Skip to content

Join Today

Member portal

NSW Teachers Federation
NSW Teachers Federation
  • Home
  • Courses
    • All Courses
    • All Conferences
    • Primary
    • Secondary
  • Journal
    • Journal Issue
    • For your Classroom
    • For your Staffroom
    • For your Future
    • For your Research
  • Podcast
  • About
    • Who we are
    • What we do
    • Our Presenters
    • FAQ
    • Contact Us
NSW Teachers Federation
  • Home
  • Courses
    • All Courses
    • All Conferences
    • Primary
    • Secondary
  • Journal
    • Journal Issue
    • For your Classroom
    • For your Staffroom
    • For your Future
    • For your Research
  • Podcast
  • About
    • Who we are
    • What we do
    • Our Presenters
    • FAQ
    • Contact Us

Journal Category: For your Classroom

A Very Useful Aspirin: Networks and the New Stage 6 Mathematics Standard Syllabus

David Watson reflects on why the new Mathematics Standard course is useful for students and explains how to teach the new Networks topic…

A problem

The problem presented by the new Mathematics Standard syllabus did not reveal itself straight away.

In preparation for the new Networks topic, I reviewed everything I could. I searched key words such as Kruskal’s Algorithm and Prim’s Algorithm in Google and reviewed the resources provided by NESA to support our programming and assessment.

In doing this work I was quickly reminded of my over-confidence while studying Network Theory at university. It was the beginning of this millennium and I was much younger and, perhaps, less wise. I was twenty-two years old and in my final year and I was amazed at how simple I found the concepts. I even remember thinking that, “I could score 100 in this course!”

Score 100, I did not.

Upon exploring these Networks concepts again now, I enjoyed feeling good at it. It was fun to experience success. Then, while exploring examples online and reviewing the syllabus further, I found the problem that I now consider the biggest danger in my programming for 2018…

It was all a very nice experience for me to return to my university days, to rediscover learning and knowledge I had thought lost or, at least, forgotten. Yet, in amongst the many applications listed in the syllabus, including travel times, power cabling and garbage bin routes, all of which made sense to me, I realised I needed to think on how to help Networks make sense for my students.

Not just make sense, but actually be useful!

To steal a metaphor from Dan Meyer, if Network Diagrams, Shortest Paths, Minimum Spanning Trees and Critical Paths are the aspirin, how do we create the headache?

So, what are we doing with Networks?

In this section, I will present some examples of approaches to introducing the new concepts and reflect on some teaching challenges that I encountered while learning about this content. At the end of the article, I will consider possible solutions to these teaching challenges.

Before you read any further, this article assumes the reader is comfortable to convert an image or table of a real world situation into a network diagram and to understand the language of Network Theory. If you need help at this level you might visit the Mathspace Essentials free, online textbook for a simple and concise explanation, as this is the first section for both the Mathematics Standard 1 (MS1) and Mathematics Standard 2 (MS2) pathways.

Konigsberg Bridge

In Mathematics Standard 2, one additional example is the Konigsberg Bridge problem. Images such as the one below are easily found via an internet search. The map of the city of Konigsberg in Prussia illustrates that the city, either side of the Pregel River and including two islands, includes seven bridges. The problem posed is whether a path can be drawn, with any starting point, so that all bridges are crossed exactly once.

Source https://en.wikipedia.org/wiki/Graph_theory#/media/File:Konigsberg_bridges.png

This bridge town and problem has many interesting elements, and essentially serves as an opportunity for students to investigate networks and practise their skills in modelling a real world situation. A possible diagram that models this situation is below. Click here to view image

The seven bridges are represented by edges and the four separate land sections are represented by vertices. The problem now becomes: “Is there a path that travels along each edge exactly once?” The answer becomes apparent after a few attempts.

It is interesting to note that Konigsberg is now called Kaliningrad and only five of the seven bridges still exist (only two in their original form). This can give rise to discussions about what this new situation does to the problem, and does it matter which of the five bridges are still in existence?

Konigsberg Bridge teaching challenge

My first teaching challenge with this new topic arose when I found it easier to ‘play’ with this problem using the original image than when I attempted to use the new diagram above. I was fortunate enough to have stumbled across the same point of view held by many of the students I have encountered in the current Mathematics General 2 course, seeing the creation of this diagram as a needless extra step.

So why draw a network?

Shortest Path

I will return to the question of drawing a network later. For now, we continue exploring, and look into the concept of Shortest Path and Minimum Spanning Trees. These are concepts that are required in both the MS1 and MS2 pathways.

The Shortest Path between two points is a fairly obvious concept if we consider the diagram below. We want to find the shortest path from vertex A to vertex B. This image is partway through the algorithm, and the numbers ‘12’, ‘15’ and ‘14’ in vertices ‘C’, ‘D’ and ‘E’ respectively represent the minimum distance to get to the first three vertices. The shortest path to ‘D’ is through ‘C’. Click here to view image.

From here we would write ‘27’ in vertex ‘F’, as the shortest distance to ‘F’ is through ‘D’. We would then write ‘31’ in vertex ‘B’, making the shortest distance from A to B equal to 31, with the shortest path being A>C>D>F>B.

Shortest Path teaching challenge

Similarly to the Konigsberg Bridge problem, I encountered my second teaching challenge here. This algorithm was effective; however, I wondered if it was particularly different to what students would do anyway? It was, in essence, an exhaustive method of solving the problem and I wondered if it was still a useful tool for students?

Minimum Spanning Trees

Once again, for now we push on and investigate Minimum Spanning Trees.

I discovered the definition: a set of edges with the minimum cost that connect all vertices together. This concept is, obviously, for weighted edges and also for undirected networks. Yet, the application felt a bit less apparent to me, and so I went searching. The syllabus provided a good recommendation of connecting towns, places or locations to a power station or phone network.

In an online search, the problem that arises most is the ‘Muddy City Problem’. This problem involves a city where the mayor has decided to pave some of the pathways between houses to allow driving access. The mayor hopes to allow for all houses to be accessed from any other house; however, the major also wants the minimum possible cost. Therefore, only the minimum spanning tree in the network will be paved. To view a diagram and free lessons for the Muddy City Problem click here.

The number of pavers in the image displays the cost of paving each road (this could be price, resources or time required, and so on). Prim’s Algorithm suggests we first select the shortest edge, and then continue by selecting the shortest ATTACHED edge. This continues until all vertices are included, and, of course, we avoid all loops. You may have already identified that there are many possible beginnings, as the more edges with equal costs in a network, the more likely we are to find equal solutions.

Kruskal’s Algorithm requires us to start with the smallest edge, and then select the next smallest edge, regardless of whether it is attached to the existing tree or not. Again we must avoid any loops. Regardless of where you begin, by the end of the process all distinct sections will link to make a tree.

A breakthrough

It was at this point that I began to see a solution to the teaching challenges outlined above. Not only were these algorithms both immediately helpful and relatively easy to follow, which was encouraging, but I noticed a key point that I thought I might be able to use. All three problems introduced above can be investigated without the use of Network Theory. They may require scaffolding for your class, but I found I could successfully introduce these problems to Stage 5 students, and all were intrigued and keen to “play” with the problem.

Critical Path Analysis

Now we move on to Critical Path Analysis, the first of two major skills required only by students following the MS2 pathway. When presented with a list of related tasks to complete a job, Critical Path Analysis supports us to analyse the situation, identify the shortest possible time taken to complete the list as well as the latest start time for certain steps without delaying the overall time.

This tool has a variety of applications. A simple one with an example I have created is baking some biscuits for afternoon tea. I enjoy this example because it could be just about any recipe, so students can create and analyse their own situation. The table below describes the steps involved, the prerequisites and the time for each step, as well as labels.

We are looking for the critical path, so we draw a network diagram, where the vertices represent a moment in time where you are available to start a new task (or tasks), and the edges represent the tasks themselves. Below is an analysis of the above table.

In the analysis, it is evident that making a cup of tea (Task G) could be started after 21 minutes, and still not delay the entire task. Mixing in eggs, flour and choc chips (Task D) could not begin until after 10 minutes.

The vertices are split in half and down the centre in my diagram (above), with the number on the left indicating the earliest time that jobs that begin from this vertex could begin. The space on the right of each vertex is reserved for the latest time that a task beginning at this vertex could begin without delaying the overall job. How to communicate this latest start time varies depending on the source you are reviewing, and by looking through a variety of textbooks as well as online industry explanations, I have seen a number of different forms of these vertices. These include circles being divided with a horizontal line, or even vertices divided into three parts.

Critical Path Analysis inspired me with applications relevant to students’ future areas of employment, as well as to their present daily lives. All we really need to consider are tasks that are dependent upon one another, and contribute to the completion of an overall job. Finally, and sometimes most challengingly, we are asking students to look for tasks that in some instances could be completed at the same time.

Maximum-Flow, Minimum-Cut Theorem

The final skill included in the new syllabus is the use of Maximum-Flow, Minimum-Cut Theorem. This is used to determine the maximum flow of something through a network. Considering the network from above from A to B, where A would be considered a source (where the flow originates from) and B considered a sink (where the flow ends). The question is what is the maximum flow that can get from A to B? The lines cutting though the diagram represent “cuts”, because they completely separate the source and the sink. Click here to view image.

The blue, curved line is the minimum cut, as it severs the connection between A and B and it cuts through a total of 19. If the numbers in this diagram represent the number of litres of water that can flow from one vertex to the next per minute, then this ‘19’ is the maximum flow per minute from A to B. The most that can flow into ‘B’ is clearly 24, and while we can easily ‘fill’ vertex ‘F’ with 4 litres per minute (min) and therefore maximise this edge (FB), there are only 15L/min worth of edges approaching ‘C’ and therefore we can only fill this with 15L per minute. This means that while CB is able to allow 20L/min to flow through, only 15L/min is available, giving us a total flow of 15 + 4 = 19.

