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Subject: Creative arts

Moorambilla Voices – More than just a choir!

 Michelle Leonard and Margie Moore give us an insight into a regional focused choir and arts organisation designed to give our students access to multi arts programs . . . 

Moorambilla Voices (Moorambilla) is more than a choir. It was founded in 2006 with the aim of creating a regional choir of excellence that encompasses regional children and youth. Moorambilla Voices has expanded to include dance, Japanese Taiko drumming, lantern making and visual art.  

It is a regionally focussed arts organisation that seeks to empower children and youth to think big, dream widely and connect to Country1 and their communities. Moorambilla does this through an exceptional annual multi-arts program of workshops, cultural immersions, artistic commissions, residential camps, tours, recordings, performances and more recently an award-winning online learning platform, ‘Moorambilla Magic Modules’ 

Moorambilla fosters team cooperation through group performance: in choirs, Japanese Taiko drumming groups and dance, which develops general cooperative ability, confidence and leadership skills. Like our rivers in flood – our creative capacity is powerful, breathtaking and immense. 

Moorambilla Voices

  • includes voice, dance, drumming and visual arts; 
  • is a universal access program with equality of access for all. 
  • unrelentingly pursues excellence in artistic expression, pedagogically informed learning and performance. 
  • supports children’s mental well-being, resilience and self-esteem. 
  • celebrates and incorporates the Indigenous languages and worldview of regional Australia through consultation and collaboration. 
  • develops social capital through teamwork, community inclusion and group capacity building. 

Moorambilla’s commitment to, and connection with, living culture in regional NSW is vital to empower participants and audiences to initiate conversations at every level that encourage and celebrate inclusion and respect. Raising cultural awareness, recognition and respect is at the heart of what we have done since 2006. The use of Indigenous languages in the songs that are performed and the telling of the stories through dance, singing and drumming facilitates this cultural communication and links directly to the broader community agendas of promoting knowledge and learnings of our shared cultural history in an empowering and life affirming way. Our Indigenous elders, community leaders and student participants are vital to the success of the program and, as Elders and leaders from the regional communities share their themes and stories with the artists, they collectively weave them through our yearly program, so we all grow and learn cultural competency year on year on year. Ongoing conversations and support for the Moorambilla program come from the Gamilaraay, Yuwaalaraay, Wiradjuri, Wailwan, Ngiyampaa and Ngemba nations.  

Moorambilla prides itself on engaging children from the remote regional area of NSW. We operate regardless of the background or financial circumstances of our participants. Many children on remote properties, and from small towns, are disadvantaged and lack opportunities to engage with creative arts. Rural and remote Australia hosts many areas of disadvantage, with Australia’s lowest levels of income, education and employment. This coincides with high levels of Aboriginality and cultural disconnection and poorer chances of advancement.  

Schools in the region lack resources in terms of learning aids, instruments, computers, appropriate buildings and access to consistent internet services. It is common for schools’ internet service to be unreliable; this was exacerbated during the recent floods and mouse plagues (e.g., mice ate through cables to white boards and other electrical equipment). Staff turnover at all levels in the educational system is high and many children move from community to community resulting in disjointed educational exposure- exacerbated during COVID-19, and beyond. 

Moorambilla strongly believes that everyone, particularly in a regional or remote part of Australia, should not be limited by education, aspirations or belief in their capacity to live a life rich in opportunities. Moorambilla Voices has a well-developed and focussed planned approach to delivering its program. This ensures Moorambilla continues to contribute to a brighter, and more inclusive, future for our regional communities and the wider Australian arts ecology. It has made the incredible commitment, over seventeen years, to ensuring the pillars of excellence equity and opportunity are upheld and is the longest serving arts organisation in one third of the state.  

MOORAMBILLA AND MUSIC AS A CATALYST FOR CHANGE

Evidence demonstrates the clear benefits of music and artistic education programs in breaking children free of disadvantage. Many recent studies confirm the significant value of carefully planned and well taught music/arts programs in all education and their developmental advantages for young people:  

  • Music improves self-confidence, self-expression and fosters creativity. It is a powerful tool in fostering health and well-being (Hallam, 2010).  
  • Music develops neural pathways and enhances brain function. Music stimulates incomparable development of a child’s brain and leads to improved concentration and memory abilities (George & Coch, 2011) 
  • Music promotes teamwork and collaboration. Children are brought to the highest levels of group participation requiring intense commitment, highly developed skills in coordination and a highly evolved sense of musicality and expressiveness (Schellenberg & Mankarious 2012) 
  • Involvement in arts practice can help children develop an understanding of, and respect for, real and fundamental cultural awareness (Bloomfield & Childs 2013) 
  • Dance supports student learning through student engagement, critical and creative thinking, and student self-concept (Fegley, 2010) 
  • Participation in group drumming can lead to significant improvements in multiple domains of social-emotional behaviour. This sustainable intervention can foster positive youth development (Ho, Tsao, Bloch & Zeltzer 2011) 

Over the past 20 years, multiple studies (Saunders, 2019; Lorenza, 2018; Meiners, 2017; Winner, Goldstein & Vincent-Lacrin, 2013; Bryce, Mendelovits, Beavis, McQueen & Adams, 2004; Fiske 1999) in Australia and elsewhere have demonstrated better personal and educational performance by those involved in the arts and music. These outcomes include measures such as national school results, student well-being, attendance, reduced need for school discipline or exclusion and better self-control.  

ARTISTIC, SOCIAL AND CULTURAL FRAMEWORK FOR MOORAMBILLA VOICES

Moorambilla, in Gamilaroi language, means ‘place of deep fresh water’.  This image of ancient rock art represents the physical manifestation of the Brewarrina Fish Traps2. These are one of the oldest man-made structures in the world. The image is a mark on Country and represents our core program’s geographical footprint in Western New South Wales, Australia. It is a visual symbol of excellence manifest. It represents cooperation, innovation, transference of culture and knowledge, creativity and collaboration, as well as ethical and economic sustainability through aquaculture. This image was adopted in 2018 as the visual representation of our core program and, as such, sits at the heart of what we do. 

We recognise that water connects us all to each other – water is vital for human survival. The analogy of the Brewarrina fish traps allows us to connect the economic, cultural and creative importance of water to all Australians. Within this analogy, we have interconnecting slip streams in the Moorambilla Voices flow, which lead either a fish or fingerling to leadership opportunities. 

Our core program was established in the state of NSW, Australia. Our fish fingerlings3 swim through, in and out of this, as part of the ensembles of: 

  • Birralii (Year 3 mixed group);  
  • Mirray, primary girls (ages 8-12); 
  •  Birray, primary boys (ages 8-12)  
  • and grow into the MAXed-OUT youth company (ages 12-18). 

 The program starts with skills development workshops, based around music and dance, in schools through which participants are selected, not auditioned. Candidates are selected in workshops for the annual program based on natural ability and tenacity. For many the defining feature is their strong desire to positively contribute to the ensemble. 

 Our Moorambilla Voices program grows from fingerlings, at various stages of development, swimming through the bends in the flow radiating from our core program. As they swim through this structure, they tour, perform, increase in skill and knowledge, and potentially create new bends in the river (contributing to the wider arts ecology as alumni and associate artists).  

Candidates and professional artists engage with, and find their own flow in, the system. Because of the transient nature of our candidates and artists, they will enter into this system at various points in their educational life cycle. This sophisticated structure is fluid enough to support change as the child or artist grows. 

Moorambilla enables individuals to enter the slipstream or the natural flow in our program through our core ensemble program, or as an associate or featured artist, volunteer or audience member. Artists show our candidates career flow in action and the capacity for creative fluidity. Their connection to the program does not have to be linear; it can happen within the individual’s creative journey and life cycle.  

Our program supports a mentoring framework across all our associated art forms. The engagement of composers, choreographers, visual artists and performers of the highest calibre supports our fingerlings to grow. 

