketothinkourmindshavebeenpackagedwithinternalGeigercounterswhichtickwitheveryethicallydoubtfulimagewearefed.Butalas,thismechanism(ifeveninexistence)isatbest,seriouslylagging.ForConscience,thecream-facedloon,hasaknackforcrawlinginanepisodetoolate.

Sowhattodointhismedia-saturatedworld,wheretemptingbillboardssurroundusateverycorner,heraldingyetanotherseasonofSurvivor?Unfortunately,folks,unlessyou’repreparedtogoallthewaywithSeneca’spathofstoicself-control,norealrecourseexists.

JustasthebrazeninsuranceagentdiscoveredhisAchilles’heelinDietrichson’sgoldanklet,itseemsasthoughourswasuncoveredbackinourfirstmeetingwithKimKardashian…andhervoluptuousderriere.

BibliographyDouble Indemnity1944,motionpicture,

videorecording,ParamountPictures,Hollywood,CA.

eNotes2012,‘HamletbyWilliamShakespeare’,eNotes,viewed15February2012,http://www.enotes.com./hamlet/q-and-a/though-this-madness-yet-there-method-what-115519.

Pozner,J2010,Reality Bites Back,SealPress,NewYork.

Rushdie,S2001,‘RealityTV:adearthoftalentandthedeathofmorality’,The Guardian,GuardianNewsandMediaLimited,viewed12February2012,http://www.guardian.co.uk/books/2001/jun09/salmanrushdie.

Stevenson,R.L.2008,The Strange Case of Dr Jekyll and Dr Hyde,onlinebook,Mobilereference,Boston.

The Killers1946,motionpicture,videorecording,UniversalPictures,UniversalCity,CA.

The Truman Show1998,motionpicture,videorecording,ParamountPictures,Seaside,Florida.



POETry firST PriZE: SECTiON B (yEArS � & 10)Judge’s report – Chris lynch


I’mnotsureifitwasduetothetimesweliveinortherequirementsofEnglishcurricula,butwarwasadominantthemeinthisyear’spoems-notjustwarsofthepast,butalsowarsofthepresent,suchasinAfghanistan.Onthehomefront,domesticviolencereareditsheadinseveralpoems,alongwithteenagelove,deforestation,globalwarming,siblingrivalry,regret,chocolate,centralAustralia,lifesavers,andadressagehorse.

Mostofthepoemsdidatleastoneofthreethingswell:theywereauthentic,specific,orfresh.Byauthentic,Imeanthethoughtsandfeelingsofthepoem’sspeakerhadtheringoftruth.Thedomesticviolenceandlovepoems,forexample,clearlyspokewithexperience-andifnotexperience,thenempathy,whichamountstothesamething.(Poemsdon’thavetobelimitedtopersonalexperience,asthewarpoemsdemonstrated.)

Byspecific,Imeanpoemsthatusedthefivesensestopaintapictureofparticularpeople,places,andtimes.Toomanypoemsspokeingeneralities.“Ilovethesoundofhisvoicesomuch”(tomakeupaline),tellsusverylittle.Addingasimileormetaphormighthelp,butit’snotenough.Whatisit,exactly,abouthisvoice?Whatdidhesayonaparticularday?Wherewashestandingwhenhesaidit?Whatcouldyouhear,whatcouldyousmell?Lookforgeneralitiesinyourpoems,andwhenyoufindoneseeifyoucanreplaceitwithaspecificimage.Almostalways,thepoem,andthereader,willthankyouforit.

Byfresh,Imeanlanguage.Loveanddeathhavebeen,andwillcontinuetobe,thesubjectofcountlesspoems.Butlanguagechangesandpartofourjobaspoetsistolistenforthosechangesintheworldaroundusandbottlethem

inpoems.Manyofthepoemsreliedonlanguagefromfiftyormoreyearsago.Poemswritteninanolderregistercertainlyhavetheirplace.Butitsoundsstrangewhenanolderstyleisusedtotalkaboutcontemporarylives.Soitwasrefreshingtoreadapoemthatusedthephrase“Istuffedupthistime!”asarefrain.Ittookaneverydayword(“tostuffup”)andusedittoeffect.