Similar to the Critical Path Analysis, this strategy has some obvious applications, such as in the area of traffic flow, water and power. In addition, both problems are available to students to investigate without first being given the algorithms to solve. And I can feel a really pleasant headache.

So what to do about my challenges?

The question I was trying to solve while working through Network Theory was, breaking it right down, “Why?”

Not necessarily “Why is it in the course?”, although this is a question that would be answered as a result, but rather, why is it useful, and would I be able to help my students to see this usefulness? Again, if these tools are the aspirin, how could I give my students the headache?

The value of the Konigsberg Bridge problem is not discovering whether or not the bridges can be traversed without repetition, but rather, how can we prove and communicate that a solution does not exist, and why it does not exist. While ‘playing’ with the image might be more natural to students, investigating, discussing and communicating why there is no solution is best supported by the network diagram. The proof relates to the odd degree of each vertex, which is difficult to examine without first defining the vertices.

The students I have shared Shortest Path problems with have been able to investigate the problem, and generally find the solution. When subsequently shown the algorithm, the room filled with “ohhhhh”’s of realisation.

They were able to engage with the Muddy City Problem, order events in a critical path scenario and consider the maximum flow through a network. They often found solutions and could explain how they found them, yet had difficulty convincing me or themselves that this was definitely the maximum, shortest or best solution. Most importantly, their confused looks and questions of one another turned to smiles and satisfaction that there indeed was an easier and more effective way. Their headache had been relieved.

Final thoughts

Not only does allowing your students to investigate these problems first without the algorithm support them to discover the need for one, it provides a fantastic opportunity to apply problem-solving skills and communicate and justify their solutions. When an algorithm is introduced, these skills are able to be revisited and enhanced with a deep understanding of useful tools.

And that is a very useful aspirin.

David Watson is a Mathematics Head Teacher in a Sydney High School, experienced in leading teachers from all stages of their careers in syllabus analysis and program development as well as modernising and engaging the Mathematics classroom. He is a graduate of the University of Technology, Sydney and has worked in a variety of school settings, supporting students from a range of different socio-economic and cultural backgrounds. Since 2015, David has been a working party member for Lachlan Macquarie College, providing professional learning and networking opportunities for teachers as well as enrichment days for highly engaged students of Mathematics and Science.

Contemporary (Im)possibilities?: Making Digital Texts ‘Doable’ in the Classroom

Rosemary Henzell helps teachers imagine new possibilities for their English classroom…

But first, the fear…

When the new NESA English Standard Stage 6 Syllabus was released, I imagine many teachers were surprised, and more than a little confused, by the new Module A: Contemporary Possibilities. Even for someone like myself, who has been experimenting and working with digital texts in the classroom for several years now, it seems daunting. Most English teachers were drawn to our subject area because we love literature – books, poetry, plays…the REAL stuff. How can digital texts compete with the richness and depth of the texts we love…and are they even literature?

A second area of concern, and an extremely valid one, is technical expertise: many teachers have little to no experience in building websites or creating digital multimodal texts and, with limited time and resources, how are they supposed to a) learn and b) teach others? I have led several digital units within my faculty, and witnessed firsthand (and felt!) the fear and uncertainty many teachers feel when they are asked to step into this brave new world.

So should we all just choose a film and forget about the notion of digital texts, consigning them to the perennially “too hard” basket? Or could we perhaps take this as an opportunity to engage students in the creation of something wonderful and deeply relevant to their lives?

Imagine if students could…

  • Compose a digital essay incorporating links, images, videos and a link to a survey to gather reader responses?
  • Build a website that explores a local issue or event, with groups of students responsible for 1-2 pages each that included elements such as videos they have made, creative responses, and a quiz?
  • Create a Choose Your Own Adventure experience that offers different reading paths through the story, with added videos, narratives and external links?

A basic unit overview

Module A offers us a chance to help students explore and interpret the digital world they inhabit, and support them to become creators of meaningful online experiences, making them agents in their learning and the world beyond the classroom. Below is a brief outline of how you might approach this kind of unit:

  1. ‘The Good, the Bad and the Ugly’: How have digital technologies affected the way we communicate for better and for worse? Begin with a discussion about the very real issues of online and digital communication. The Guardian Interactive Site The Seven Deadly Digital Sins has some great conversation starters.
  1. Close study of an interactive site or digital narrative focused on a key event or issue. SBS Interactive has an incredible collection of texts on a wide range of issues. They cover a range of text types and offer different reader experiences, for example:
    • The Boat (digital narrative about Vietnamese refugees) with resources available;
    • Cronulla Riots: The Day That Shocked The Nation (documentary and interactive site);
    • Exit Australia (Choose Your Own Adventure simulation presenting Australia as a conflict zone);
    • My Grandmother’s Lingo (short text highlighting endangered languages by teaching you several words of Marra, an endangered Indigenous language).
  1. Creating social change: How global movements are harnessing the power of social media and digital technologies. Examine movements or groups that are relevant or inspiring to students in order to guide their project design. World Pulse is one example, using social networks to change women’s lives around the world.

Possible relevant syllabus outcomes for the unit:

  • EN11-2: A student uses and evaluates processes, skills and knowledge required to effectively respond to and compose texts in different modes, media and technologies
  • EN11-7: A student understands and explains the diverse ways texts can represent personal and public worlds
  • EN11-9: A student reflects on, assesses and monitors own learning and develops individual and collaborative processes to become an independent learner

Creation: the basic project

Students design and build a website or interactive online experience that explores, for example, a local event, place, person or history, or a social issue of importance to them. Their aim is to utilise the forms and features of digital texts to enhance the audience’s experience and promote active participation. The most important points are that the project should be centred around something that matters to students, and that it be shared beyond the classroom. Everything else is up for negotiation. To help you plan an approach to this process, here are some details about how to manage successful Project Based Learning.

The magic of project based learning

Project Based Learning (PBL) has been around for a long time. Its synchronicity with 21st Century Learning ideals and the possibilities it offers for engagement with the Cross-Curricular Priorities mean that more and more schools and teachers are embracing it as an authentic education model. The key to successful PBL lies in the following eight Essential Elements of Gold Standard project design:

  • Key Knowledge, Understanding, and Success Skills – The project is focused on student learning goals, including standards-based content and skills such as critical thinking/problem solving, communication, collaboration, and self-management.
  • Challenging Problem or Question – The project is framed by a meaningful problem to solve or a question to answer, at the appropriate level of challenge.
  • Sustained Inquiry – Students engage in a rigorous, extended process of asking questions, finding resources, and applying information.
  • Authenticity – The project features real-world context, tasks and tools, quality standards, or impact, or, speaks to students’ personal concerns, interests, and issues in their lives.
  • Student Voice and Choice – Students make some decisions about the project, including how they work and what they create.
  • Reflection – Students and teachers reflect on learning, the effectiveness of their inquiry and project activities, the quality of student work, and obstacles and how to overcome them.
  • Critique and Revision – Students give, receive, and use feedback to improve their process and products.
  • Public Product – Students make their project work public by explaining, displaying and/or presenting it to people beyond the classroom.

Source: http://www.bie.org/about/what_pbl

In terms of engaging students in their learning, the concepts of Authenticity, Student Voice and Choice, and a Public Product are crucial. When young people know that they are making something for the ‘real world’ beyond the classroom, it suddenly matters so much more.

For more information and resources, the Department’s Futures Learning site has great material, including a PBL toolkit.

Digital texts made manageable: getting started with Google apps

All Department teachers and students have access to Google’s G Suite through the portal. There are a few reasons I find Google apps such a great tool to work with:

  1. Students need to sign in using their school email, allowing you to track their participation and giving you more control. I found with sites like Edmodo, students tend to forget their password or email account and need to rejoin groups multiple times. Before I used Classroom, I would share Google Docs with students, but they would appear as Anonymous Animals, so I never knew who was writing what.
  2. Everything is integrated, so it is straightforward to move things between Classroom, Sites, etc. It is also far more streamlined and intuitive than Office (in my opinion) which means that people adapt to it and master the basics quickly.
  3. Simple sharing options with various levels of control and privacy. Once you master the Share menu, you can give others access to things in seconds. No more USBs, downloading or emailing things.
  4. Work saves automatically. Since you never have to save your work, you can never forget to save your work. No more lost documents! Also, the History function allows you to revert to previous versions quickly, so even if someone accidentally deletes everything, you can recover it easily.

The apps you’re most likely to use

Sites

An incredibly simple and intuitive site builder. You can choose a pre-made template, or start from a basic site and customise it. Sites integrates with all other Google Apps, so you can upload and insert content in seconds once it is in your Drive. The teacher creates the site then invites students to be editors. Here is a StoryWeb site my Year 9 class made about The Taming of the Shrew in 2016. And here is a tutorial from YouTube about how to use Sites.

Drive

The hub of all your Google apps content. Everything you create will be available in your Drive, and it is available from any computer, anywhere, any time. If you use Classroom, students’ assignment work will appear in your Classroom folder. You can share folders or your whole Drive with others, and the Team Drive function now lets you create collaborative Drives. Here is a tutorial on some basics of Drive by the same person as the one above.

Google Docs, Slides and Sheets

These are Google versions of Word, PowerPoint and Excel. They don’t have all the same advanced functions, but you cannot beat the benefit of students creating a shared document and NEVER having to hear the excuse “Jane’s got our work and she’s away” ever again. Click here for a helpful tutorial.

Forms

At its most basic level, Forms makes quizzes and questionnaires. The responses get collated to a Sheet. However, you can also use it to build in interactivity. Depending on the response chosen, the reader is directed to a certain page, or required to complete an activity before continuing. Well worth investigating possible applications and exploring this tutorial.

Classroom

Having used Edmodo for several years, I switched over to Classroom two years ago. At first it was a bit limited in comparison, but Google continue to build more Classroom features, and it is an increasingly powerful online environment. Since everything integrates so smoothly, it makes sharing work and resources simple.