As cultural sector leaders, we reference this framework through our online, spoken and written word to support and nurture the creative flow of this program within the wider arts ecology. All artists, volunteers and candidates make a commitment to shared cultural understanding through singing, language art and dance, guided by cultural immersion on Country. Furthermore, we make an artistic commitment to recognise, acknowledge and celebrate our shared understanding of marks on Country from fingerling to fully grown fish. 

 A COVID SILVER LINING – MOORAMBILLA MAGIC MODULES

Moorambilla Voices is an organisation that seeks to empower children and youth to think big, dream widely and connect to Country and their communities. More recently, to support this aim, Moorambilla Voices has created a Nationally award-winning online learning platform – Moorambilla Magic Modules – click here  

 These modules won the award for the APRA AMCOS National best educational program 2022.  

COVID-19, floods, mice and Moorambilla Magic Modules

In early 2020 the world changed. At the end of March 2020, it became clear that the normal mode of delivery for the program was about to undergo significant change due to the emerging restrictions unfolding for COVID-19 risk mitigation. 

By April 2020, Moorambilla Voices made the decisive and empowering decision to support all of its associated artists and create pedagogically sequential 20–30 minute modules in consultation with the Artistic Director. Twenty-nine artists were eventually employed to create these modules as the backbone of the 2020/21 program. Artists were paired with an educator so there was industry knowledge coupled with curriculum expertise, and so that the pedagogy is embedded in the content created.  

These modules subsequently connected our established and emerging artists to our regional children and their communities, offering skills, humour, hope and a sense of connection at a time when the arts ecology felt like it was fraying beyond repair.  

Each module showcases the specialised artistry, integrity and immense capacity of the individual artist delivered in a way that was engaging, sequential, empowering and palatable for regional children and youth already experiencing isolation, lack of resources and opportunity before COVID-19. 

In March 2020 floodwaters were swiftly moving across the region that had until that point been a dust bowl; in April 2021 the same region experienced the might of a mouse plague and then floods again in 2021 and 2022, yet still the resilience and commitment to creativity and connection has been maintained by our communities and the Moorambilla team.  

Now all of the Moorambilla Magic Modules (157) have been mapped to the NSW syllabuses (music and dance), as well as visual arts, drama, and PE syllabuses to further support their use in the classroom. Now regional educators who have the will but not the skill to engage with the creative arts, can engage in professional development at school with a sequential empowering resource, of which 42% of the content is First Nations led, created or consulted and where every artist has an understanding and connection to the region. 

The Moorambilla Magic Modules demonstrate in a tangible way that we have the knowledge and experience in the arts industry to develop and provide online curriculum content for schools. 

Connection to current Syllabuses

Existing evidence, underpinning the Moorambilla modules, supports the clear benefits of artistic education programs in helping students develop better self-confidence and self-efficacy.  

These modules are based on direct instruction and are designed to create the maximum level of engagement in students4. They integrate educational theories and practical approaches for differentiated teaching to challenge and cater for the needs of all learners5. 

These modules represent a collection of resources (strategies, techniques, processes, ideas, tools, digital technologies/ICT) that support participation and engagement for all learners in arts-based classroom experiences6. They use a range of verbal and non-verbal communication strategies to manage learning, participation and engagement7. 

Evidence shows that arts learning promotes teamwork and collaboration. We focus on collaborative tasks which require intense commitment and promote the development of coordination and expressiveness.8 

Each module is built on differentiated teaching pedagogies embedded in the design of their structure, content and delivery. The Dance modules employ explicit instruction using imagery, descriptions and metaphors to ‘feel/experience’ the movement9. The music modules are presented sequentially through embodied learning starting with a simple phrase reinforced cumulatively10. The modules use sequential and scaffolded learning taking the children from the known to the unknown, providing a firm foundation which is built on, so the students feel supported as they develop their knowledge and skills.  

The modules support student learning through student engagement, reflection, critical and creative thinking, and improving students’ sense of self-concept.11 

Development of the Modules

Interactive video modules were developed for primary and secondary students, covering and mapped to the NSW Educational Standards Authority’s creative arts syllabus. They include song, dance, art, craft, taiko drumming, photography, drama, literacy and Indigenous culture. They are distributed across three learning stages and five curriculum categories: 

Learning Stage Dance First Nations Music & Singing Visual Arts & Drama Percussion & Rhythm Total Modules for each stage 
2 (early primary) 17 42 34 19 5 70 
3 (late primary/early secondary) 32 54 37 22 6 94 
4 (secondary) 39 56 44 30 30 137 
Total      157 
Some modules overlap categories, and several can apply to more than one learning stage. 

 Subjects and artistic presenters are shown in Appendix 1.  Top national performers and mentors have been used throughout. Singing coaches include previous members of the Song Company (Anna Fraser, Hannah Fraser and Andrew O’Connor). Taikoz artists explain taiko and general percussion (Anton Lock, Kerry Joyce and Sophie Unsen), Modules have been created by some of Australia’s top dance educators and performers (Jacob Williams, Courtney Scheu, Tai Savage) and many well-known Indigenous artists (Frank Wright, Amy Flannery, Neville Williams-Boney). All of these workshops feature Australian music composed by well-known Australian composers – Kevin Barker, Alice Chance, Andrew Howes, Elena Kats-Chernin, Elizabeth Jigalin, Josephine Gibson, Riley Lee, Christine Pan and Oscar Sweeney and more.  

All modules are activity-based – there is no listening without doing. All demonstrate a level of energy matching that of the students.  

Click here for 2020 Module Highlights Video (4m28s):    

In June 2021, Michelle Leonard, Moorambilla Voices Artistic Director, met with school executives for initial interest consultations around utilising this resource, potential barriers and how to overcome them.  

The modules were pilot tested through workshops delivered at schools located in Dubbo and Gulargambone, providing the opportunity for Moorambilla to evaluate the modules’ efficacy as a learning tool and their further market potential. The learnings gained from these evaluations were used to fine-tune the development of the modules being created at the time.  

This cycle of testing and review will continue over time, as we work with the schools while we are still developing modules so that we can apply feedback in real time. 

They are going to be very useful to teachers because the modules are so well designed by professionals who have done it all before. Brad Haling, teacher Gulargambone Central school. 

Gulargambone Central School has used the modules the way Moorambilla anticipated:   

  • Primary teacher’s expectation (17sec) https://vimeo.com/527594061 
  • School principal’s impression (45sec) https://vimeo.com/527016229 
  • Primary class learning from Hannah Fraser (13 sec) https://vimeo.com/526787115 
  • Michelle Leonard summary (33 sec) https://vimeo.com/526777663 

Other teachers contacted by Moorambilla have reviewed the modules, with strong positive results.  

The modules are an exciting and dynamic online program that have made an enormous difference to my teaching of the Creative Arts. The students have enjoyed the diverse lessons and have made a great connection to country. The units are easy to follow and enjoyable to teach, especially for teachers with no experience of dance or music. Kate Harper, Balranald Central School 

All modules developed to date through the Moorambilla Magic Modules are sequential in nature.  Skills are taught, reinforced, built upon and extended throughout each individual module as well as each set of modules.  

Most modules begin with a warm-up and end with a cool down exercise. Each module’s activities move from simple to more complex activities, carefully scaffolded so that the students experience success by the end of each module.  This may be the performance of a First Nations’ sitting down dance (taught through direct instruction) that teaches each movement in context and reinforces each movement phrase along the way; or the drawing of a First Nations animal or fish using the x-ray drawing technique carefully explained and demonstrated bit by bit; or the performance of a complex percussion or taiko drumming pattern learned cumulatively phrase by phrase through speech, movement and imitation.   

Most of the modules are in sets of 3, 6 or 12 modules, with each module building on the one before, so that by the end of the sequence students have built a strong skill set in that particular arts area and experienced creative, joyful and successful learning experiences. 