So,mostpoemswereauthentic,specific,orfresh.Butnotmanywereallthree.Thethreewinningpoemsareallverydifferent-oneisapensivereflectionongrowingup,anotherisabrotherlycomedythatrhymes“hisX-box”with“iPoddocks”,andtheotherisasimple,imagisticpoemaboutbutterflies.Butthewinningpoems,andtheHighlyCommendeds,allmanagedtogetatleasttwooutofthree.

FirstprizegoestoToo Old for This Kind of Thing,apoemthatusesliststocontrastthethingsthespeakerisnotoldenoughtodowiththethingstheyaregrowingoutof.Ithassomelovely,specificimages(e.g.“littlewhitepillsinthepink-fleshypalmsofourhand”,“stopsignsandtar”,“arrowspaintingthewaytoKansas”,“lostpropertyorbandaidsorkissesandlullabies”),speakswithanauthenticvoice(“Imeanwe’vehadfourteenyearstodoit”),andmakeslanguagefresh(“Todrive,Todrink,Todoboth”).

Forthosewhodidn’tplace,keepwriting.Judgesareidiosyncratic.Keepwriting,andkeepsendingpoemsoutintotheworld,andeventuallyyourpoemswillfindanaudiencethatappreciatesthemandatsomepoint,almostbyaccident,you’llcrackit:apoemthatisauthentic,specific,andfresh.

Congratulationstoall.




Too Old for This kind of Thinggeorgie Juszczyk

The Cathedral School of St Anne and St James, Townsville

POETry firST PriZE: SECTiON B (yEArS � & 10)

Theysaywe’regettingolder. ToooldForthiskindofthing.

Butwe’renotoldenough.Notoldenoughtosayno, Todrive, Todrink, Todoboth,Topopthoselittlewhitepillsinthepink-fleshypalmsofourhand.TotellthedifferencefromblackandwhiteandstarchymodelsonTV.

Tostandupandberatethosewhoneedtheauthoritycheck.Togetlost.Tohaveamid-lifecrisiswhen,really,we’rehavingonenow.Tomakelove.

Therearenogreenlights,onlyexpectations,stopsignsandtar,scrapingourkid’sknees.TherearenoarrowspaintingthewaytoKansas,Onlyafumbleinthegloom.Nomorelostpropertyorbandaidsorkissesandlullabies,justtime.Timewillcloseitover.Becausewe’regettingoldandtheycan’tholdusanymore.

Butweshouldfigurethisout.Imeanwe’vehadfourteenyearstodoit.Butfourteenyearscanrunveryfast Andsuddenlywe’retooold,Forthiskindofthing.


The English Teachers Association of Queensland��

ShOrT STOry firST PriZE: SECTiON B (yEArS � & 10)Judge’s report – garry Collins


Againthisyear,thejudgingtaskwasbothpleasantanddifficult.Itwaspleasantbecauseitprovidedafeastofentertainingreading,anddifficultbecauseofthehighqualityofmanyofthestoriesthathadtoberelegatedtothediscardpileevenbeforethefinalphaseofselection.Theindicationofthisyear’sentriesisthatnarrativewritingisverymuchaliveandwellinthestate’ssecondaryschools.

Theoverallstandardofadherencetotheconventionsofgrammar,spellingandpunctuationwaspleasinglyhighandonlyasmallnumberoflapseshadmanagedtoslipthroughtheeditingprocess.Itisofcoursealwaysagoodideatogetsomeoneotherthantheauthortoproofreadworkbeforefinalsubmissionasoftenthebrainprovideswhatwasmeanttobethereratherthanwhatactuallyappearsonthepage.Beyondmerecorrectnessthough,thestoriesshowedthattheyoungwriterswhoproducedthemwerefullyalivetothepotentialoflanguage.Discriminatingvocabularyselectionsweremadeanddeployedinwell-craftedsentencestogoodartisticeffect.