Final thoughts

Given how much change we are all going to be managing next year, it may not be feasible to leap into digital PBL straight away. However, if you dip your metaphorical toe in the water with a Google Doc here and a Classroom there, you will be amazed at how quickly it integrates into your practice. Slowly build up your own knowledge and confidence, and train students in the apps, through small tasks.

At the end of the day, the goal is engagement and authentic audience. Use the technology to help students reach beyond the classroom and become active voices in the wider world. In the words of Nelson Mandela, “Education is the most powerful weapon we can use to change the world”, and really, that is the contemporary possibility that matters most.

Rosemary currently teaches English at Willoughby Girls High School. She completed her Master of Teaching in 2013, having spent seven years as an adult ESL teacher and TESOL trainer in Australia and Japan. Her MTeach Action Research Project investigated how to raise student confidence and agency in essay writing. Rosemary is part of her school’s Professional Learning Team, and is currently investigating how Project Based Learning and Teaching For Understanding frameworks can be utilised in the English classroom.

 

Dynamic Learning in the First Year of Schooling

Jenny Williams suggests some approaches to starting your kindy kids on their paths to confidence and creativity …

This paper is based on the key messages and suggestions that came out of the Centre for Professional Learning’s Early Stage One conference held in 2017. The focus spans across the dynamic nature of this formative year, including, teaching the joy of reading, using play to develop literacy, exploring mathematics in everyday life, taking kindergarten outside, teaching appropriate behaviours, having fun with grammar and making music and movement a part of your daily routine.

Begin with the end in mind

Q: What brings three hundred kindergarten teachers together for a day?

A: The chance to explore together how to maximise the first year at school for all students!

Remember the Melbourne Declaration on Educational Goals for Young Australians 2008? Two goals from the declaration are quoted in the current NSW English Syllabus K-6:

  • Goal 1: Australian schooling promotes equity and excellence
  • Goal 2: All young Australians become successful learners, confident and creative individuals, and active informed citizens.

These are our Nation’s end goals for Australia’s youngsters and their journey begins at birth and continues on to adulthood.

In addition to the above Australian goals for students, we find these aspirations from Ontario inspiring too:

All children are viewed as competent, curious, capable of complex thinking and rich in potential and experience.’ Ontario Ministry of Education, 2016

We know that learning doesn’t start when a student first walks through the school gates. From the moment a child is born they are learning to be part of a family. Students’ prior to school experiences often include day care and preschool experiences, sport, music and dance as well. Learning and attitudes towards learning are beginning to be formed long before students arrive at our classroom door.

The Early Years Learning Framework informs the education of students up to the age of 5. A review of the outcomes of the Early Years Learning Framework can provide insight into the rich foundations established by families and more formal prior to school experiences. The framework suggests that teachers of Early Stage 1 students can benefit from knowing and appreciating the knowledge that students bring with them from home and from prior to school experiences, such as, family values, language (sometimes a second language), abilities to interact with other children and adults, a variety of reading and writing experiences, routines, a sense of fun, friendships, problem solving, responsibility, sharing and personal interests.

As teachers of Early Stage One, we should build on the known experiences provided by others. We do this when we make connections to home and value home language and when we build on this foundation of prior learning in the classroom.

Our responsibilities extend beyond the areas we are often limited by through formal structure for reporting to parents. For us, we feel that the abilities that are part of successful learning are epitomised in students who can say:

I am happy;
I am curious;
I am a learner;
I can persevere;
I share my thinking;
I work with others;
I reflect on my learning.

In schools today, we can easily become caught up in phonics, reading levels and collecting data; these considerations are each important. It is also worth reminding ourselves simultaneously that our students will never have a first year of formal learning again and that we have a significant responsibility as their first school teachers to keep a steady and clear eye on the end goal.

To this end, attitudes towards academic success are critical. More important than levels and scores is the way our students see themselves as learners.

In addition, developing social and emotional well-being is vital. The big learning goals identified above can be achieved through formal and informal lessons, through play and conversation, across all KLAs.

Successful learning requires us to plan and prepare and keep an open mind to meeting student needs as they arise.

Sparking joy to teach reading

The big picture in the teaching of reading is supporting students to read for meaning and understanding, not just to decode text. Our teaching should move all students towards being independent readers with each child possessing a toolkit of resources they know they can access to decode, make sense, use texts and analyse texts.

The NSW English Syllabus K-6 encourages teachers to value the reciprocity between reading and writing through the key processes of responding and composing. Sparking joy in reading for students can come through their newly gained satisfaction of being an effective reader and from engaging with rich, authentic texts.

Playing into literacy

Kindergarten should be a dynamic and creative year that establishes positive attitudes that can be maintained throughout all of the students’ subsequent school years.

Kindergarten should also be fun!

Carefully planned and delivered experiences in learning centres allow students to build a rich vocabulary and to consolidate language development necessary for a smooth transition in the future into more formal aspects of reading and writing. A learning centre can be as simple as coloured paper, pens and pencils for a writing centre. You can turn your old puppet theatre into a fruit and vegetable shop with a sign, toy cash register and a range of plastic vegetables. Then it can become a pizza shop with a menu displaying a choice of toppings. The chef may then need to write her recipe for others to make and enjoy. Try an office – a stapler is very enticing, a discarded mobile phone and a real or toy computer and business deals will follow. Your students will be taking on Bill Gates in days!

Play that allows children to explore topics of interest, rehearse real life experiences and that gives time to dressing up and drama also offers unlimited opportunities for authentic reading and writing.

Children can and should play into literacy naturally.

Mathematics is all around us

Learning Mathematics well in kindergarten provides a solid foundation for all future understanding of mathematical concepts. Exploring mathematics in the world around them and explicitly making connections to real life helps students understand why we learn mathematics.

Providing an element of choice is an easy way to plan for student engagement. The Mathematics K-6 syllabus states in the rationale that students will ‘obtain enjoyment from mathematics’ and this is surely our aim as Kindergarten teachers.

Making Mathematics enjoyable is crucial and this can be done in many ways. Kindergarten students are typically engaged when exposed to novelty, for example using LEGO as manipulatives is one way to gain their interest. Learning mathematical concepts through structured play such as, restaurant role-play, building cities, and creating 3D shapes with everyday materials are just a few examples that your students may both enjoy and learn from.

Taking kindergarten outside

Taking Kindergarten students outside for learning and play can quickly develop both their confidence and emotional connection to their school. It also sows the seed for teaching for sustainability and other learning across the curriculum. A small corner of your school grounds or a nearby park can provide the backdrop for authentic learning experiences. Spaces outside the classroom can be safely used for developmental play, Mathematics, Science, Geography and History.

A shared experience outside the classroom can also provide a rich, multi-sensory stimulus for writing.

Setting up your room for success

Dynamic learning is enhanced when students feel a sense of independence and ownership in their learning space. Student centred learning, where students see themselves as learners, can be achieved through establishing a classroom that is:

Calm
Students say, “I know what is happening.”

Establishing routines and making resources and rosters easy to find supports a calm classroom.

Collaborative
Students say, “We all learn together.”

Explicit teaching and harnessing the power of students talking together to learn encourages collaboration. Clear learning goals and feedback also help to develop self-regulated learners and walls that teach scaffold their learning experiences.

Consistent
Students say, “The teacher supports my learning.”

Using modelled, guided and independent teaching strategies represents best practice. Reading and writing everyday also develops skills further. Differentiating the learning experiences while maintaining high expectations can create a classroom culture where students see themselves as learners.

Dice, hoops and chairs to teach grammar

If you start with quality literature and then add coloured dice, hoops and some chairs you can teach any aspect of grammar in a dynamic way.

Making coloured dice to match these baseboards supports your students to create grammatically accurate sentences.

Hoops provide a framework for sorting: books that you like or do not like; phrases that describe ‘when’ and ‘where’ chosen from favourite books — Let your grammatical imagination run riot.

Chairs are a visual scaffold to support sentence structure, storying retelling, changes to tense and adjective order. Really it is just a case of make a label and then sticking it on. Further grammar ideas can be found in the book Practical and Purposeful Literacy Strategies.  This hands-on, kinaesthetic and playful approach gives kindergarten students a chance to have fun as they learn.

Teaching grammar to our youngest learners is done with ease and more importantly, supports the critical oral language that allows them to be successful readers and writers.

All while having fun!

Behaviour management

Students starting school bring with them behaviours that they have developed to manage in their world. Our role as teachers is to ease them into the role of being a student within a class group and school environment. This is not always an easy task and takes patience and persistence on behalf of the teacher.

Our aim is to develop dynamic learners who are independent, confident and self-regulated. The ability to self-regulate includes: following instructions and routines, taking turns in a group and concentrating. Including play in the curriculum allows students to develop language and social skills as students negotiate with their peers in the process of becoming more aware of others. Communicating during play involves expressing their thoughts and ideas and listening to others in order to solve problems and think critically.

Kindergarten teachers play a crucial role in developing these characteristics and play a major role in creating a successful start to school life.

Making music and movement part of the daily routine

Using music, singing and movement in the daily kindergarten routine can help create a sense of community in the classroom, deepen knowledge and encourage creative thinking.

Simple music and singing activities can also be used to manage classroom transitions in a fun way. Singing, chants and movement help to build foundation literacy skills such as phonemic awareness and speaking and listening skills.

For example your students can act out a familiar song such as “Ten in the Bed” while the class sings along. A large rectangular chalk “bed” drawn on the carpet can provide an engaging start to a maths lesson as the students roll out of the bed one at a time to model subtraction.

Chanting a poem or singing can provide an enticing, low stress way of lining up for transitions. Poems such as “The Ning Nang Nong” by Spike Milligan or familiar stories such as “We’re Going On A Bear Hunt” lend themselves to group recitations and movement.

A dynamic first year of schooling can ensure that our students see themselves as learners and the effects of this will be felt in all subsequent schooling.