Mapping

In order to establish the relevance of the modules for busy teachers and students in schools Moorambilla Voices has ‘mapped’ the modules to the detailed Outcomes and Objectives of the NSW Syllabuses for primary and secondary schools. The maps contain:  

  • a summary of what is in the modules (as a lesson plan)  
  • how it relates to the areas of skill and knowledge development for each subject,  
  • an outline of the outcomes and objectives covered in the lesson.  
  • These are supplemented by:  
  • links to more information and  
  • fun ideas for extending the students engagement and for giving teachers extra material to build on.  

This mapping process provides a crucial link between the classroom and the modules that makes them more meaningful and relevant. It also breaks down the educator’s time barrier administratively to their inclusion.  

Results

Many of the artistic projects featured in our 2021 Magic Modules were featured in a live context during our 2022 camps and gala concert. Perhaps most importantly, the 2021 Magic Modules provided the means to continue our strong engagement and relationships with regional NSW school teachers and students, ensuring the success of Moorambilla’s 2022 life-changing, in-person multi-disciplinary arts programs. 

The exceptional standard of the Moorambilla Magic Modules has been recognised nationally, being awarded the 2021 APRA / AMCOS National award for Excellence in Music Education. 

Conclusion

Moorambilla is enjoying its seventeenth year celebrating the pursuit of artistic excellence, the energy of collaboration, the creation of new music, the sheer joy of singing, dancing, drumming and making art together in this rich and vibrant program. This is acknowledged by the achievement of many national awards over a number of years. We are thrilled to be an important part of the national conversation around identity and excellence.  

Click here for more information on the choirs, the candidates and our program please see the attachments – 2022 and 2019 concert programs and flyers.  

Endnotes

1 Country – http://www.visitmungo.com.au/aboriginal-country

When Aboriginal people use the English word ‘Country’ it is meant in a special way. For Aboriginal people culture, nature and land are all linked. Aboriginal communities have a cultural connection to the land, which is based on each community’s distinct culture, traditions and laws.

Country takes in everything within the landscape – landforms, waters, air, trees, rocks, plants, animals, foods, medicines, minerals, stories and special places. Community connections include cultural practices, knowledge, songs, stories and art, as well as all people: past, present and future. People have custodial responsibilities to care for their Country, to ensure that it continues in proper order and provides physical sustenance and spiritual nourishment. These custodial relationships may determine who can speak for particular Country.

These concepts are central to Aboriginal spirituality and continue to contribute to Aboriginal identity. Aboriginal communities associate natural resources with the use and benefit of traditional foods and medicines, caring for the land, passing on cultural knowledge and strengthening social bonds.

2 The Brewarrina Fishtraps, or as they are traditionally known Baiame’s Ngunnhu, are a complex network of river stones arranged to form ponds and channels that catch fish as they travel downstream. Known as one of the oldest human-made structures in the world, the traps are located in the Barwon River on the outskirts of Brewarrina.

3 Fingerling – A young fish, especially one less than a year old and about the size of a human finger

4 Smithrim, K., & Upitis, R. (2005). Learning through the Arts: Lessons of Engagement. Canadian Journal of Education, 28(1/2), 109-127.

5 Saunders, J.N. (2019) Dramatic Interventions: A multi-site case study analysis of student outcomes in the School Drama program. University of Sydney.

Lorenza, L.M. (2018) Curriculum change and teachers’ responses: a NSW case study. University of Sydney.

Meiners, J. (2017) So can we dance? : in pursuit of an inclusive dance curriculum for the primary school years in Australia. University of South Australia.

6 Winner, E., Goldstein, T. R., Vincent-Lancrin, S. (2013). Arts for art’s sake? Overview, OECD Publishing.

Bryce, J., Mendelovits, J., Beavis, A., McQueen, J., & Adams, I. (2004). Evaluation of school-based arts education programmes in Australian schools. Melbourne: Australian Council for Educational Research.

Fiske, E. (Ed.). (1999). Champions of change: The impact of arts on learning. Washington, DC: Arts Education Partnerships/President’s Committee on the Arts and Humanities.

7 Dinham, J. (2019). Delivering Authentic Arts Education. Melbourne, AUSTRALIA, Cengage

Bryce, J., Mendelovits, J., Beavis, A., McQueen, J., & Adams, I. (2004). Evaluation of school-based arts education programmes in Australian schools. Melbourne: Australian Council for Educational Research.

8 Hallam, S. (2010) The power of music: Its impact on the intellectual, social and personal development of children and young people, International Journal of Music Education, 28 (3), 269-289

9 Hattie, J., (2009). Visible Learning: A synthesis of over 800 meta-analyses relating to achievement. New York: Routledge

10 Juntunen, Marja-Leena. (2005). Exploring and learning music through embodied experiences, “Music and Development – Challenges for Music Education”, The First European Conference on Developmental Psychology of Music Proceedings. 273-276.

11 Fegley, L.E. (2010) Impact of Dance on Student Learning https://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fegley_LMIT2010.pdf accessed 10 June 2021

Becker, K. (2013). Dancing through the school day: how dance catapults learning in elementary school. Journal of Physical Education, Recreation & Dance, 84(3), 6-8. 

Bloomfield, A & Childs J. (2013) Teaching integrated arts in the primary school: Dance, drama, music and the visual arts, Routledge, New York. 

Bryce, J., Mendelovits, J., Beavis, A., McQueen, J., & Adams, I. (2004). Evaluation of school-based arts education programmes in Australian schools. Melbourne: Australian Council for Educational Research. 

Fegley, L.E. (2010) Impact of Dance on Student Learning https://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fegley_LMIT2010.pdf 

Fiske, E. (Ed.). (1999). Champions of change: The impact of arts on learning. Washington, DC: Arts Education Partnerships/President’s Committee on the Arts and Humanities. 

George, E.M. & Coch, D. (2011) Music Training and working memory: an ERP study, Neurosychologia, 49(5), 1083-1094 

Goldsworthy A. (2022) The slow fade of music education https://www.themonthly.com.au/issue/2022/june/anna-goldsworthy/slow-fade-music-education#mtr 

Haselbach, B (1981), Margaret Murray (Translator), Improvisation, Dance, Movement, St Louis: Magna Music Baton 

Ho, P., Tsao, J.C.I., Bloch, L., Zeltzer, L. K. (2011) The Impact of group drumming on Socio-Emotional Behaviour in Low-Income Children. https://downloads.hindawi.com/journals/ecam/2011/250708.pdf 

Kemp, A. E. (1984) Carl Orff, A Seminal Influence in World Music Education, International Journal of Music Education, os-3: 61, 62-64. DOI: 10.1177/025576148400300114  

Lorenza, L.M. (2018) Curriculum change and teachers’ responses: a NSW case study. University of Sydney. 

Meiners, J. (2017) So can we dance? : in pursuit of an inclusive dance curriculum for the primary school years in Australia. University of South Australia.  

Mungo National Park Website, Share Mungo /Culture: Aboriginal Country http://www.visitmungo.com.au/aboriginal-country (accessed 6 November 2022) 

Murdi Paaki Regional Assembly, Brewarrina Fish Traps https://www.mpra.com.au/brewarrina-fish-traps (accessed November 6, 2022) 

Orff, C (1963). The Schulwerk: its origins and aims. Music Educators Journal, 49 (5), 69-74. DOI: 10.2307,3389951 

Pavlou, V. (2013). Investigating interrelations in visual arts education: aesthetic enquiry, possibility thinking and creativity. International Journal of Education through Art, 17(1), 71-88.  

Pitts, S. (2012) Chances and Choices: Exploring the Impact of Music Education. London: Oxford University Press 

Saunders, J.N. (2019) Dramatic Interventions: A multi-site case study analysis of student outcomes in the School Drama program. University of Sydney. 

Schellenberg, E.G. & Mankarious, M (2012) Music training and emotional comprehension in childhood. Emotion, 12 (5), 887. 

Staveley, R. (2018), The Impact of Cognitive Neuroscience on Music Pedagogy, Orff Schulwerk in America: Our 50th Anniversary Issue, www.aosa.org, Spring 2018, 68-75.  

