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Peer collaboration

Transcript

Student 1:

You're missing a full stop at the front there first.

Student 2:

On yeah. What else?

Student 1:

I think you have to have a capital letter at the front of Honolulu.

And you've um, put Hawaii in both... in one sentence. You only need it once.

Even though we're not in the same space, we can still use Google Chat to chat to each other, give questions, answers. Yeah.

Back to Gerard's class - Learning Inquiry

Laura's class - teaching inquiry

What strategies were most likely to help Laura’s students learn what they needed to learn?

Through diagnostic and formative assessment, students are grouped deliberately to offer extension for all students. The tasks are scaffolded through an adaptation of the three level reading guide, based on Bloom’s taxonomy of thinking. The three level writing guide supports students through forming simple ideas with detail - Curriculum Levels 1 & 2 - to adding detail in an organised way. This process scaffolds them towards the final paragraph task which requires them to demonstrate “develops and communicates increasingly comprehensive ideas, information and understandings” NZC English Level 5 - Ideas.
The video clip shows the benefits of mixed ability grouping alongside the differentiated task :

  • activation of student’s prior knowledge
  • three levels of questions that increase in depth of thinking and writing
  • oral discussion and visual tasks that links to student’s artistic skills
  • students working at their own pace yet contributing to group discussions. All of these strategies scaffold students to develop increasingly comprehensive ideas.

Video clip: differentiation of ideas

Transcript

Laura:
Remember, we're working on creative writing. So we're building up to a bigger piece of writing. So in the middle of your tables, you have a sheet that looks like this. Okay, this sheet is for you and the people that you're working with to share.

You're going to do three main steps. The three main steps are three different sets of questions which you're going to answer. At the end of each set of questions, there is a short writing activity for you to do. In between doing those questions, there are a couple of different tasks for you to do to help you develop your superhero character more.

On your table there are level one questions. On one side of the page, you're going to have blank superheroes. Okay? On the other side of the page, you have blank superhero logos.

Well, if you have this template and you want your superhero to not necessarily be human, that's fine. You can change this a little bit and make it whatever you'd like it to be. When you finish question... level one questions and you're ready, you think you have some good answers, you can come up and get your level two questions. Again, the same with the level three questions.

Student 1:
So how would we describe the superhero's body structure?

Student 2:
Maybe just focus on like the basics type of stuff, like whether they're going to be tall or short?

Student 3:
And so my character is going to have long hair, good tan, broad chin, really square chiselled face.

Student 4:
So, I've already finished my level one and my drawing. I'll get my level two.

Student 5:
So what are you guys' superhero's names going to be?

Student 6:
I'm going to go with Whirlwinds.

Student 7:
I'm probably going to go with ExtremeForce.

Student 4:
What about you?

Student 5:
I think I'm going to call my superhero Red Falcon. Because he's like strong, he's like ... red just means like "strong". You know, all that stuff. And falcon because I'm going to give him the power to, like, fly and stuff.

Student 2:
You guys, I've finished the first couple of questions. You know, I've got my superhero's name. I know what they look like. I'm pretty sure I know what they wear. I know what city they live in, I think. And I've got their superpower and stuff. So I'm going to do the extension activity, where I list three things that they've done to help people in their city.

Student 1:
Are you stuck on that? Do you want some help? You could've, like, maybe wrote down that, I don't know, maybe your superhero could have saved someone from a burning building. Maybe.

Student 8:
Why did you call your superhero The FoxMouse?

Student 2:
Actually I got it ... I thought back to my childhood and my dad used to call me "Fox". And he also used to call me "Squeaker-mouse". So I put those two together and I got, The FoxMouse.

Student 9:
May I just ask why they both look the same?

Student 10:
I'm giving her an outline of a monster so we can have opposite, like, enemies of monsters. That's the good guy, who makes everyone all happy. And then this person here is going to be the bad guy, who makes everyone sad.

Where do you want the hands?

Student 11:
Just put it where that one is so it looks like twins.

Student 12:
I'm on level three, which has got... you need to put more detail into the question, which makes it harder.

What evidence did Laura draw on?

As a Te Kotahitanga trained teacher, in a school where this is the primary professional development programme, the pedagogy of that programme informs all classroom practice.

What evidence did Laura draw on from her own practice or that of her colleagues?

Writing mileage and accuracy issues are barriers to writing for many Massey High School students. Therefore beginning with drawing and talking allows students to generate ideas before facing the writing barrier. The gradual build-up of depth and detail through differentiated tasks allows students to begin with a clearly achievable task, then move into the level of writing required at curriculum level 5 (which is the aim for the whole class in the end of year assessment). This level of the curriculum requires deliberate choice of content, language and text form and this task scaffolds students into reaching that level of writing.