Resources:

Australian Federal Government, National Quality  National Quality Framework for Early Childhood Education and Care  Early Years Learning Framework, 2017, https://docs.education.gov.au/node/2632

 

 

Melbourne Declaration on Educational Goals for Young Australians, 2008. http://www.curriculum.edu.au/verve/_resources/National_Declaration_on_the_Educational_Goals_for_Young_Australians.pdf

 

NSW Education Standards Authority, K-6 English Syllabus. http://syllabus.nesa.nsw.edu.au/english/english-k10/

Ontario Ministry for Education, The Kindergarten Program, 2016. https://www.ontario.ca/document/kindergarten-program-2016/introduction

 

 

Jenny Williams has extensive experience as a teacher in public schools and now works assisting teachers including through the Centre for Professional Learning and Trio Professional Learning. She can be contacted at trioprofessionallearning.com.au

 

 

 

What a Wonderful World

Nic Hall explains how every teacher can start to teach sustainability and environmental education using the NSW K-12 syllabuses…

As a teacher working in an Environmental Education Centre, I have the pleasure and opportunity to take groups of students to amazing places and have incredible experiences linking sustainability and environmental education. Importantly, the content of my lessons and the curriculum I am teaching is no different to any other teacher, as it draws upon the suite of NSW syllabuses.

This article aims to support teachers to link environmental and sustainability education into the planning, programming and teaching cycles. What follows is based on a variety of documents, websites and resources that you can use to improve your understanding, learn from others and share the successes you have with your class each day.

This article builds upon my presentation for the Centre for Professional Learning’s 2016 Environmental Education Conference, Empowering Students to Create a Better Future and the ideas, messages and resources are relevant to all teachers across Years K-12.

In true inquiry process fashion, I see our journey through this topic as a series of questions:

  • Why sustainability and environmental education?
  • Where do I start?
  • Where do I go now?
  • What else is out there?

 Why sustainability and environmental education?

Sustainability and environmental education is authentic, relevant learning that engages and motivates students to investigate aspects of their world. More importantly, it should not be an additional task for teachers. Rather, it is about using real-world learning opportunities to deliver your teaching content. Sustainability and environmental education enables students to develop knowledge and skills whilst empowering them to make a difference. It can make learning fun.

Where do I start?

When planning and programming with sustainability and environmental education in mind, it is always appropriate to look at any important and helpful documentation that is available to you. My first point of call is the Australian Association for Environmental Education’s Make the Change (AAEE, 2015). This resource provides a starting point for WHY teaching about sustainability and environmental education is an important aspect to build into your teaching program. AAEE note that sustainability is a cross-curriculum priority and encourages teachers with ideas for creating significant learning opportunities and resources.

The framework created by AAEE also places teaching sustainability in schools at the heart of change, ultimately leading to both changes to government and industry alike.

The other key starting point is the NSW Education Standards Authority (NESA) filter. The ability to filter content makes searching for sustainability in the curriculum easy and allows KLA focused results to be located, as well as potential links to other learning areas and content that may not have been considered. Sustainability education has been identified as an important part of educating active and informed citizens by NESA, the Australian Government and the Ministerial Council of Educators (The Melbourne Declaration).

Where do I go now?

Armed with your new-found understanding and motivation to integrate sustainability into your programs it is time to look at the Sustainability Curriculum Framework (see attachment at the end of this article). This resource focuses on what students should know and be able to do by the end of each of the identified stages of schooling, providing an extra developmentally appropriate level to your programming and lesson planning.

The Sustainability Curriculum Framework was also key in the introduction of the Sustainability Action Process (SAP) which explains that “learning to take action that will result in people living more sustainably is the central learning goal of the framework” (DEWHA, 2010). Thus with this framework in your ‘go-to’ list of resources you will not only have milestones to refer to, but a process that you can teach students to use when exploring and building knowledge around sustainability topics.

One example of how a school used the SAP relates to the GoMAD (Go Make A Difference) project completed by the student lead group at Young High School. After recognising a local issue with the diminishing Box Gum Grassy Woodlands, they made a case for change and then explored ways to increase awareness. The students learnt about their topic and communicated it to a broader audience through educational presentations and the generation of pull-up banners. Their banners are displayed at public locations such as the council chambers and at local community events.

Now that the SAP is on your radar, it is important to look at two others processes that are relevant places to inject sustainability and environmental aspects. These are the geographical and historical inquiry processes. Much like the SAP there is a focus on posing of questions, gathering and analysing of data and information to reach an outcome that is an action. This provides an authentic context for understanding and communicating systems in the natural and man-made environment.

What else is out there?

To gain a couple more feathers to your sustainability and environmental cap, you can explore the NSW Department of Education’s website, particularly focusing on ‘curriculum resources’. You will find units of work and lesson plans that are tried, proven, and ready to go. The section dedicated to ‘reference and research’ is an ideal way to further your understanding and better position sustainability and environmental education in the whole school setting.

There is also the Office of Environment and Heritage website which is the home of Sustainable Schools and a plethora of teacher, student and community resources that will lead important learning and programming ideas. Along with K-12 opportunities for funding grants, environment groups, and case studies examples that will motivate and inspire new projects and learning opportunities.

Teachers can sometimes feel like we are isolated in our classrooms and social media is a fantastic way to reconnect, keep up to date with best practice and network in the interest of creating collaborative experiences for our students, our communities and for ourselves. You may also be able to share, learn and discuss environmental topics on Twitter feeds such as ‘EnviroEd’ and connect with passionate educators on a regular basis. Yammer is similar, with specialised interest groups such as ‘Environmental Education’.

Find out about your local Environmental Education Centre

In NSW, the Department of Education has twenty-five Environmental and Zoo Education Centres (EZEC) located around the state. They provide various programs for visiting school groups to showcase the unique features of their location. Programs offered are linked to NSW syllabus documents and stage groups. The Centres can also work with schools to support school-based environment programs and teacher professional development.

Environmental and sustainability education is a powerful teaching tool that can be part of each teacher’s toolbox. It encourages authentic place-based learning that challenges students to explore and investigate the world they live in. Most importantly, it empowers students to make a difference and create a better future.

References:

AAEE. (2015). Make the Change. Retrieved from

http://www.aaeensw.org.au/wp-content/themes/cpl/inc/nswtf/Make%20the%20Change%20Framework%20-%20Oct%202015.pdf

Australian Government, Department of Environment, Water, Heritage and the Arts, (2010), Sustainability Curriculum Framework.

MCEETYA. (2008). Melbourne Declaration on Educational Goals for Young Australians. Retrieved from

http://www.curriculum.edu.au/verve/_resources/National_Declaration_on_the_Educational_Goals_for_Young_Australians.pdf

NSW Department of Education, Curriculum Resources. Retrieved from

https://education.nsw.gov.au/curriculum/sustainability

NSW Education Standards Authority, NESA filter. Retrieved from

http://syllabus.nesa.nsw.edu.au/search/?q=filter

Nic Hall is an environmental educator working at Red Hill Environmental Education Centre, Gulgong. He is an experienced primary school teacher who has always been passionate about outdoor and environmental education. Nic spends a majority of his time teaching students outside the classroom walls, helping students to better understand and appreciate the natural and man-made environment through increased knowledge and awareness.

You’ve Got the Music in You

Graham Sattler explains how primary teachers can confidently lead their school’s choir…

This article is written for K–6 classroom teachers who either have an interest in taking a choir, existing choir conducting responsibilities, or a sense that they may find themselves in the ‘hot seat’ (or podium…) at some time in the future.

Music is a performing art, it is an activity, and as such provides a real-life experience through which the theory can be heard, felt, and learnt. The theory relates to the activity, not the other way around.

In addition to those teachers already planning to lead a choir, this article may assist all K-6 teachers as they integrate inclusive activities as part of the K-6 Creative arts syllabus. All five of the identified musical concepts, and the activities of performing, organising sound and listening, can be experienced, identified and developed through the integrating medium of group singing. Please see the attachment at the end of this article for a unit of work for Early Stage 1 called Sing and Move.

The article discusses considerations and practicalities of:

  • training and working with inclusive and selective/auditioned groups;
  • repertoire selection for different stages and abilities;
  • conducting techniques and meaningful physical gestures;
  • working with young voices and limited vocal capabilities; and
  • articulating the group singing experience with curriculum outcomes.

First, we look at the place, purpose and benefits of group singing in the school environment – the why of the K-6 choir. We then explore strategies and methods for achieving confidence and effectiveness when working with a young singing group – Kodály principles and techniques (sol-fa), basic music literacy for the conductor and the choir, and how to choose appropriate songs – the how. The article concludes with the practical considerations of successful warm-ups, to balance and blend voices, and what to do with your hands to ensure clarity and meaning in the actual physical task of conducting. In other words, the what. The issue of ‘tone-deafness’ is also touched on, with a particularly passionate plea to not give up on students who appear not to be able to sing in tune.

Why lead a K-6 choir

Singing is fun. In most cases children sing before they speak, and children play singing games, or incorporate singing into their play, from long before they enter school.

Singing with others, in unison or in harmony, creates a team environment in which children are likely to feel safe and capable, regardless of their, or others’, perception of their vocal and musical ability. Due to the invisibility of the voice (and of music for that matter), children can participate in group singing, experiencing the joy and ‘having their voice heard’ without feeling conspicuous.

Every child can sing, and with encouragement and guidance, even children who initially produce a monotone or drone sound can be taught to pitch accurately (sing in tune), even if within a limited range.

Music is organised sound, and therefore it is an effective vehicle for learning pattern-related information. Songs also offer opportunities for learning about different cultures, including a child’s own.

Unlike many other group activities, mobility, physique, dexterity and physical and/or developmental ability do not preclude a child from participating successfully in group singing. Every child has ‘an instrument’, singing is aerobic, and as with all musical activities, it triggers positive neurological activity in many parts of the brain simultaneously, including emotional, reward, language, and movement centres.

As we know, children learn through play. Being able to experiment, to take risks in a safe environment, is critical to a child’s social and psychological development. Singing in a choir allows children to ‘play’. They can take musical and sonic risks without making themselves vulnerable.