The Free Dictionary, Definition of a Fingerling, www.thefreedictionary.com/fingerlings (accessed on November 6, 2022). 

Winner, E., Goldstein, T. R., Vincent-Lancrin, S. (2013). Arts for art’s sake? Overview, OECD Publishing. 

Wide Open Sky – Award winning documentary about Moorambilla Voices https://www.wideopenskymovie.com/trailer 

Michelle Leonard, OAM Michelle Leonard is the Founder, Artistic Director and Conductor of Moorambilla Voices. Michelle is widely sought after as a choral clinician on Australian repertoire and appears regularly as a guest speaker, adjudicator and workshop facilitator. Michelle was awarded the Order of Australia Medal for Services to the Community and Performing Arts in 2017, 2018 the Sydney University Alumni of the year award for services to the Arts and in 2019 was named in the Financial Review’s top 100 most influential women. In 2021 Michelle led the rehearsal nationally for the ABC Classic choir.  

Margie Moore, OAM, Arts and Education consultant Margie has extensive experience as an arts, education and music educator and administrator. She has had successful careers as a teacher, music consultant, lecturer in arts education and managing the highly regarded Sydney Symphony Education Program. She offers consultancy to a range of arts organisations in Australia and the UK. Margie has been on the board of Moorambilla Voices since 2010 and has held executive positions in both the NSW and National Orff Schulwerk Associations.  

Appendix 1: Module details

Module specific links

Primary class learning from Hannah Fraser  https://vimeo.com/526787115 

Lexi singing along with Hannah Fraser Module 1 https://vimeo.com/623171922 

2020 Moorambilla Magic Module highlights: 

Performance outcomes: 2013 Coonamble Showground 

Content

Subjects of the modules, all of which have been mapped to the Creative Arts syllabus, are: 

* Indicates a First Nations artist/presenter 

  • Literacy Modules with Michelle Leonard OAM (AD Moorambilla Voices), Andrew Howes (established Australian composer), Cathy Colless (regional author) and Billie the Bird – 3 modules Stage 2/3.  
  • Music Literacy with Michelle Leonard OAM – 10 modules, Stage 2/3 
  • Music Literacy with Michelle Leonard OAM – 10 modules, Stage 4 
  • Dance Fundamentals with Jacob Williams (Sydney Dance Company) in Dubbo – 6 modules, Stage 2/3/4. 
  • Retrospective repertoire modules – with Michelle Leonard OAM, pianist Ben Burton and composer and performer Josie Gibson – 4 modules, Stage 2/3. 
  • Phone Photography with Noni Carroll – Moorambilla’s resident photographer from Wagga Wagga – 6 modules, Stage 2/3/4. 
  • Connection to Country – Dance with NAISDA graduate Amy Flannery* from Forbes – 6 modules, Stage 2/3/4 
  • Emu connection – with NAISDA graduate Neville Williams-Boney* in Sydney – 6 modules, Stage 2/3/4 
  • Torres Strait music, dance and weaving with Tainga Savage* (Currently part of the Australian ‘Hamilton’ cast) from Cobar – 3 modules, Stage 2/3/4 
  • Torres Strait weaving with Tainga Savage*  (Currently part of the ‘Hamilton’ cast) from Cobar – 3 modules, Stage 4 
  • How to Draw X-ray style animals with Frank Wright* – Aboriginal artist in Walgett – 12 modules, Stage 2/3/4  
  • Lost Allsorts Dance Collective*  (independent dance artists, NAISDA graduates) modules on dance and weaving – 6 modules, Stages 2/3/4.  
  • Vocal Bootcamp for Primary with Hannah Fraser previously from Song Company – 6 modules, Stage 3/4  
  • Yoga Flow – with Courtney Scheu (Plastic Belly) from the hinterland of Brisbane – 6 modules, Stage 3/4.  
  • Djembe modules with Elliott Orr (Talkin’ the drum) from Byron Bay – 6 modules, Stage ¾ 
  • Vocal Bootcamp for Secondary with Anna Fraser, previously from Song Company – 8 modules, Stage 4. 
  • Vocal Bootcamp for Secondary with Andrew O’Connor, previously from Song Company – 6 modules, plus warm up module Stage 4. 
  • Body Percussion, beat boxing and more with Anton Lock (Cirque du Soleil/Taikoz/independent DJ video artist) – 6 modules, Stage 4. 
  • Taiko Fundamentals with Sophie Unsen from Taikoz – 6 modules, Stage 4. 
  • Taiko Fundamentals with Kerryn Joyce from Taikoz – 6 modules, Stage 4. 
  • Stagecraft with Tom Royce-Hampton (actor, musician, director) from Melbourne – 6 modules, Stage 4. 
  • Comedy and Public Speaking with Dane Simpson* from Wagga Wagga – 6 modules, Stage 4.  
  • Fan Dance with Kerryn Joyce from Taikoz – 6 modules, Stage 4. 
  • Composition with Elizabeth Jigalin (established composer and co-founder of the award winning ‘Music Box Project’) from Sydney – 6 modules, Stage 4 
Moorambilla-VoicesDownload

‘A word after a word is power’: Reflections on reading in Secondary English 

Jackie Manuel reflects on the nature of, and importance of, teaching reading in Secondary English. She encourages teachers to utilise their students’ experiences to increase their engagement in reading for pleasure . . . 

Introduction

When I look back, I am so impressed again with the life-giving power of literature. If I were a young person today, trying to gain a sense of myself in the world, I would do that again by reading, just as I did when I was young. Maya Angelou 

As English teachers, one of our abiding aspirations is to foster our students’ intrinsic motivation to read. We know that this intrinsic motivation is sparked when students derive personal rewards, satisfaction and enjoyment from their growing command and confident use of language. We also know that the motivation to read depends on a purpose that has meaning for the individual (cf. Dickenson, 2014).  

We may read for myriad reasons including for pleasure, curiosity, information, connection, solace or sanctuary, or to be transported beyond the ordinary. So, in every sense, the act of reading can be understood as part of the identity work that lies at the heart of English.  

Some decades ago, Scholes (1985) encapsulated this relationship between language, reading, writing and identity when he argued that:  

… reading and writing are important because we read and write our world as well as our texts and are read and written by them in turn. Texts are places where power and weakness become visible and discussable, where learning and ignorance manifest themselves, where the structures that enable and constrain our thoughts and actions become palpable. This is why the humble subject ‘English’ is so important (p. xi). 

His insights still resonate, perhaps with even greater force in our fast-faced, technology-driven, language-dense and image-laden context. The assumptions embedded in this rationale are worth considering for their enduring relevance and include:  

  • a view of students as active meaning-makers, reading and writing their identity and their world;  
  • the symbiotic relationship between reading, writing, interiority and agency;  
  • reading and writing as social and communal (‘our’ / ‘we’) as well as individual pursuits; and 
  • the political implications of reading and writing for expanding and empowering, or conversely, constraining ‘our thoughts and actions’. 

In this article, I share some reflections on teaching reading in secondary English. These reflections formed part of the first session of the 2022 Centre for Professional Learning Secondary English Conference. 

Starting with the self

Garth Boomer, the eminent Australian educator, wrote that: 

[w]e are in hard times, when money and imagination is short; patience must be long. In order to make struggle and survival possible, we need to make explicit to ourselves and others (in so far as we can) the way the world is wagging (1991, n.p.). 

It may come as a surprise to know that Boomer made this observation thirty-two years ago (1991). That his words speak to our present moment perhaps suggests the extent to which ‘struggle and survival’ are ever-present to some extent in our work as English teachers. Boomer’s message about the way through is plain: start with (and keep returning to) the self as the literal and metaphorical ‘still point’ that can enable us to sustain our passion, drive and aspirations. Articulating our philosophy, beliefs and values can reconnect us with those generative forces that shaped our initial decision to teach. It can also clarify and fortify our purpose when navigating ‘hard times’.  