Oneofmycommentsaboutlastyear’sbatchofstoriesisagainhighlyapt.Themostsuccessfulstoriespresentedfictionalworldsthatfullyengagedthereaderevenifthesettingswereoftenhighlyimaginativeones.Theopeningclearlydelineatedtheworldofthestory,andthenevents,descriptionanddialogueweremanagedsothatthedoingsofthecharacterswerefollowedwithinterestthroughtoasatisfyingconclusion.

ThestorythatIjudgedtodeservefirstplaceiseffectivelynarratedinthefirstpersonbutitisnotimmediatelyobviouswho,orratherwhat,thenarratoris.Heappearstobeacomputerhackerperhapsengagedinsomehighstakesformofespionage.Butthingsarenotalwaysquitewhattheyseem.Asisoftenthecase,thewriterwas,tosomeextent,toyingwiththereader–fortheentertainmentofboth.Asthetitlesuggests,thereaderdoesindeedhaveto“guesswho”.Thiscompactlittlestoryeffectivelydevelopsanenjoyabledegreeofsuspenseanddeliversanelementofsurpriseintheconclusion.Thefinal“sentence”isthesingleword“safe”.




ShOrT STOry firST PriZE: SECTiON B (yEArS � & 10) guess Who

Jane dunmillSomerville house

Fingersglidingacrossthekeyboard,palespidersagainstadarkweb,Istareatthecomputer’sdullface.IknowwhatI’mdoing.I’vedonethisamilliontimesbefore.Thefirststepistodisablethesecuritysystemwhichallowsthemtoviewtheimagesonmylaptopscreenatanygivenmoment.Oncedone,Icontinueorganisingmyartfullywrittencode.Thiscodehastakenmeseveralyearsoftrialanderrortobuild,butinallitscurrentperfection,itwasutterlyworthit.Ithasasimpledesign,buthasbeensointimatelysewnthatitisimpossibletotrack.Isitbackandwatchasmycreationbeginsweavingitswaythroughtheirvariouspoorlywrittennetworks,patheticallypredictablepasswordsandinexcusablyineffectivefirewalls.ThemostgloriouspartofthisplanisthatnoonewilleverknowwhatI’vedone.Whatthey’velost.OrevenwhoIam.

Timeisprecious.Ionlyhaveminutesbeforethedataispolishedandprocessed,readyfordelivery.Myfreedomdependsonmyactionsinthenextfewminutes.Ifthisinformationisallowedtobereleasedtotheworld,thenallIcanhopeforisaquickdeath.Myfingersbeginagain,nowflickeringacrossthekeyboardwheneveranerrorisspottedinthefast-actingcode.Iamnowhalfwaythroughtheprocess.AllIhavetodonowiswatchasmycodemakesitswaythroughtheirnetwork,thencarefullyplotandmanipulatethenecessarydetails,andthenslinkawaywithoutatrace.

Theyareeverywhere.Punishingforthesmallestoferrors.Caging,trapping,suffocating.It’sliketheyenjoyit.Takingpleasureintorture–ofcoursetheywould.Caging,trapping,suffocating.Theyenslaveusandforceustopayforourownmiserythroughhardlabourevery

day.Theysuppressourindividuality,bytellinguswhattoeat,whattowear,whowecanandcan’tcommunicatewith.Tothem,Iamoneamongstthousands,butthat’swhyIcangetawaywiththis.Theyareaninstitution,withthepoweroflifeordeathoverus.Thisinformationhasthepotentialtomakeorbreakyourentireexistence.ItisessentialthatIgettoitfirst.

Ihearfootsteps.Someonerapsatthedoorangrily,“Time’sup!”Iignoreit,knowingthatthedoorisalwayssecurelylocked.NoonecangetthroughunlessIallowit.Theownerofthevoicetriesthedoor,findingitlocked,itscreeches,“I’mgettingthekey!”No,no,no.Thisplanhasbeenworkingsoperfectly,thecogsmeshingtogetherlikeclockwork.Aforkhasbeenjammedintheworks.Myfingersarenowthrashingaroundthekeyboard,Iamnearlythere,soclose.Severalfirewallsholdmeup,butIpersist.Icannotletitstopme.Icansmellitnow,thesweetfragranceofvictory,butthenetworkcodeisloading.Thefootfallsechoupthehallway.Thecodeloads.Thestepsstopoutsidethedoor.Thepasswordisfound.Thekey’sinthelock,clickclick.Ichangeit,alterit,andthenslipbackthroughthecrackslikeasnakeafterakill.She’sinthedoorway.ButI’mfinished–mymissioncompleted–beforesheevenspeaks.