To co-ordinate, and fit in, with other voices, children must listen. Developing and practising critical listening skills aids learning in all learning areas and facilitates awareness of others, co-operation, social negotiation skills, and mutual respect. These are all valuable life-skills that can be encouraged through the group singing activity, particularly when led by a teacher who is confident in evincing all of the above. The next section deals with just that consideration; how to capitalise on the potential, and deliberately and purposefully utilise the activity to achieve the benefits discussed.

How to begin

A more successful approach than “I LEAD; YOU FOLLOW”, as suggested by Figure 1, is one in which the conductor demonstrates confidence, clarity, and simple and reliable gestures. Such an approach will empower the children, reassure them in their own capability, and encourage them to become confident learners and performers.

Figure 1: A dubious list of rules? (www.zazzle.com/music_teachers_list_of_rules_poster-228375724098939446)

Maybe this is not the best approach.

A key to confident, accurate (well-pitched) singing is a good understanding of relative pitches – higher and lower notes, and how they relate to each other. That understanding facilitates accurate sight singing, that is the ability to pitch a melody accurately from music notation (written music sheets / whiteboard / smartboard etc.)

One particularly successful method of learning to differentiate pitches accurately is that which was developed by the Hungarian music educator, Zoltán Kodály, in the mid-twentieth century. Further developing 100-year-old choral training techniques developed by the Englishman, John Curwen, he instituted what has become an internationally recognised system that relies on a combination of sounds that are associated with particular pitches, and hand signals that provide a visual, physicalised identification of each note in the scale.

Kodály uses syllables to represent the notes of the scale. In tonic sol-fa, the tonic (‘key’, or ‘home’) note of any major scale is called ‘Do’. The subsequent notes in the ascending scale are Re, Mi, Fa, Sol, La, Ti, and (high) Do. Figures 2, 3, and 4 notate the ‘moveable do’ or ‘tonic’ sol-fa (also known as solfége) system recommended for use in any key:

Figure 2: C Major scale (all white notes on the piano keyboard) with sol-fa note names.

The tonic (Do) is moveable. That is, a Major scale can start on any note. Figure 3 shows the D Major scale using the sol-fa note names. Notice that the Do is on the note that was Re in the C Major scale.

Figure 3: D Major scale with sol-fa note names. The two s at the beginning of the music indicate that the black notes directly to the right of each of the Fs and Cs replace the normal Fs and Cs on the piano keyboard).

The third example of tonic sol-fa (Movable Do) is the F Major Scale. Notice that the Do (starting note) was the Fa in the C Major scale. The flat sign at the beginning of the music indicates that the black note directly to the left of each of the Bs (B flat) replaces the normal Bs on the piano keyboard.

Figure 4: F Major scale with sol-fa note names.

Higher and lower notes

To assist with learning the tonic sol-fa, and understanding the concept of higher and lower notes, hand signs are associated with the different sol-fa names and relative pitches. Note that they are specific in shape and relative position in the air (see Figure 5):

Figure 5: Sol-fa scale represented by the Curwen[1] hand signs.

As seen in Figures 5, the relative position of the hand, on the vertical plane, is critical as a visual indication of higher and lower pitches.

Song choice

Now we need to get serious about what the group is going to sing. Time for repertoire selection. As with any age group, the conductor needs to make sure that the repertoire is appealing to, and relevant for, the group. There are three principal considerations when it comes to this issue, and they are vocal range, appropriate text, and ‘singability’.

The range of the song, how high and low it goes, must not be outside the vocal capability of the singers; remember that the exercise must be designed for success. A good rule of thumb is to not go outside the range represented below in Figure 7.

While some individual children will have a greater range, including notes higher or lower (or both) than what is indicated below, the guide represents a safe zone for primary school-age cohorts. This will align with the majority of well-written repertoire.

Figure 6: K-6 vocal range guide. * and ^ very safe in most cases. ** and ^^ with some caution; requires good understanding of individual children’s comfortable vocal range. This extended range would be most suitable for an auditioned choir, for which individual vocal ranges would be assessed.

Appropriate text is a simpler issue to attend to, for as K-6 teacher you will be well versed on age-appropriate literature and subject matter. If you think the subject matter is inappropriate – dealing with issues, or referring to, adult and/or culturally inappropriate themes, or simply age-irrelevant content… then it is inappropriate.

There are many, many songs that are available that avoid these pitfalls. A key message here is that if the repertoire is well written and accessible for the children, they will enjoy it. Don’t think that they will only enjoy pop songs sung by adults that deal with adult themes, just because they know them from the popular media. Children enjoy being children, and you can enrich that enjoyment with your song choice. This will be reiterated at the end of the article, and the Teachers Federation Library is developing a terrific resource of appropriate repertoire, and should be a first port of call in terms of actual songs and resource references.

By ‘singability’, I am referring to the following considerations:

  • will the melody be identifiable and ‘rememberable’?;
  • is the melody, (and any harmony parts if the song are in two or more parts) something you as the conductor can sing and demonstrate?;
  • and is it teachable?, by which I mean will the children be able to tell when they are singing it correctly?

These are important considerations.

What to do in the choir session

The K-6 choir session, which typically would be between 30 minutes and 60 minutes in duration, needs to commence with a warm-up session. Five minutes or so is plenty, but it needs to take the children from the mindset of whatever has come directly before (breakfast, recess, lunch, class, sport or whatever environment that might be) to energetic, calm, focused, listening and ready to team-sing.

The warm-up is for body, mind and voice. Exercises that encourage good posture, tall and relaxed and able to breathe deeply, should be followed by vocal exercises that encourage listening and gentle singing. This should be followed by more energetic group vocalising that engages more energetically and challenges the mind. Singing games, up and down the scale using numbers, or simple sol-fa patterns using the hand gestures (and always choosing a pitch for Do), can be ideal for this purpose. Again, the NSWTF Library has suggested resources for safe and beneficial group vocal warm-ups at your disposal.

Following the warm-ups, the repertoire that you have selected (see above) will need to be conducted with clarity and with predictable, meaningful hand gestures, with most of the songs you will use being in either a 2, 3 or 4 beat pattern. The music sheets will identify either C (common time) or 4/4 (4 beats in a bar); 2/4, 2/2 or 6/8[2] (2 beats in a bar); or 3/4 (3 beats in a bar). These symbols are called time signatures.

Below are the more common conducting beat patterns, with the conductor typically using the right hand. The crosses represent the ‘bottom’ or ‘point’ of the beat. These lines and contours show the direction and shape of the beats, were the conductor to conduct with a whiteboard marker in contact with a whiteboard. It is important to have a clear, consistent, and predictable beat.

Concluding thoughts

A school choir is the most accessible format for group music making in the K-6 environment. Percussion groups and other instrumental ensembles can certainly be valid and effective, but group singing offers itself as essentially ‘ready to go’ in the classroom, in the school hall or wherever the group of children can gather.

While not all classroom teachers may feel sufficiently capable to teach and lead group singing, it takes little more than organisation, a little support, and the will to apply the class management and pedagogical skills every teacher possesses to make it happen.

Resources are available, and by considering and applying the ideas, strategies and techniques outlined in this article, non-music-specialist teachers can lead successful and enjoyable group singing programs. This is the case whether the group is auditioned or inclusive.

Also remember that by utilising the Kodály method all children will be able to sing in tune, even if it takes some time to re-awaken their innate musicality, and it is within a limited range. The author’s research, and practice over more than twenty years of working with children and adult choristers, indicates that an inability to pitch accurately is reparable.

The NSW Teachers Federation’s Centre for Professional Learning has been enthusiastic over the last few years in sourcing and hosting professional learning in the delivery of K-6 music programs, and the NSWTF library has a growing body of quality resource materials at your disposal.

[1] John Curwen (1816-1880) developed the hand signs, later adopted by Zoltán Kodály.

[2] If slow, pieces in 6/8 can also be counted in 6.

Dr. Graham Sattler holds a Diploma of Operatic Art and Music Theatre, Master of Performance in Conducting, and PhD in music education. From 2001 to 2012 he was Director of the Orange Regional Conservatorium, engaged from 2007 to 2011 in the design and delivery of the Associate Degree in Music Education with Charles Sturt University. Regularly presenting at international Music Education and Arts Health conferences, he has carried out research in Australia, North America and Bolivia. Graham’s performance career encompasses trombone, opera and music theatre, choral and orchestral conducting. Executive Director of Mitchell Conservatorium since 2014, and executive member of the Association of NSW Regional Conservatoriums (2003-2016), Graham has written and delivered music professional learning courses in partnership with the NSWTF’s CPL for the past three years. Since 2015, he has also been engaged as casual academic with Central Queensland University.

 

 

 

 

Inclusive Teaching for Refugee Students

Kerrie Melville reflects on research and experience to support students from a refugee background…

The schooling system is often one of the first experiences of daily Australian culture for students from a refugee background and their families. Research indicates that it is critical for schools to provide a stable environment to support them to adapt to their new country (Mace, Mulheron, Jones and Cherion, 2014; Uptin, 2015).  A stable schooling environment is important as children from a refugee background may have prior experiences which include experiencing war, trauma, violence, poverty, homelessness and deprivation. 

each refugee student presents with diverse cultural, social and linguistic backgrounds

No two students from a refugee background are the same, as each refugee student presents with diverse cultural, social and linguistic backgrounds, with differing religious beliefs and a variety of life experiences. This article discusses some of the general guidelines from research literature and some of my own experiences as an English as an Additional Language or Dialect (EAL/D) teacher that may assist teachers to meet the needs of this diverse range of students.

The on-going crisis in Syria has resulted in the number of Syrian refugees escalating considerably. Culbertson and Constant (2015) stated that: “In June 2012, there were 78,000 refugees. By October 2015, there were 4 million Syrian refugees” (p. 4), and a total of 65.3 million refugees worldwide (UNHCR, 2016). As a result of this crisis, the Australian Government has pledged, quite rightly, to increase the intake of refugees, which should result in an increased number of students from a refugee background enrolling in schools across Australia.