When it comes to reading, ‘starting with the self’ means taking the time to reflect on our own practices, preferences and attitudes. The prompts below may assist you and your students to consider the characteristics of your reading lives and to then explore the implications of your responses for your teaching and students’ learning.  

Your reading life: Reflection prompts
  • Do you read? 
  • Do you read regularly beyond the administrative and assessment demands of work? 
  • If so, how often do you read and what kinds of reading to you prefer? 
  • How would you describe yourself as a reader? 
  • What conditions do you require to read? 
  • Do you believe reading for pleasure is important. If so, why? If not, why not? 
  • Do you read to/with your students? If so, how often? 
  • Do you share your reading experiences, practices and preferences with others, including students? 
  • Do you prefer to read on a device or read a hard copy, or a combination of both? 

As teachers, our philosophy necessarily includes, and indeed influences, our pedagogical beliefs and actions. For this reason, it is also instructive to reflect on our current approach to teaching reading by asking questions such as those suggested here. 

Teaching reading: Reflection prompts
  • What is your rationale and philosophy for teaching reading? 
  • Do you make visible, regular time in class for reading? 
  • How much of the in-class reading material is selected by you? 
  • Do students have any choice in what they read in English? 
  • Do you know what your students’ reading habits and preferences are? 
  • How much student reading is tied to assessment and why? 
  • Do students engage in reading a diverse range of texts? 
  • Do students have the opportunity to read for pleasure and do you explicitly model and encourage this? 
  • What are your strategies for supporting disengaged, reluctant or resistant readers? 
  • Do students usually have a purpose for reading that is explicitly linked to their worlds? 
  • Is there class time available for individual and/or shared reading and discussion about reading that is not linked to assessment? 
  • Do your students prefer reading on devices or with a hard copy, or a combination of both? 

Implicit in a number of these reflection prompts is the premise that learning best occurs when we activate, and then harness, the capital each learner brings to new situations or contexts. By capital, I mean the store of distinctive personal knowledge, skills and understandings shaped by: 

  • lived experience; 
  • passions and interests; 
  • memories; 
  • observations; and   
  • imagination. 

The work of Gee (1996) offers additional insights into the value of students’ language and experience capital – what he terms ‘Primary Discourses’ – as the basis for acquiring skills and knowledge to meet the more formal language demands of the classroom and society more broadly (Secondary Discourses). As Gee explains, Discourses are: 

ways of being in the world, or forms of life which integrate words, acts, values, beliefs, gestures, attitudes and social identities … A Discourse is a sort of identity kit, which comes complete with the appropriate … instructions on how to act, talk, and often write, so as to take on a particular social role that others will recognise (1996, p. 127). 

He describes Primary discourses as ‘those to which people are apprenticed early in life … as members of particular families within their sociocultural settings … [They] constitute our first social identity. They form our initial taken-for-granted understandings of who we are’ (Gee,1996, p. 127).  

In contrast, Secondary Discourses ‘are those to which people are apprenticed as part of their socialisations within various … groups and institutions outside early home and peer-group socialisation … They constitute the meaningfulness of our ‘public’ (more formal) acts’ (Gee, 1996, p. 137). 

Students come to secondary school with ownership of, and confidence in, using the Primary Discourses they have developed through their everyday lives beyond school. Success in school, however, requires the increasing mastery of Secondary Discourses. These, for example, are the specialist discourses of subjects, essays, assessments and examinations. These discourses must be taught and learned.  

Effective pedagogy recognises and builds on a student’s Primary Discourses as the foundation for initiating them into the necessary Secondary Discourses of the worlds of school, work and society more broadly. This, in turn, develops students’ understanding of how language functions to produce, reproduce or challenge power; and to exclude, include or marginalise. Without skill and mastery in language, we can be denied entry to the layered structures and systems of society.  

A critical component of teaching, then, is to create connections between a student’s Primary Discourses – their unique lived experience, passions and interests, memories, observations, and imagination – and the generally unfamiliar Secondary Discourses we are aiming to equip them with through our teaching.

The capital that students bring to the classroom is often under-utilised or treated as peripheral when it should in fact constitute the wellspring for all learning.

In the discussion that follows, I explore this idea of student capital, along with a number of principles and conditions for optimising students’ engagement with the ‘magic world’ of reading. 

The benefits of reading

We have plenty of research evidence to guide us in our approach to teaching reading in secondary English. Foremost is the understanding that ‘reading for pleasure has the most powerful positive impact of any factor on a young person’s life chances. So if you want to change their lives, make books and reading central to everything you do. And let them enjoy it’ (Kohn, n.d.). 

There is a host of cognitive and affective benefits of reading – especially reading fiction for pleasure. Emerging research in neuroscience, for example, points to the far-reaching, positive impact of reading fiction on brain development, personality, Theory of Mind, social and emotional intelligence, and decision-making (Berns, 2022; Zunshine, 2006).  

The Centre for Youth Literature (CYL, 2009) reports that from studies of the brain, neuroscience has ‘discovered that dynamic activity in the brain continues (beyond the age of six, when the brain is already 95% of its adult size) and the thickening of the thinking part of the brain doesn’t peak until around 11 years of age in girls, and 12 in boys’ (p. 12). Thus, at the time when students are making the transition from primary to secondary school, the neural pathways and connections that are stimulated will continue to grow, while those that are not will be thwarted: 

[s]o, if 10 to 13-year-olds are not reading for pleasure, they 

are likely to lose the brain connections; the hard-wiring 

that would have kept them reading as adults. Reading 

after this age could become an unnatural chore, affecting 

young people’s ability to study at a tertiary level 

and perform well in the workplace (CYL, 2009 pp. 11–12).  

The same CYL report (2009) affirms that reading for pleasure: 

  • supports literacy and learning in school; 
  • enables young people to develop their own, better informed perspective on life;  
  • is a safe, inexpensive, pleasurable way to spend time;  
  • allows young readers to understand and empathise with the lives of those in different situations, times and cultures – to walk in the shoes of others; and  
  • improves educational outcomes and employment prospects (p. 11). 

Other studies, such as those conducted by Organisation of Economic and Co-operation and Development (OECD), establish a clear correlation between the quantity and quality of students’ reading for pleasure and their level of achievement in reading assessments. This is especially evident in reading assessments that require higher-order capacities for sustained engagement in ‘continuous’ texts, interpretation, empathising, speculation, reflection and evaluation (Australian Council of Educational Research [ACER], 2018).  

From the Australian report on the Program for International Student Assessment (PISA) (ACER, 2018) it is worth dwelling for a moment on the finding that those students who indicated that they read widely and diversely had higher mean scores in PISA than those students who indicated a negative attitude to reading and a lack of breadth and diversity in their reading choices. Importantly, regardless of background and parental occupational status, those students who were highly engaged in reading achieved reading scores that were significantly above the OECD average (ACER, 2018).  

For educators, parents and carers, the takeaway message from research and reports on programs such as PISA is the critical role we can play in nurturing young people’s proclivity to read, including reading for pleasure. Jackie French argues that it is the ‘make or break’ task of the adult to attentively guide, model and support the development of students’ sustained reading engagement, enjoyment and confidence. French insists that success in reading depends on the ‘young person + the right book + the adult who can teach them how to find it’ (French, 2019, p. 9). This ‘winning equation’ depends on the oft-neglected variables of individual taste, motivations and purposes for reading. Just as French has no desire ‘to read about the sex life of cricketers, any politician who isn’t dead, or any [book] with a blurb that includes “the ultimate weapon against mankind [sic]”’ (2019, p. 8), so too does each individual student come to reading with their own interests, appetites and antipathies (Manuel, 2012a, 2012b). Or, as Kohn (n.d.) puts it: 

Students will become good readers when they read more. 

Students will read more when they enjoy reading. 

They will enjoy reading when they enjoy their reading material. 

They will enjoy their reading material when they are left to choose it themselves. 

These insights affirm what we as English teachers know: that reading widely, regularly and deeply has a profound impact on a student’s life chances. 