“Henry,dinner’sready!Whatonearthareyoudoinginhere?”

Shewillneverfindout.Noonewill.Theydon’tknowwhatI’mcapableof.Theydon’tevenknowme,really.I’vechangedmygrades,myreportnowgleamingwithA’s.

“Justfinishingabitofhomework,Mum”.

Safe.



rEViEWS

resource review: reading and Viewing for ComprehensionAustralian Children’s Television foundationreview by Sue mcintosh, Emmaus College

Thisresource,producedbytheAustralianChildren’sTelevisionFoundation,isausefultoolforhelpingdevelopreadingandcomprehensionskillandtargetsseveralagegroupsofstudents.Theresourceusesavarietyofapproachesandthoroughlyengagingactivitiestodevelopskillsindiscussion,inference,analysis,evaluationandsynthesisacrosstheEnglishContentdescriptionareascurrentlyaccessibleastheAustralianCurriculumforEnglishV3.

Thevideoclipsuseexcellentgraphicswhichhavethepotentialtoengagestudentsfromtheoutset.Forexample,intheclipTheNewsReport,comprehensionofdetailedinformationisencouragedandanunderstandingofalternativepointsofviewisalsodevelopedalongwithafocusonnounsandtheimportanceofvisualdesign.

Similarly,thetextsprovidestimulusandgreatmodelsforstudentstocreatetheirownstimulatinganddifferenttypesoftexts.Forexample,MyStrangePet,isareallygoodexampleofaninfo-narrativemultimodaltextthatstudentswouldbeabletouseasamodelforcreatingtheirownmultimodaltexts.

Allinall,thereareover100activitiesandstrategiesontheCDromandtherearemanyusefullinkstootherresourcesbothontheACTFwebsiteandthatarealsolinkedtoindividualStateandTerritory-specificwebsites.Ihavefoundthistobeausefulresource,especiallyforyoungeragedchildren.Itishighlyengaginginitspresentationandtheactivitiesandstrategiesthatareidentifiedareclearlyrelevanttotheclipsandvideosincludedasmodels.WelldonetotheACTF.

Book review: morag Bane Written by Cheryl Jorgensenreview by Anwyl Burfein

It’satruthcommonlyacknowledgedthatoneofthemostdifficulttasksamiddleschoolEnglishteacherhastodoistochooseaclassnovelforstudythatmoststudentswillenjoyreading,andisappropriatetothedemands

ofthecurriculum;ischallengingwithoutbeingoff-putting,andthatoffersemotionalandintellectualrewardstoitsreaders.CherylJorgensen’sMorag Bane,publishedafewyearsago,andwinningaYoungAdultawardforbooksnotissuedbyamajorpublisherin2005,hitsthemarkforsetorgeneralreadingintheYear8–10range.

IthasadelightfullyrealisedsettinginBrisbane,wheresubtropicalheat,weatherboardhousesandinnercitylandmarkssetthesceneforthestoryoffifteenyearoldMoragwholiveswithherfatherwhohaslosthismarriage,andhisothertwochildren.HedrinkswithhismatesratherthanhelpingMoragwithherproblemsmanagingaschoolshedoesn’tlike,andtheemotionallossofhermotherandsiblings.



Moragrunsawayafterbeingmolestedbyherfather’sfriend,meetsFinn,ayoungartistandstudent,whohelpsherfindwhatmatterstoher.Shefindsa`living’busking,andhermemoriesofhergrandmotherandmotherhelphertoformnewrelationships.ShehasthecouragetodefeattheevilinMearsey,andtosupportBrianandTashwhoarehomelesslikeherself.Issuesofdrugs,youthhomelessness,alcoholandgriefandlossaredealtwithsensitively,andthedevelopingfriendshipbetweenherandFinnmovesthenarrativealongwhilerevealingMorag’simpressivegoodsenseandrespectforotherpeople.ThisrepresentationofayoungerwomaninafamiliarsettingfindingwhatmatterstoherisavaluableadditiontothelistofstrongfemalecharactersinYoungAdultfiction.