Build respectful partnerships that facilitate a sense of belonging and inclusion

Studies reveal that a targeted and holistic approach to education for students from a refugee background is more effective than programs that focus solely on English language acquisition. An important element of this approach involves fostering partnerships with parents, local agencies and the wider community.

fostering partnerships with parents, local agencies and the wider community

By incorporating a holistic approach, this ‘recognises and addresses the multiple and complex learning and social and emotional needs of asylum seeker and refugee background students’ (Block, Cross, Riggs and Gibbs, p. 1340, 2014).

As a first step in facilitating this, it is important for schools to begin with a comprehensive enrolment interview to support the teachers, parents and students.  The aim of this interview is to establish a respectful relationship based on mutual trust and to gather relevant information to ensure that the classroom teacher is able to incorporate the child’s prior knowledge into learning experiences (Uptin, Wright and Harwood, 2012).

The enrolment interview should be conducted in a quiet area away from the busy main office by the EAL/D teacher, School Counsellor and using the services of a translator or a Bi-lingual Support Officer if necessary. The interview is a two-way process, in that the family and the student should be given opportunities to ask questions.  The family should also be connected with relevant local community groups and outside agencies to assist with their transition.

The interview is an opportunity to learn about the enrolling child and to acknowledge the diversity of the personal experiences of refugee children. Questions about the family’s background should be asked in a respectful manner and should cease if the family begin to exhibit any distress. By gathering this information, teaching staff are less likely to make assumptions about the child’s cultural practices.

Without adequate knowledge or resources, teachers may employ pedagogical practices based upon their own perceptions of ethnicity. Often, through attempts at introducing culturally appropriate teaching practices, teachers may reinforce cultural stereotypes (Watkins and Noble, 2013).  

I can remember interviewing a young boy from Pakistan and becoming confused when he asked about inside and outside shoes.   

I then discovered that his journey to Australia included a few years living in Japan. The lesson here is not to assume anything based on the country of birth, as many students from a refugee background have lived in a variety of countries. It is vital that teachers have a thorough knowledge of their students to ensure that learning experiences are culturally appropriate and connect with the child’s prior knowledge. 

Several strategies can be implemented in the classroom to promote a sense of inclusion and belonging. Creating a welcoming, inclusive, respectful and safe environment in the classroom is fundamental for all students, and is especially important when teaching students from a refugee background (MacNevin, 2013).

In my teaching practice, I have successfully utilised a strategy known as ‘Think, Pair, Share’ (Shih and Reynolds, 2015) which allows students an opportunity to collaborate with peers, time to process their thoughts, phrase an answer and promotes interaction in class. Utilising collaborative group work in the classroom is another effective strategy to enhance inclusion, improve the student’s literacy and enable them to develop social networks (Baker and Ramsey, 2016). 

Maintain high expectations and value cultural, religious and linguistic diversity

Some existing research focuses primarily on outlining the difficulties students from a refugee background face during their journey to a new country. Scholars argue that this perpetuates a victim or deficit view that filters into the schooling environment via programs designed to address these deficits (Banki, 2012; Ferfolja, 2009; Keddie, 2012; Riggs & Due, 2011; Rutter, 2006). Focusing on gaps or deficits in students may lead to teachers overlooking the student’s skills and strengths (Hammond and Miller, 2015).

knowing each student’s strengths

I found that knowing each student’s strengths and embedding that in the programming, combined with high expectations, negated the deficit approach. Additionally, it is crucial to implement non-normative assessment strategies that reflect the learning experiences in the classroom, rather than using standardised tests that assess against the norms for native English speakers (MacNevin, 2013).

There is no ‘one size fits all’ approach to educating students, however, it is vital that teachers know each of their students well, irrespective of their background and teach accordingly. Additional information and teaching strategies to meet the needs of students from a refugee background in the classroom can be located on ‘The NSW Department of Education Curriculum Resources – Multi Cultural Education’ webpage at https://education.nsw.gov.au/curriculum/multicultural-education

Teachers in public education will certainly find the inclusion of students from refugee backgrounds a profoundly rewarding experience in personal and professional terms.

References:

Baker, S. & Ramsey, G. (2016).  How students from non-English-speaking backgrounds learn to read and write in different ways. The Conversation, retrieved from https://theconversation.com/how-students-from-non-english-speaking-backgrounds-learn-to-read-and-write-in-different-ways-59910.

Banki, S. (2012). Refugees as educators. The potential for positive impact on educational systems. In F McCarthy & M Vickers (Eds) Refugee and immigrant students: achieving equity in education (pp. 43 – 64). Charlotte, NC, USA: IAP – Information Age Publishing, Inc.

Block, K., Cross, S., Riggs, E. & Gibbs, L. (2014).  Supporting schools to create an inclusive environment for refugee students.  International Journal of Inclusive Education, 18:(12), 1337-1355.

Culbertson, S., & Constant, L. (2015). Education of Syrian Refugee Children: Managing the Crisis in Turkey, Lebanon, and Jordan. RAND Corporation. 

Ferfolja, T. (2009). The refugee action support program: developing understandings of diversity. Teaching Education, 20(4), 395-407.

Hammond, J. & Miller, J. (2015). At-risk EAL students in mainstream classrooms, In
Hammond J & Miller J. Classrooms of Possibility: Supporting at-risk EAL students (pp1-10). Marrickville Metro, NSW: Primary English Teaching Association Australia.

Keddie, A. (2012). Pursuing justice for refugee students: addressing issues of cultural (mis)recognition. International Journal of Inclusive Education, 16 (12), 1295-1310.

Mace, A.O., Mulheron, S., Jones, C., & Cherion, S. (2014). Educational, developmental and psychological outcomes of resettled refugee children in Western Australia. A review of school of special needs medical and mental health input. Journal of Paediatrics and Child Health, 50(12), 985-992.

MacNevin, J. (2013). Methods, practices, and strategies for teaching students from refugee backgrounds: the case of Prince Edward Island (Canada). Lewiston, New York: The Edwin Mellen Press.

Riggs, D. & Due, C. (2011). (Un)common ground? English language acquisition and experiences of exclusion amongst new arrivals students in South Australian primary schools. Global studies in Culture and Power, 18, 273-290.

Rutter, J. (2006). Refugee children in the UK. New York; McGraw Hill Education.

Shih, Y-C & Reynolds, B. (2015). Teaching Adolescents EFL by Integrating Think-Pair-Share and Reading Strategy Instruction: A Quasi-Experimental Study. RELC Journal,46, (3) 221-235.

UNHCR. (2016). Figures at a glance. Retrieved from http://www.unhcr.org/figures-at-a-glance.html.

Uptin, J. (2015). Negotiating a place in Australian schools. Lessons learnt from voices of students. In Hammond J & Miller J. Classrooms of Possibility: Supporting at-risk EAL students (pp46-60). Marrickville Metro, NSW: Primary English Teaching Association Australia.

Uptin, J., Wright, J. & Harwood, V. (2012). It felt like I was a black dot on white paper: examining young former refugees’ experience of entering Australian high schools. The Australian Educational Researcher, 40 (1),125-137.

Watkins, M. & Noble, G. (2013) Disposed to Learn: Schooling, Ethnicity and the Scholarly Habitus.  London; New York: Bloomsbury Academic.

Kerrie Melville is a Primary School teacher with 12 years teaching experience. During her career Kerrie has undertaken a variety of roles including EAL/D teacher, New Arrivals Teacher and Primary Intensive English Class teacher. Kerrie is PhD candidate with Western Sydney University, undertaking research into Primary School Education for students from a refugee background.

Poetry: “thoughts that breathe and words that burn”

Jowen Hillyer engages Year 9 with guerrilla poetry…

 

Poetry is “thoughts that breathe and words that burn” (Gray). So how do I convince year 9 that this does not mean burning poetry in the quad?

When it comes to poetry we often find it difficult to engage our students beyond a bit of slam poetry and an acrostic they did in primary school. I found during our poetry units in the past that while we tested and explored and questioned it was often teacher directed and led.

Of course this is essential – students can’t break the rules until they learn them and they can’t know what speaks to them without looking at lots and lots of rich and varied examples. However, where do they go after that assessment?

Do they ever get the opportunity to move away from “what does this poem mean?” and instead answer the question “what does poetry mean to me?”

I have always loved the abbreviated Gray quote: “Poetry is thoughts that breathe and words that burn”. To me it always summed up the idea that poetry was more than words on a page. It was big feeling and big ideas told in the most concise and provocative way possible.

big feeling and big ideas told in the most concise and provocative way possible

I needed to get this same feeling across to year 9 students (a pretty mixed bunch of kids who tolerated English but would much rather be somewhere else). We had already completed the prescribed unit and assessment. They had written a comparative essay on two poems and studied all the techniques and poetic forms. Yet still poetry meant nothing to them, despite my best efforts…

So began the “Guerrilla Poetry Project”. In small discussion groups with some trusty old butcher’s paper they had to brainstorm, then present, what they thought the Gray quote meant. In a nutshell (apart from a few kids who insisted it meant we burn the poetry books) it was agreed that poetry is not a static thing; it describes and demands action.

poetry is not a static thing; it describes and demands action

For my part, I wanted to SEE how they felt and thought.

Divergent teaching calls for a different type of assessment, one that is not assessing against a common set of criteria but one that allows for artistic freedom. Project based learning marries well with this aim. An authentic assessment, immersion and engagement are all part of the learning cycle. Please see the attachment at the end of this article for planning ideas and suggested poems.

So why choose guerrilla poetry?

Really it began for selfish reasons; guerrilla poetry appeals to my creative, fun English nerd; the one who giggles at literary puns, corrects menus in my head and spends hours deliberating over which literary figures I would have over for dinner.

corrects menus in my head and spends hours deliberating over which literary figures I would have over for dinner

For the uninitiated, guerrilla poetry is publishing poetry in unconventional ways and in unconventional places. As the Red Room Company explains, “Guerrilla means ‘little war'” in Spanish. Poets who publish guerrilla poems are fighting their own “little war” to find new audiences for and new ways of writing poetry”. To do this I needed to generate excitement, get permission and get creative.