Creating opportunities for student choice

Of course, the realities of syllabus requirements and classroom practice mean that what students read, their purpose for reading, and how they read in our classes (and beyond) is necessarily influenced by teachers’ judicious selection of texts and pedagogical choices. This expert curation of reading material and experiences by the teacher does not, however, preclude opportunities for students to exercise some degree of choice in the what, why, how and when of their reading.  

Remembering that choice is the most critical factor in generating motivation, reading engagement, confidence and achievement, an effective and balanced reading program should provide access to a wide variety of reading materials so all students can experience: whole class or shared reading; small group or pairs reading; and individual reading. 

In practice, this means designing a reading program that incorporates four strands. 

  1. Teacher-selected materials, based on the teacher’s understanding and awareness of the students’ needs, interests and capacities and the resources available to them. 
  1. Teacher-student negotiated materials – individuals or groups of students discuss and plan their reading choices and reading goals with the teacher. 
  1. Student-student negotiated selections – for example, Literature Circles, reading groups and Book Clubs. 
  1. Student self-selected reading material, as part of a wide reading program. 
Time is a friend of reading

We understand from research that ‘students cannot become experienced until they actually engage in sustained periods of reading. This can be facilitated only when students are provided time to read and access to books they really can read’ (Ivey, 1999, p. 374). Establishing regular, dedicated time in class for reading (by the teacher and by students) is a key ingredient for developing young people’s motivation, reading habits and reading accomplishment. Even modest amounts of time allocated to reading – shared reading and individual reading – can yield substantial flow-through rewards, including that vital sense of belonging to a community of readers. 

The power of modelling

One of the crucial roles of the teacher when it comes to reading is modelling: modelling reading practices, attitudes, habits and enthusiasm. Through modelling and using whole texts regularly (e.g. stories, poems, plays, articles) rather than fragments of text, the teacher can demonstrate that reading is a process of making meaning, embodied semantics, elixir for the heart and mind, and ‘bodybuilding for the brain’ (French, 2019, p. 9): reading is far more than merely the application of a series of sub-skills in standardised literacy tests. 

The simple act of reading aloud to students can be a catalyst for a whole range of short- and longer-term benefits that include, but are not limited to: 

  • Language development

Reading aloud to students helps to improve their language skills, including vocabulary, grammar, and syntax. It exposes them to new words and sentence structures, which they may not have encountered otherwise. 

  • Cognitive development

Reading aloud helps to develop a student’s cognitive skills, including attention, memory, and critical thinking. It also helps to improve their ability to understand and interpret information. 

  • Imagination and creativity

Reading aloud can stimulate a student’s imagination and creativity. It can transport them to new worlds, introduce them to different characters and situations, and encourage them to imagine new horizons. 

  • Emotional development

Reading aloud can help to develop a student’s emotional intelligence by exposing them to different emotions and situations. It can help them to develop empathy and understanding of others’ ways of seeing and living in the world. 

  • Relationship building

Reading aloud can provide an opportunity for shared experience and can contribute to stronger relationships between students and between students and the teacher. 

Creating an optimal environment and nurturing a community of readers

In an optimal learning environment students feel invested in their learning by actively participating in shaping their own reading practices and experiences. A classroom environment that values and celebrates reading by ensuring it is visible, low-risk and enjoyable serves to bolster students’ readiness to engage with reading and other readers and, in turn, experience the social and personal affordances that reading can offer. 

Creating an optimal environment means normalising the range and diversity of types of reading in everyday life. It means demystifying the reading process by modelling reading, reading often and understanding that reading is socially mediated. Familiarising students with otherwise unfamiliar texts and unfamiliar ways of reading is an essential component of strengthening each student’s reading proficiency and, as a consequence, their receptivity to new textual experiences.  

Cultivating a community of readers means encouraging students to become curious, critical thinkers and meaning-makers, honing skills of prediction, anticipation, speculation, interpretation, reflection and evaluation through the shared experience of reading and talking about reading. Strategies that promote students’ active engagement with and response to reading include, for example: 

  • The Four Roles of the Reader (Freebody & Luke, 1990). 
  • Before reading, during reading and after reading tactics (cf. MyRead, Reading Rockets). 
  • Reading contracts, reading wish-lists and Literature Circles. 
  • Dramatic readings, representations and interpretations of texts. 
Making connections

Earlier on, I briefly explored the principle of ‘starting with the self’ and the importance of getting to know and then utilising students’ capital as the basis for learning. Recognising and fostering the literacy and experiential capital of each and every student is a deliberate pedagogical approach that aims to engage students in learning by connecting the known with the new. Often, this approach can be realised through pre-reading/pre-viewing strategies, or what is otherwise referred to as ‘getting ready for the text’.  

For example, strategies intended to arouse interest in the text, activate prior knowledge and experience and prompt speculation about the text can be as straightforward as using the text’s cover, title, images or blurbs to stimulate hypothesising, predicting and anticipation. Students do not require specialist knowledge or discourses to engage in discussion about what the cover or title of a text may suggest about its content and what it may remind them of. They draw on what they already know and understand in order to generate connections between their world and their initial ideas about the potential world of the text. 

 Other effective pre-reading/pre-viewing strategies include:  

  • Creating a mystery box filled with items relevant to the ideas, action or characters of the text. Take one item at a time out of the mystery box and invite students to speculate on who it may belong to, what it reminds them of, what historical period it may come from, etc. This not only sparks students’ anticipation for the text: it also generates a lively and enjoyable discussion. 
  • Engaging in role-play, scenarios or dialogue that have relevance to the ideas, themes, characters, or plot of the text.  
  • Using an extract from the text, have students predict what may occur next, write the next scene, dramatise the scene or poem, discuss what the text may be about, based on the extract, etc. 
  • Taking a key idea/issue/experience/theme explored in the text and inviting students to brainstorm and discuss their experience and understanding of this idea/issue/experience/theme in their own lives and in the world around them. For example: revenge, compassion, conflict, friendship, or overcoming adversity.  

Concluding reflections

In a recent conversation, an English teacher shared an experience he had with a student who had just completed the HSC English examination. The student was elated. Why? Not because he had completed his school education in English but because, in his words: ‘I’ll never have to read another book again’. Unfortunately, this sentiment may be a familiar one to some or many of us. It can certainly prompt us to step back for a moment, to ‘look again’ (Boomer, 1991) at the principles, conditions and strategies that may help us to shift students’ negative attitudes to reading: to refocus on our guiding philosophy and aspirations. What do we want our students to remember about our English classes? What do we hope they will carry for their lifetime, because of our teaching? What will be our legacy? 
 

If, like Margaret Atwood, we believe that ‘a word after a word after a word is power’, then there can be few greater life-changing and life-giving gifts than the gift of the English teacher in championing, enacting and inspiring a love of reading.  

End notes: 

* The first line of the heading is a quote from Margaret Atwood in 2019 

Atwood, M., (2019) A word after a word after a word is power – documentary.  

https://www.youtube.com/watch?v=Qj8P8yvvLNs (trailer) 

Australian Council for Educational Research (ACER). (2018). National PISA Reports 2018. https://www.acer.org/au/pisa/publications-and-data 

Berns, G. (2022). The Self Delusion: The New Neuroscience of How We Invent and Reinvent. NY: Hachette Book Group. 

Boomer, G. (1991). Closing Address to the Australian Reading Association national conference. Adelaide. 

Centre for Youth Literature (2009). Keeping Young Australians Reading. Victoria: State Library of Victoria. 

Dickenson, D. (2014). Children and Reading: Literature Review. Canberra: Australia Council.  

Freebody, P., & Luke, A. (1990). Literacies programs: Debates and demands in cultural context. Prospect: Australian Journal of TESOL, 5(7), pp. 7-16. 

French, J. (2019). The secret friends and deep immersion of a book. Literacy Learning: The Middle Years, 27 (2), pp. 7-14. 

Gee, J. (1996). Social linguistics and literacies: Ideologies in discourses (2nd ed.). NY: Routledge Falmer. 