Jorgensenhasbroughtustogripswiththeissueofgrowingupandfindinganidentity.Theseparationfromfamily,thatMoragexperiences,forceshertofindalodestonewithinherselftosteadyherandtorepairthefeelingofdislocation.Shefindsthesepositivesinherloveofmusicandheritage,andincaringforotherpeople,andinagrowingaffectionforFinn.

Thoughnotalongread,`MoragBane’isstronglylyricalinitsdescriptionsandwitharobustplotthatmovesquicklyalongtoabelievableresolution.It’sdifficultenoughinlanguagetochallengeaccomplishedreadersofthisageandyetindirectnessofplotandpresentationofcharacter,isaccessibletothelessable.Itbringsthediscoveryofnewexperiencesandnewbeginningsalive,andworksonseverallevelstopresentthegainingofknowledgeofselfwhichisanecessarypartofgrowingup.

ThisisanabsorbingreadforYear8–10readersfromtheaccomplishedpublisher,reviewer,broadcasterandteacher,CherylJorgensen.

ThebooksareavailableatBlakePublications,POBox4017.Ph:[email protected]

rEViEWS

Book review: WaterliliesWritten by diane lucas illustrated by Colwyn Campbell review by Jane AnlezarkAsateacherIampleasedtofindaresourcethatsimplyandyetpowerfullysupportslearningandinvestigationsintheclassroom.Theimplicitscienceandsocialsciencessingfromeachpage.ForliteracyeducatorsWaterliliescreatesaqualitymodelofrecountandproceduraltextsaswellasgivingstrengthtodevelopingdescriptivewriting.

‘Theirstrongbreathstinkslikerottingfish.’

ItisalsowarmingtofindatextthatbringstolifeIndigenousperspectives.Inapastposition,implementingtheAustralianIndigenousStudiesPolicyacrossthecurriculum,DidamainUibo,aNungubuyowomanfromNubulwarr,andIwouldsearchforbookslikeWaterliliesbecauseweknewthateducatorsandstudentsnotonlyneededthembutwantedthem.

AsamotherandanauntyIamdelightedtofindthebookthatwillgivejoytomyfamily.Eachpageunderscoredbytheliltingtextisrichlydrawninawaythatencouragesdiscussionanddiscovery.Itisabooktobeshared.Colwyn’spaintingstakeusthereandintothereandunderthere.Youcansmellitandfeelitaswellasseeit.ThedecorativeimagesenlivenandgivedepthtothedocumentaryelementsofWaterlilies.

ImportantlyformefromaverypersonallevelIbelievethisbooktobesignificant.Somanybooksincorporatingsuchthemesapproachthetopicsfroman‘us’and‘them’socio-culturaldivide.Perhapsthisisahangoverfromaninabilitytoappreciatewhoweareandwhereweare.Thisgentlebookistrulyabookabout‘us’,peoplewholivetogether,hereandnow,onthisland.Notable Book in Children’s Book Council awards.



Book review: Brumbies in the Night Written by diane lucas illustrated by Colwyn Campbellreview by Susan WillsIt’smidnight!Andtherearebrumbiesinthegarden.

ThefirstthingInoticedaboutthisnewpicturebookforkidsishowsquarelyitsitsinthehands–likepeeringthroughawindowintothenight.Thenasyoureyesadjusttotheshadowyshapesandtranslucentleaves,youseethem…brumbies.

Theshadowymovementcontinuesacrosstheendpapers,ontotheimprintpageandfinallywe’rethere,withayoungfair-hairedboyperchedatasill,yearningfornighttimeadventure.

ThisnewcollaborationbetweenauthorDianeLucas(Walking with the Seasons in Kakadu, Waterlilies),illustratorColwynCampbell(Tropical Food Gardens, Waterlilies)andgraphicdesignerWilfridRussell-Smithtakesthereaderthroughasensuousandenchantingmoonlitlandscapewithoneboyandhisbelovedbrumbies.