Curiosity and wonder are still alive and well in our secondary students – we just need to coax it out sometimes.

Our box of supplies was inspired by our book room. I work in a school which originated in 1908 and the building I work in was built in 1925. Some of the texts have been there that long. In a move from an old book room to a new modernised system we uncovered stacks of poetry text books from the 1920s-1960s. I knew these could form the basis of my guerrilla poetry supply box. Students could read them, rip them, create with them and play with them. I also added chalk, ornaments, some bizarre dolls’ heads from a $2 shop, wooden spoons, parachute soldiers, fun stationery and more.

I showed the students some images of guerrilla poetry to inspire them and told them all about the following different types:

Broadsiding

Leaving poetry in unexpected places – in a book, on a bus, in pigeonholes, under doors.

Some examples were under car

windscreen wipers and in the

pigeonholes of ‘non-humanities’

teachers.

Chapbooks

Little self-created books of poetry left in unexpected places.

Chalk art

A favourite of students is chalk art; especially for the students in distinction classes/GATS groups who would never think to graffiti. In this project they get to do it, with poetry and with permission!

And some others, including:

  • installations;
  • transient art (art that is not permanent);
  • poem in a pocket (sneaking up on someone and secretly leaving a poem in their pocket!);
  • publishing poetry on the sides of buses or on the back of toilet doors.

You do need to consider your context.

I have to admit that I never tell my students about the possibility of sneaking up on people to put poetry on their person (I really do not want to open that can of worms). A few of my students absolutely loved creating installations that were there one day and gone the next – they got to have their own ‘superhero’ moment, to be mysterious – there is freedom in anonymity for students when they are being asked to express themselves.

As we progressed into the next unit of work, the guerrilla poetry task was their independent learning.

Students were to email me photographs of their ‘subversive’ guerrilla activities. These involved:

  • Dropping army parachute men with their favourite quotes on them out the second-storey windows at school.
Here students are literally ‘poetry bombing’ the quad with parachute men. The poetry choice was unusual – not war poetry but a poem for girls with the key message “never grow a wishbone where your backbone ought to be”.
  • A series of wooden spoons with different lines of poetry left in a jar on the Principal’s desk.
T.S. Eliot inspired : “I have measured out my life with coffee spoons”. The idea was appropriated in this installation.
  • Poems in pigeonholes…. or fridges.
We are sure this would have been a nice moment for a frazzled teacher grabbing their lunch.
  • Chalk poetry and origami
Boxes made out of prose, filled with tiny origami hearts covered in poetry found their way onto my desk months after the project finished.
  • Poems in bowling shoes at sport.
A rural bowling alley for school sport was the scene for this guerrilla action.

There was no formalised assessment for this project based learning, as the formal assessment had already taken place. The measure of learning was anecdotally obvious – the art installations, the ongoing exploration of poetry. What they were asked to do was to, as our syllabus encourages, reflect on their learning.

They needed to answer the big question: “What does poetry mean to ME and how did my guerrilla poetry reflect this?”

All students had different answers of course; some found that certain poetry connected with their lives, others discovered rhythms, one or two started bravely adding their own words to their installations but all of them found more in poetry than they could have imagined.

This unit allowed us to step away from NAPLAN circle filling. It allowed for true, authentic engagement with purpose, audience and text and it allowed me to see my students grow in love of literature and language.

Online Resources

The Red Room Company
From their website: Founded by Johanna Featherstone in 2003, The Red Room Company (RRC) has grown to be Australia’s key organisation for the creation and commissioning of new poetry by established and emerging poets as well as students. Their mission is to make poetry a meaningful part of everyday life. They collaborate with schools, poets and communities. http://redroomcompany.org/media/uploads/spineout-collabo/spineout_guerrilla_poetry.pdf

The Buck Institute for Education
This organisation is an instructional leader in project based learning. There are useful resources, hints, tips and support. This is an international organisation which seeks advice and feedback from many sources, countries and contexts. http://www.bie.org/

Bianca Hewes
Bianca Hewes is a teacher leading the research and process of PBL in schools. She has generously shared templates, ideas and projects, including the publication of K-10 resources

  • https://biancahewes.wordpress.com/2013/05/11/project-based-learning-and-the-australian-curriculum-general-capabilities-part-3/
  • https://biancahewes.wordpress.com/2014/01/23/resources-for-running-a-pbl-workshop/

Jowen Hillyer is currently Head Teacher of English at Taree High School (a Connected Communities school) in rural NSW. She has been a teacher, head teacher and teacher educator for 19 years, with experience in both rural and disadvantaged public schools, as well as 3 years as an Associate Lecturer at The University of Sydney. In her current role, Jowen leads a large, diverse faculty in new approaches, innovation and student engagement. Her research interests are centred on project based learning, boys’ writing in the middle years and mentoring programs for beginning English teachers.

 

The Music of Our Classrooms

Graham Sattler celebrates the joy of music. 

Dr Graham Sattler Music in the Classroom from NSW Teachers Federation on Vimeo.

 

 

 

Graham Sattler is Executive Director of Mitchell Conservatorium and Vice President of the Association of NSW Regional Conservatoriums. He has extensive music teaching experience in primary, secondary and adult education settings, and has been involved in course design and delivery around concepts and strategies for both pre-service and existing teachers. Committed to the principles of access and equity in student-focused learning, Graham presents regularly at international music education conferences, drawing on his research into socio-cultural development through group music activity. He has a professional performance background in singing, as an orchestral trombonist, and in choral and orchestral conducting.

Toolbox for a Good Day at School

Lloyd Bowen packs his toolbox for moving between classrooms and keeping the focus on learning…

Teaching feels just right when our students are engaged in learning and we feel we are inspiring young people to develop a lifelong love of learning.  Seeing those ‘light bulb’ moments of understanding makes being a teacher a vocation that is deeply satisfying. Maximising learning time and ensuring the focus of all lessons is on learning is pivotal to achieving these magical moments. Of course, achieving this requires us to draw on the myriad of skills that only we, as teachers, possess. There are, however, a few simple organisational tricks that can allow us to focus on the learning rather than distractions.

A most useful tool is a teacher’s toolbox. This is particularly true if you find yourself timetabled into several rooms every day, where every room is set up differently and some are well resourced whilst others are not so much. The sheer confidence that comes with knowing where your resources are is liberating for both you and your students. I would be lost without my toolbox. I always carry it with me. Yes, literally, a toolbox.

Teaching can be stressful particularly if we are caught short and underprepared. Small issues can compound into large ones yet can be fixed easily or avoided entirely if we are prepared.  We tend to plan our lessons carefully to include a multitude of learning strategies and resources. Yet, sometimes our best prepared and most engaging lessons can end in disaster or disappointment. The toolbox is all about minimising the chances of a well prepared lesson escaping due to practical barriers.

Make it personal

Your toolbox will be tailored to your needs. I am an Industrial Arts teacher and my toolbox includes some subject specific objects that can be in short supply, such as drill bits, masking tape, a spare screw driver, coping saw blades and more. Your toolbox should also include other resources useful in any classroom such as pens and pencils, post-it notes, scissors, glue, a stapler, USBs and so on.

We all have students who come to school without a pen. We should encourage all students to be prepared and see the personal benefits that come from being well-organised. But sometimes they are not there yet. Your handy toolbox pens and pencils will allow all students to engage in learning with the rest of the class immediately rather than cause distraction as they hunt around their peers for a pen.

Cut transition problems

Every item in your tool box will help transition students between learning activities. Worksheets can cause a transition nightmare as students scramble to borrow the class’s only glue stick. Your handy toolbox glue sticks and scissors will make this transition both easier and smoother. Other items might include seating plans (or a seating order if you move from room to room), printed rolls and laminated class rules.

Plan to make a note

Many students are very adept at getting us to do their work for them. A student who is not sure what to do or is not feeling confident will often need our support. Post-it notes allow us to explain and direct learning concisely. Their small size forces us to give the student enough explanation to start but not too much so as to take the joy of learning away from them. This strategy allows students to feel supported and to build their confidence so as to develop their own solutions.

Know your school

A toolbox is not the Tardis from science fiction’s Dr. Who. Whilst we cannot fit in everything there are some key school specific items that are often helpful especially when we are new in a school. A copy of bell times will allow us to know when to draw a good lesson to an end, ensuring learning time is maximised. Having merit awards on hand allows us to immediately reward a student’s good work and school policy documents such as ‘out of class passes’ are incredibly useful.

Many readers may be thinking ‘these items are all in my room’. And that is entirely the point. The toolbox is simply a portable teachers’ drawer for those who work in many classrooms. A teacher’s toolbox can be one achievable, organisational aid to assist in maximising learning time and your credibility with your class by limiting unnecessary barriers to a successful lesson and a good day at school. 

Lloyd Bowen is a TAS teacher and Head Teacher – Teaching and Learning working at a comprehensive high school is southern Sydney. He has been teaching for over 10 years and has experience working as a Teacher Mentor in the Mount Druitt area where he had the good fortune of learning from dozens of expert teachers. He applies many of these hints and tips in his classroom practice and in his current role.

 

Science, Writing and New Dimensions

Jim Sturgiss helps to improve writing in Science classrooms…

Writing is subject-specific. Writing is not speech written down. Writing has the capacity to facilitate the abstraction of concepts and promote higher-order critical thinking. The Science classroom provides excellent opportunities to improve literacy skills and in turn, improve overall student learning outcomes. Over the past few years, analysis of external national and state assessments have suggested high school student writing performance has been undergoing a slight but discernable decline (See Appendix attachment for more detail about NSW external Science assessments and results).

This paper provides some explanation and examples using NSW 7-12 Science syllabus outcomes to demonstrate how teachers can improve writing in their Science classroom.