Ivey, G. (1999). Reflections on teaching struggling middle school readers. Journal of Adolescent and Adult Literacy. 42 (5), 372-381. 

Kohn, A. (n.d.). https://www.alfiekohn.org/ 

Manuel, J. (2012a). Reading lives: Teenagers’ reading practices and preferences. In J. Manuel & S. Brindley (Eds.), Teenagers and reading: Literary heritages, cultural contexts and contemporary reading practices (pp. 12-37). South Australia: Wakefield Press/AATE. 

Manuel, J. (2012b). Teenagers and reading: Literary heritages, cultural contexts and contemporary reading practices. In J. Manuel & S. Brindley (Eds.) Teenagers and reading: Literary heritages, cultural contexts and contemporary reading practices (pp. 1–4). South Australia: Wakefield Press/AATE. 

Reading Rockets (n.d.). https://www.readingrockets.org/strategies#:~:text=%E2%80%9CBefore%E2%80%9D%20strategies%20activate%20students’,discuss%2C%20and%20respond%20to%20text. 

Scholes, R. (1985). Textual Power: Literary Theory and the Teaching of English. New Haven: Yale University Press. 

Zunshine, L. (2006). Why We Read Fiction: Theory of Mind and the Novel. Ohio: Ohio State University Press. 

About the Author  

Jacqueline Manuel is Professor of English Education at the University of Sydney, Aust. She co-ordinates and teaches secondary English curriculum in the Master of Teaching (Secondary) program.  

Her most recent publications include: International Perspectives on English Teacher Development: From Initial Teacher Education to Highly Accomplished Professional. (Routledge, 2022), co-edited with Goodwyn, Roberts, Scherff, Sawyer, Durrant, and Zancanella.; and Reimagining Shakespeare Education: Teaching and Learning through Collaboration (Cambridge University Press, 2023) co-edited with Liam Semler and Claire Hansen. 

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A century of professional learning: Teachers Federation Library Centenary 2022

Mary Schmidt guides us through the history of the Federation Library that this year celebrated its centenary. She shares with us her knowledge of the items in the Treasures collection held by our library . . .   

HISTORY OF THE TEACHERS FEDERATION LIBRARY

The Teachers Federation Library has a key role in supporting the work of the union. It has an established role in supporting the union’s campaigning on industrial and equity issues; the professional learning of members, and an emerging role in preserving the union’s cultural and heritage artefacts (NSW Teachers Federation, 2008, p. 51). 

How the library was founded is a fascinating story and involves generosity, the dedication of many, and sustained support from the union and its members. 

Origins of library 1890s 

The foundation collection of the library belonged to a school inspector with the NSW Department of Public Instruction, David Cooper. For more than a decade (1890-1901) he was a district inspector in Goulburn. (“Tragic Death of Mr. D.J. Cooper, M.A.,” 1909). Library folklore, handed down over the last century, is that he travelled by horse and buggy visiting schools in the Goulburn district and always had some volumes from his personal collection of literature, history and professional learning resources to lend to isolated teachers. 

David John Cooper 1848-1909, the founder of the Cooper Library. Australian Town and Country Journal Wednesday 17 November 1909, p. 53. 

David Cooper died suddenly while giving a speech at Fort Street School on November 12, 1909. He was 61 years of age (“Obituary: Sudden Death,” 1909). 

David John Cooper was very highly regarded. At the unveiling of a monument to his memory at Waverley Cemetery on 12 November 1910, exactly one year after his death, the Under-Secretary for Education Mr. Peter Board, praised the late Principal Senior Inspector’s achievements, particularly his organization of the technical education system in NSW and the founding of the teachers’ library (“The Late Mr. D. J. Cooper,” 1910).  

The Teachers Federation acquires Cooper Library  

In May 1910, the Public School Teachers’ Association of New South Wales accepted the offer of the Cooper collection, from the Western and North-western Inspectorial Associations, on condition that the library be called “The Cooper Library” (“A Teachers’ Library,” 1910; “Teachers Association,” 1910).  

The Public School Teachers’ Association of NSW was a founding Association of the New South Wales Public School Teachers’ Federation (Mitchell, 1975, p. 45). When the Teachers Federation was formed in 1918, the collection was transferred to the Federation. Consideration was given to the “installation of the Cooper Library, already the Federation property”, at a meeting of the Teachers’ Institute Sub-Committee in September 1920 (Berman, 1920, p. 296). 

At the time of the Sub-committee’s deliberations in 1920, the Cooper Library was at Sydney Girls’ High School. The library was open on Friday evenings for books to be borrowed (“The Cooper Library,” 1910) but in 1921, when that school relocated from the Castlereagh Street premises, to its current location in Moore Park “the Committee directed the removal of the Cooper Library therefrom to the Federation Office” (“Teachers’ Institute Committee: Report to Council,” 1921, p. 15). 

Official opening 1922

The Cooper Library, as the Teachers Federation Library was originally known, was officially opened on the 24 February 1922 at the Federation rooms (“A Pleasant Evening at the Cooper Library,” 1922),  

12 O’Connell Street, Sydney (“Cooper Library,” 1922).  

At the official opening, the chairman of the Library Committee, Mr. P. Bennett, presided in the unavoidable absence of Mr. Dash, the President. There were many distinguished guests. The Assistant Under-Secretary for Education Mr. Smith promoted the virtues of books and bookmen and pointed out that it was not sufficient for a good library to have books on the shelves to be looked at, they must be “well thumbed.” Mr. Inspector Finney echoed this sentiment stating that books “were nothing to him, but valuable only where they brought out and improved the mind and character of the individual who read them.” (“A Pleasant Evening at the Cooper Library”, 1922, p. 8). 

To add to the festivities, Fisher Library at the University of Sydney, loaned a number of exhibits, including facsimiles of the Book of Kells and the ancient Egyptian Book of the Dead.  

The late Mr Cooper was represented by two of his sons and a daughter, the last of whom declared the Library open (“A Pleasant Evening at the Cooper Library”, 1922, p. 8). 

Growth of the library

The collection of the Cooper Library transferred to the Teachers Federation numbered some 300 volumes (Taylor, 1922). The first accession register lists the titles transferred, principally, history, English literature, philosophy and education texts (N.S.W.P.S.T.F. Cooper Library Accession Book: 1 – 10,000, n.d.). 

The union applied considerable resources to get the books of the Cooper Library into the hands of teachers. From the beginning there were regular features in Education: The Official Organ of the New South Wales Public School Teachers’ Federation listing the books and journals available from the library. The July and August 1922 issues published a list of the library’s holdings (“Author List of Books in the Cooper Library”, 1922, July 15; August 15). 

The Cooper Library rules and regulations for 1922 included provision for a postal service. Federation paid the outwards postage, with the return postage paid by the borrower. The loan period was 14 days for city-based members. Country members could request an additional 14 days. There was a fine of one penny a day for each day a book was overdue (Bennett, 1922).  

In August 1931, the Federation’s Executive made a special grant of £100 to build up a collection of Australiana. The collection numbered 6,000 volumes (Hancock, 1931). The move to O’Brien House, Young Street, Sydney, about October 1931, benefited the library, with new shelving and extras such as a clock and a carpet (Hastings, 1968). 

Cooper Library catalogue 1933

In 1933, the Federation published a printed catalogue of the books and journals held by the library (Taylor, 1933) some 7,000 titles. Members could purchase this catalogue for 2 shillings at the counter (“Library Catalogue,” 1934). 

“Federation has been forced to move five times owing to the growing pains of the Cooper Library,” claimed General Secretary Bill Hendry at the 1935 Annual Conference. The library had 8,420 books, (“Observations,” 1936, p. 102) having grown from 675 books in June 1922 (“Cooper Library: Report,” 1923). 

In 1936 the Commonwealth Savings Bank of Australia made a gift of £100 worth of books in recognition of teachers’ services with school banking. This support continued for many years, well into the 1970s (“Gift to Cooper Library,” 1936). In 1968 a special grant of $2,000.00 was made by the Bank to commemorate the Federation’s move to Sussex Street (Hastings, 1968). In later years, the books purchased with these funds had an elaborate book plate.  