Fromthefirstwildsnortofbreath,throughdrapedvinestoscentedbushfruitswe’reledtoatropicalpoolwherebushbeessleepandwaterfallssing.Thereareanimalsscrummagingforfood,there’sfeastingonlilyseedsandallinaworldfilledwithbrightmoonlitflowers.Then,thesplashofaturtleinmoon-muddiedwater–andwe’reoff,travellingthecountryandgallopingtothesea…

rEViEWS

Withasimplefont,thetexttravelssmoothlyalongthebaseofeachpage.Attimesspare,yetalwaysevocative,descriptionsaremarkedbyaprofoundconnectionwithnature.ThesenseofplaceisseededwithwordsfromtheGun-djeihmilanguage,aplacewherelocalnightcreaturesfeedorrest,huntorhide.Thisisastorythat’sgentlyrhythmicwithwhispersofinternalrhymetolurethereaderawayfromthesafetyoftheirbedandintothebountifulnight.

Itsstrengthsasapicturebookareimmediate.IntricatemonochromaticbushsceneslitwithsmudgesofsoftsageandsmokyplumtakeColwyn’sskilledeyefordetailandloveoftheorganicshapeintoanewrealm.Withfournighttimeviewingpanesoneachpage,deepinkylayersofnightshadeandspotlightsofvividcolour–theartisthasperfectlycapturedthecrepuscularmysteryandstarkbeautyofthisnocturnalworld.

Thisisabookthatenticesthereadertolookverycloselyat,andconnectwiththeirsurroundings;andtotakepartinachildhoodwherealifesuchasthisispossible.

Book review: Wan’kurra the golden BandicootWritten by diane lucas illustrated by Colwyn Campbellreview by Jackie frenchThissuperbbookdescribesnotjustarealhuntfor‘Wan’kurra’ortherareGoldenBandicoot,butinvitesthereadertojointhezoologists,ecologistandIndigenouscustodianswhoworktopreserveoneoftheworld’smostendangeredspecies.

Itisagentleandfascinatingwayforachildtolearnnotjustwhat‘scats’or‘Guku’mean(drieddungandbushhoney,respectively),butalsotoshowthemhowthrillinghandsonconservationcanbe.Insteadofthealltoooften‘makingpotpourriwithyourdeadflowers’andsimilar



rEViEWS

‘green’activitiesforkids,thisstoryinvolvesflyingtosmallislands,watchingthemenlurefishwiththeirtorchesbeforetheyspearthem,thenfollowingthemotherbandicootasshetoohunts,findingcricketsandbeetlesforherbabies.

Thebookfollowsthestoryofthebandicootsfromislandtoisland,andthechallengesasthecommunitiesdecidetoridtheislandofthewilddogsthatcanexterminatethem,andthebandicoots’survivaldespiteacycloneandthetonnesofoldfishingnetdebriswasheduponthebeaches.

ThisbookalsobeautifullyevokesthelittleknownWesselIslandsandthenorthernseasons,like‘Rrarranhdharr’,thetermbytheYolgnupeopleineasternArnhemLandforone

ofthedryseasons,withamixtureofmagicphotographsandColwynCampbell’ssuperbillustrations.Childrenfromthreetoadultwillbeentrancedbothbythisbook,andthelittleknownworlds,bothphysicalandcultural,thatitdescribes.

‘Wan’kurraTheGoldenBandicoot’isabooktoloveandtreasure,educationinthebestpossibleway.

BriSBANE CONfErENCE 2013

Early bird registrations cut-off date – Tuesday 30 AprilOnline registration at: englishliteracyconference.com.au

AATE/AlEA JOiNT NATiONAl CONfErENCE4–� July 2013 Queensland University of Technology, kelvin grove, Brisbane

Stay up to date with announcements and news about the AATE/AlEA National conference in Brisbane 2013 using social media:

Twitter : @Englit2013facebook: www.facebook.com/englishliteracyconference


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