Laura's class - learning inquiry

Criteria for identifying effective literacy resources to support teaching learners with dyslexia

Effective Literacy Practice Years 5-8

Choice: Student choice of tasks and student choice of words

 

Transcript

Student 1:
When we do our mahi, we can choose... there are multiple choices that you can do. Like, you can do an interview, a fictional interview, that you write about or you can do a fictional story about someone not fitting in. So, yeah, so we can choose out of those activities.

Hama:
You're going to pick two topics. You're going to pick one, He tuhinga pakimaero. One is a creative writing topic. Ka pai? The other one is, He tuhinga ōkawa. The other one you're going to pick a formal or a transactional writing topic.

So our two creative topics are these – number one, write a fictional interview with Mike Jonathan... Ka pai... about Hawaiki.

Write a fictional account about someone trying to find acceptance. Ka pai? Acceptance, and finding acceptance, is the big theme in our short story. So I want you to give your interpretation on it. So you need to pick one of these. And you need to pick one of these, here. Ka pai?

These things here, they get a little bit harder as we go down. So it's up to you which one you pick. But I'd really like us to challenge ourselves and maybe go for one that's a little bit of a challenge for us.

Tuatahi, who's read Te Ao Hou magazine? Ka pai.

Student 2:
I just went on to the dictionary online to see if one of the words that I added in my story made sense. That word was, being "indecisive". I just put that word in my story because my story is about acceptance. And people are complaining... they're complaining about things not going their way. Well, being "indecisive" means you can't make your mind up, and stuff. So if you want to accept yourself, you just want to see what you want to accept in you.

back to Hama's class - teaching inquiry

Peer evaluation

 

Transcript

Hama:
Yeah. So I would have seen an example that a student has produced and discussed with them and clarified, okay, what's going on here? How have you done that? And why have you done it? So as long as they can articulate it to me, then they're good enough to get up and speak to the class. Even if a part's missing, even if it's not perfect, even if I would have put it a little bit differently, it doesn't matter. It's another voice that's teaching them. It's coming from a peer.

With the writing, I always display student writing up on the board. So they can see exactly what the student has done. And I'll get that student up sometimes to talk about it, saying, "Oh, this is why I've put this here. This is what I've done here". Sometimes just displaying student work, in itself. You know, the students, many pick up, "Great, what they've done here" or "I can use that in my one". It doesn't even have to be explicit. It doesn't have to be explained.

But again, using students to do the modelling and getting them to do some of the teaching has been really invaluable. And it challenges the more able students in class as well.

Student:
When um, I got [name] to help me read my story. When she reads it, it helps me in two ways. It helps me to see if it sounds right, or to see if I need to change things.

back to Hama's class - learning inquiry

Feedback

Transcript

Student 1:
So Sara, how's your poem going?

Student 2:
I think it's going good.

Student 1:
Can you read it to me?

Student 2:
Sure. Joy – yellow, orange and neon colours. Sounds like the last laughter of little kids in a playground. Tastes like a freshly made chocolate pie. Smells like the fragrance of Calvin Klein cologne. Feels like a big hug from your mother. Meeting up with friends you haven't seen in ages, is joy!

Student 1:
That's pretty cool. Do you remember what Miss said about what makes a good poem?

Student 2:
Yep. It has to be descriptive and has to paint a picture in your head. And I think I've done those things.

Student 3:
The teacher would also give us feedback like how we can improve, making it make more sense, different grammar. And it's cool cuz if she's marking our work at home, and we're doing homework, then we can finish it that night instead of waiting for her to give us feedback at school.

Back to Christine's class - teaching inquiry

Exemplar B - Merit

Language Surrounding the Women's Suffrage Movement

The object of my research was to examine the language used by people involved in the suffragist movement, prior to women gaining the vote, to determine what language features were used by the leaders of this movement in their speeches and writings. I wanted also to examine the effects of these language techniques in order to determine how the language used in these contexts may have contributed to manipulating public thinking to promote the cause of equal rights for women. My research centred on the speech and writings of New Zealand's Kate Sheppard and the speeches of Americans, Elizabeth Stanton and Adelle Hazlett. 



A language feature widely used in this situation was allusion. In a speech delivered by Elizabeth Stanton, in a speech to the Women's Suffrage Convention in Washington in 1868, she makes frequent allusions to God and the Bible. eg " She (woman) must respect his (men's) statutes, though they strip her of every inalienable right, and conflict with that higher law written by the finger of God on her own soul." In a speech to the U.S. Congressional Committee in 1892, Stanton alludes extensively to Jesus' passion and death to draw the connection between Jesus' suffering and the suffering of women: " Deserted by man, in agony he cries, ‘My God! My God! Why hast thou forsaken me?'" Adelle Hazlett in 1871 makes reference to the bible and scripture in " The time cometh and is now.' References such as these would have helped to manipulate the audiences into believing that the suffragette movement had God on its side. 