Literacy is subject-specific

Three custom DiMarzio pickups in hum/single/single configuration are mounted on Parker’s newly designed pick guard, while the ever-cool Fishman passive-piezo-transducer system is located in the bridge. 

Science is a technical subject. Its language reflects its technicality. The quote above is from Guitar Magazine. It serves to show how alienating technical language can be for the uninitiated.

The technical vocabulary of science is the most obvious subject-specific language issue. But it is deeper than that. Peter Freebody (2009) asserts that there is a common sense myth that literacy is a fixed, bounded set of skills related to code-breaking and that once the student can break the codes of English, the rest of the school years simply become a matter of reading and automatically understanding all the rest.  Freebody claims that many mistakenly believe that specialised textual formations in Physics or Mathematics, History, English, Biology, literary criticism, and all the rest, are basically just talk written down, conceptually and linguistically transparent, commonsensical and the equivalent of a Year 3 storybook.

On the contrary, academic development is dependent on the specific ways in which content knowledge is developed through language both written and visual. Accessing those kinds of texts is the ongoing literacy challenge for schools.

Teachers can begin the process of improving student writing by pointing out to students the variety of ways in which different texts build knowledge; how language and visual information work together in different ways in various curriculum areas and more specifically within their subject discipline.

Critical literacy

Today’s science students need to do more than accept information at face value; they need to be able to understand, use and critically analyse texts’ validity and underpinning points of view.

Knapp (2014) asserts that teaching writing is teaching students how to think, to order and synthesise their thoughts, and gives them the skills to demonstrate what they know. Furthermore, schools that use a systematic and explicit approach to teaching writing give their students an unassailable advantage.

The example of windfarms could be used when teaching the Stage 4 outcome:

SC4-PW4 Science and technology contribute to finding solutions to a range of contemporary issues; these solutions may impact on other areas of society and involve ethical considerations. (ACSHE120, ACSHE135)

Windy Hill Farm – Atherton Tablelands Queensland (Wikicommons)
For instance, when a politician describes a wind farm as:

“Up close, they’re ugly, they’re noisy and they may have all sorts of other impacts,” Mr Abbott said.

“It’s right and proper that we’re having an inquiry into the health impacts of these things,” he said, referring to a current parliamentary inquiry initiated by crossbench senators.

Students should be taught how to consider and write responses to questions such as:

  • Is this text presenting a balanced view of the issue?
  • Whose voice is represented here?
  • Whose voice is missing?
  • What action do I need to take?

Taking students from technical to understanding and back again – the semantic wave

Karl Maton (2011) claims that the academic/technical language of subject disciplines has semantic density built up by specialist noun groups (amongst other grammatical features). Maton acknowledges that subject-specialist teachers are experts in breaking down the technical language of their subjects to a less semantically dense, less powerful common sense language for students. However, students require opportunities to rebuild the semantically dense texts that are characteristic of the subject disciplines if they are to master subject-specific literacy.

Writing provides students opportunities to explore ideas, to have these ideas challenged and developed through the drafting and editing process.

For instance, before teaching the Stage 4 outcome:

SC4-CW1 The properties of the different states of matter can be explained in terms of the motion and arrangement of particles. (ACSSU151)

Science teachers should ask themselves:

  • Is our pedagogy didactic?
  • Do we think we have so much content to get through that we must provide students with the explanation for phenomena?
  • When was the last time we gave Year 8 students an opportunity to write an explanation of change of state using the particle model?
  • What do we know about student understanding of such high-order abstract concepts? 

Speech to writing – increasing semantic density

Science provides excellent opportunities for students to write expressively. In high school, students spend more periods in the study of Science than most other disciplines. Factual texts are the bread and butter of the discipline. Science teachers have great opportunity to develop students’ writing skills.

A challenge for teachers is to move student responses from speech-like constructions of actions in science, to a more abstracted top-down mode of written scientific English that deals with concepts.

There is a common sense view that writing is speech transcribed.

However, this is not the case.  Writing has evolved as a distinct mode of language (Knapp, 1992, p2). Writing is a permanent record of language. Speech tends to describe a concrete world dominated by action verbs and an action-oriented clause construction, whereas, writing has evolved to deal with the world in a more abstract way where actions become objects and concepts set in spatial and causal relationships. Writing is more compact, more abstract and more powerful than speech. It characteristically has a higher semantic density.

What a difference a word makes – nominalisation

Nominalisation is the process of making a verb or adjective into a noun.  Semantic density can be increased through a nominalisation strategy performed on a draft text the students may have written. The exercise below should assist students in moving their writing away from speech transcribed to a more semantically dense and more abstract higher-order text. This process is demonstrated below using the HSC Biology outcome:

H10 describes the mechanisms of evolution and assesses the impact of human activity on evolution

  1. Identify the action verbs in a text they have written (in bold below)
  2. Draw up a table with the verbs in one column and the nominalised form (nouns) in the next.
  3. Redraft the text using some of the nominalised forms.

N.B. This strategy should be used selectively. Not all verbs need to be transformed. Indeed, if all the action verbs are nominalised the text will become dense to the extent of being impenetrable.

Evolution of single-celled organisms

1. First Draft (action verbs indicated in bold)

All organisms reproduce and sometimes when they reproduce, the children vary. This is an important characteristic of life. If organisms did not reproduce, life would quickly come to an end. The earliest single-celled organisms duplicated their genetic material and then they divided in two. Two daughter cells resulted from this process; they were identical to each other and to the parent cell. But sometimes as the genes duplicated, they changed or mutated. These errors are not very common but they provide the basic material for life to evolve. So when the genetic material duplicates, they reproduce and they make errors. As a result, there is a change in what the genes are composed of. When these processes combine, life evolves.

2. Table with the verbs in one column and the nominalised form (nouns) in the next

Verb Nominalisation
reproduce reproduction
duplicated duplication
divided division
resulted result
changed change
mutated mutation
combine combination
compose composition
evolve evolution
vary variation

3. Second draft

Replication in simple single cells is achieved through the duplication of DNA before cell division. Mutations occur rarely but provide the necessary variation in individuals that is required for the evolution of species.

Comment on first and second draft

The second draft is more concise. Much of the spoken rumination has gone. The first draft text has short sentences. It is longer. It contains many action verbs. All these features are typical of spoken language. The second draft is more abstract and more compact. This increased semantic density is achieved through the nominalisation of actions into processes (nouns).

The good and great scientists of the future will quite often also be skilled communicators. We as Science teachers can help them along this path. 

Jim Sturgiss has held a wide variety of educational positions. These include: Lead analyst, Senior test designer for the English Language and Literacy Assessment (ELLA) and Essential Secondary Science Assessment (ESSA), as well as a HSC Chemistry Senior Marker and Judge. He has been Head Teacher: Science, at two high schools. He was a Director of the NSW Science Teachers Association (STANSW) for 7 years and is currently a director of the NSW Professional Teachers Council and chair of its Professional Learning Committee. His M.Ed (Hons) thesis used an experimental design to evaluate the effectiveness of a literacy and learning program (1997). He is currently teaching Science and Mathematics at Concord High School.

References:

Freebody, Peter. “Literacy across the Curriculum.” #1 (n.d.): n. pag. National Literacy and Numeracy Week 2009. National Literacy and Numeracy Week 2009. Web. 20 Mar. 2016. http://www.nlnw.nsw.edu.au/videos09/lo_Freebody_Literacy/documents/Freebody_literacy.pdf

Knapp, Peter quoted in – Ferrari, Justine. “Writing’s on the Wall: Kids failing Basic Literacy.” The Australian. News Limited, 29 Nov. 2014. Web. 20 Mar. 2016.
http://www.theaustralian.com.au/national-affairs/education/writings-on-the-wall-kids-failing-basic-literacy/news-story/5b5f6e996f098c0c41a1fdf1b24f9a6e

Knapp, Peter. (1992) “Met West Literacy and Learning Program – Resource Book Genre and Grammar.” Academia. N.p., n.d. Web. 4 Apr. 2016. https://www.academia.edu/4035327/Met_West_Literacy_and_Learning_Program_-_Resource_Book_Genre_and_Grammar

Maton, K. (2011) Mastering semantic waves: A key to cumulative knowledge and social justice, Australian Systemic Functional Linguistics Association Annual Conference, University of New England, Armidale, Sept. http://www.legitimationcodetheory.com/pdf/2011_09ASFLAkeynote.pdf

“Overview of Marking Rubrics.” ESSA Curriculum Links 2013. NSW Department of Education and Communities, Feb. 2014. Web. 20 Mar. 2016.
http://www.schools.nsw.edu.au/learning/7-12assessments/essa/teachstrategies/yr2013/index.php?id=ESSA_ER_Overview

School Measurement, Assessment & Reporting Toolkit ELearning. NSW Department of Education, Feb. 2016. Web. 20 Mar. 2016.
https://online.det.nsw.edu.au/smart/schoolYearTestTypeSelection.jsp

Windy Hill Farm https://upload.wikimedia.org/wikipedia/commons/0/0d/IMG_4001_Windy_Hill_Wind_Farm.JPG

Student biology text http://www.uefap.com/writing/feature/complex_nom.htm

 

Posts navigation

Older posts
Newer posts

Recent Posts

    Recent Comments

    No comments to show.

    Archives

    No archives to show.

    Categories

    • No categories

    QUICK LINKS

    QUICK LINKS

    Join The Union

    Courses

    Journal

    Podcast

    Contact Us

    Share this page

    About

    Who we are

    What we do

    Presenters

    FAQ

    Professional Learning

    Courses

    Journal

    Podcast

    Policy and Guidelines

    Privacy Policy

    Social Media Guidelines

    Our Ethics

    Useful Links

    About

    Head Office Details

    Member Portal

    Media Releases

    Become a member today

    NSW Teachers Federation

    Connect with us

    © 2025 New South Wales Teachers Federation. All Rights Reserved. Authorised by Maxine Sharkey, General Secretary, NSW Teachers Federation, 23-33 Mary St. Surry Hills NSW 2010.