Extensive use was made in this context of the rhetorical question. In a pamphlet produced by the Franchise Department of the Women's Christian Temperance Union in New Zealand in 1892, Kate Sheppard ten times uses the repeated question starter of " Is it right that your mother, your sister…..should be classed with criminals and lunatics…..? Is it right that while the loafer, the gambler, the drunkard, and even the wife-beater has a vote, earnest, educated and refined women are denied it?' Adelle Hazlett in her 1871 speech poses the questions: "Where is your so-called free republic? Where is your boasted equality?" She goes on to ask: "Does justice consist in holding one human being subject to another?" The rhetorical questions have the effect of challenging audiences to consider ideas which they may not previously have thought of. 


The use of war as a metaphor for women's struggle to gain the vote was also a significant language feature used here. In her speech Adelle Hazlett refers to her fellow women as ‘veteran soldiers for the right". Elizabeth Stanton urges women to "buckle on the armour that can resist the keenest weapon of the enemy." In an article in "The Prohibitionist" in1892, where she laments the narrow defeat in Parliament of the ‘Electoral Bill', Kate Sheppard says: "We have suffered numerous defeats, but each battle lost has given us a larger army.’ The use of the war metaphor gives a strength and importance to women's efforts to gain equality. 


Highly emotively charged words are used to exaggerate the negative characteristics of men. In her 1892 speech Elizabeth Stanton says "the male element is a destructive force, stern selfish, aggrandizing, loving war, violence, conquest, acquisition, breeding in the material and moral world alike, disorder, discord, disease and death.". To describe women, however, she uses emotive words with strongly positive connotations: " nature, like a loving mother…..that space, harmony and beauty may reign supreme…" In her 1892 pamphlet, Kate Sheppard asks " Is it right… that a mother……should be thought unworthy of a vote that is freely given to the blasphemer, the liar, the seducer, and the profligate? Quite obviously, these two contexts are directed at a female audience and would have the effect of convincing women that they are every bit man's equal or superior. 



Women's gaining of the vote in New Zealand in 1893 signalled the success of the suffragette movement. Clearly, the language used by these strong women in their fight for social justice could not help but be a factor in empowering women and convincing men of the ‘rightness' of their cause. 



Bibliography


  • Ballantine, Philippa Jane (April1 2002) "Kate Sheppard- Fighting the good fight", published on http://www.suite101. Retrieved on 6 August, 2003. 

  • Hazlett, Adelle (1871), Speech endorsing Women's Enfranchisement.
  • "NZ give vote to women" (8 Sept 1893), published on http://www.dailypast.com. Retrieved on 2 August, 2003 

  • Sheppard, Kate (1892), "Hope deferred", published in The Woman Question, Margaret Lovell-Smith (ed) : Publisher: NZ Women's Press Ltd, Page 8 

  • Sheppard, Kate (1892) "Is it right?", The Prohibitionist, 5 November 1892, published in The Woman Question, Margaret Lovell-Smith (ed. ) Publisher: NZ Women's Press Page 83 

  • Stanton, Elizabeth Cady (1868) "The male element is a destructive force", speech to Women's Suffrage Convention, Washington, published in Penguin Book of Historic Speeches, edited by Brian MacArthur, Publisher: Penguin Press 

  • Stanton Elizabeth Cady (1892), Speech to the U.S. Congressional Committee.

Supporting Māori learners

Access to the web

Transcript

Gerard:
In our current unit we've been doing a research assignment on a famous person who's made a difference in the world. Traditionally as a teacher, you would have to book in and compete with other teachers for computer access. Be very rigid – these are the days that you can do research, these are the days that you can't. It wasn't very adaptable. If a kid missed the day, they missed a day of research, so they didn't have the information.

I think for this unit, what's been most useful is... we've been doing biographical writing and the internet has actually provided a whole range of models for students to see what biographical writing looks like. And they've picked up on that writing style and that voice that you need in biographical writing. And they've picked it up a lot quicker than they have in previous years.

Having a teacher site where all your work is... I've endeavoured to plan term by term, which, as some of the students said earlier, means that whenever they've finished work there's a next step for them to go on to. And just as a student, they can see the big picture of it because they can see it there on the site and they can see where it's going and where it's heading to. It also means that they have access to their work anytime, anywhere. And I think for a lot of our Pasifika students particularly, who live in big families and big homes, often a lot of their work is done late at night once everyone is in bed. And I've had the experience of sitting up on Google at 11 o'clock at night and students starting to log in at that time, and work through to one, two in the morning because that's the best learning time that they have. And that was surprising for me as a teacher because I didn't think that was the case. But I think you just never know what's the best time for an individual to do their work.

Student 1:
I dislike waiting for the teachers because I'm not the only student in the classroom. And teachers, they go around and help others. And if we're working on our Notebooks, there's always another activity for us to be able to do. But if we're on our pen and paper, we have to wait and wait, and wait, like forever. And sometimes when I wait forever I go off task when I'm on pen and paper. I talk to my friends and that's how I go off learning.

Back to Gerard's class - teaching inquiry

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