Commonwealth Savings Bank of Australia bookplate

1938 marked the completion of the Federation’s own building in Phillip Street, Sydney (“NSW Public School Teachers’ Federation,”1938, p. 7). The library was located at the rear portion of the 7th floor (“Federation House,” 1939). 

Folklore handed down by former library staff, is that in the Phillip Street building, there were separate reading rooms for men and women. Early plans for a Teachers Building published in Education in September 1920, includes “as an irreducible minimum by way of conveniences, a Reading Room and Library; a common room for women members with retiring room; a smoke room extended into a billiard room with retiring room” (presumably for men), which lends substance to this (Berman, 1920, p. 296). 

At the New South Wales Public School Teachers’ Federation Annual Conference, held in December 1940, Miss Bocking of the Girls’ Mistresses Association, moved, and it was agreed to, that the name of the library be changed to Teachers’ Federation Library (“General Business,” 1941, p. 94), in recognition of its growth from small beginnings to become a significant part of the Federation’s activities (Hastings, 1968). 

The Teachers Federation moved to 300 Sussex Street, Sydney in 1967, with a spacious library on the 2nd floor (NSW Teachers’ Federation, 1967, p. 4). The library occupied two-thirds of the second floor, adjacent to a lounge and reading room area. The photographer Max Dupain photographed the occasion (“Federation House,” 1967).  

The New Library, photo by Max Dupain. Education: journal of the New South Wales Teachers’ Federation, 48 (20) 29 November 1967, page 167

In the thirty years before the Federation’s move to Sussex Street, the library’s book stock increased to over 23,000 volumes, writes Valmai Hastings, Librarian (Hastings, 1968). 

From the 1970s through to the mid-1980s the Promotion Reading List, advertised in the library column of the Federation’s journal, Education, and prepared by the library, was sought after by members. This publication listed texts which would assist members preparing for assessment for promotion.    

In the 1960s and 1970s through its postal service, and by acquiring relevant texts, the library supported members who were upgrading their teaching qualifications, by studying externally at university. (“Federation Library,” 1979). 

From the mid-1970s, the focus of the library gradually expanded to include support for the industrial and campaigning work of the union, as well as professional learning for members (Schmidt & Stanish, 2001; Fitzgerald, 2011, pp. 196-197; Doran, 2019, p. 280). 

The NSWTF headquarters moved to Mary Street, Surry Hills in December 1998 (NSW Teachers Federation, 1999, p. 11) and the library’s location in close proximity to the Federation’s Centre for Professional Learning assists the library in understanding member’s professional learning needs and in delivering relevant services. 

The library in 2022 has a stock of 14,500 physical items, mostly books (NSW Teachers Federation, 2022, p. 65). 

NOTABLE LIBRARIANS

Several prominent librarians have held the position of Librarian at the NSW Teachers Federation. The position was hotly contested from the very start. Among the librarians are:  

A. Vernon Taylor, Librarian 1921-1933; 1935-1941

The Executive chose Mr. A. Vernon Taylor from Fisher Library, at the University of Sydney, as the first Librarian. Vernon Taylor was born on the Isle of Man and served as a Private in the A.I.F. in France during the First World War from 1916-1918. Under the A.I.F. Education Scheme, he attended a course in cataloguing at the Central Public Library, Portsmouth, prior to demobilisation. He was employed as a Librarian at Fisher Library, University of Sydney from 1920-1939 (University of Sydney, 2021). When the part-time appointment was announced at Council on 5 November 1921, some members opposed the appointment of an outsider (“Council Meeting,” 1921a, p. 18). The Assistants’ Association was disappointed that Mr. H.J. Munro, who had managed the collection in an honorary capacity for 8 years was overlooked by an applicant who was neither a Federation member nor a teacher (S.E.H., 1921). 

At the Council meeting of 3 December 1921, Mr. Bendeich, of the Assistants’ Association moved “that the appointment be reviewed, a month’s notice given, and fresh applications be called.” Following a “heated discussion” the motion was lost after the President, Mr. Dash, stated that Council had authorised the Library Committee to make the appointment (“Council Meeting,” 1921b, p. 27).  

The annual salary was £52, and initially Mr Taylor was required to attend each Friday from 7.30 pm until 9 pm and to undertake other duties as directed (“New South Wales Public School Teachers’ Federation,” 1921). By 1929, the Assistant Librarian, Miss Synnott attended all day until 5pm, and Mr Taylor, who was also employed at Fisher Library at the University of Sydney, attended the Cooper Library at 42 Bridge Street, every evening until 9 pm and on every Saturday morning (Acorn, 1929, p. 243). 

But Librarian Taylor’s troubles were not over. 

In 1933 Mr Taylor was given notice that his engagement with the Federation would be terminated (“N.S.W.P.S. Teachers’ Federation,” 1933, p. 36). 

There were protests from the Isolated Teachers’ Association, the Assistants’ Association, the Cookery Teachers’ Association, the Infants’ Mistresses Association, and the Women Assistant Teachers’ Association, to no avail. The General Secretary advised that the termination of Mr. Taylor’s engagement had been carefully considered by the Executive and Council and was part of the reorganisation of the Federation office. (“N.S.W.P.S. Teachers’ Federation,” 1933, p. 39). 

Wilma Radford (1912-2005), Librarian 1933-1935

From 56 applicants, the Executive and the President of the Library Committee chose Miss Wilma Radford, 21 years of age (a former university lecturer of mine) as the next Librarian at an annual salary of £200. She was employed from September 1933 (“N.S.W.P.S. Teachers’ Federation,” 1933, p. 36), and her resignation was accepted by the Council in April 1935 (“N.S.W. Teachers’ Federation: Council Meeting,” 1935, p. 227). 

Miss Radford had a distinguished career. One of her many achievements was in 1968 when she was appointed Professor of Librarianship at the University of NSW, the first chair of librarianship in Australia (Jones & Radford, 2005). 

Miss Wallace, the assistant librarian managed the library until Mr. Taylor’s reappointment (“Minutes of Executive Meeting,” 1935, p. 323). At the May 1935 Council meeting, it was moved by Mr. Murray, seconded by Miss Rose, and carried by 34 votes to 13 that the matter be referred back to Executive (who had endorsed the employment of another librarian), with a recommendation that Mr. Taylor be appointed (“Minutes of Adjourned Council Meeting,” 1935). 

Librarian A. Vernon Taylor retired on 30 June 1941, (New South Wales Teachers’ Federation,1941) and a great debt is owed to him for his organisation of, and dedication to, the library. 

Eric Richard (Dick) Edwards, Librarian 1941-1945

In 1937 the position of Assistant Librarian was advertised. The position was open only to male applicants 17-25 years of age. (“Positions Vacant,” 1937). Mr. Eric Richard (Dick) Edwards was appointed. (“Minutes of Council Meeting,” 1937, p. 432). From the pages of the Federation’s journal, Education, in which he is referred to as the Librarian from October 1941, it is apparent that he succeeded Mr. Taylor. He relinquished the Librarian position in October 1945, to setup in business (NSW Public School Teachers’ Federation, 1945, p. 20). 

With a friend, Rod Shaw, he established, while still at the Federation, Barn on the Hill Press in 1939. This was re-named Edwards & Shaw in 1945. Both a printery and publisher, Edwards & Shaw’s customers included publishers, universities, architects, designers, artists, art galleries, the NSW Teachers’ Federation, and the NSW Teachers’ Federation Health Society (Stein, 1996). In 1994, Dick Edwards was awarded the Medal of the Order of Australia for services to the Australian printing and publishing industry.  

Dorothy Peake, Librarian 1954-1956

In the succeeding years a number of librarians were appointed, including Miss Dorothy Peake, who judging by the pages of Education, held the position for two years 1954-1956. Like Wilma Radford, she later became a prominent figure in Australian librarianship, becoming the foundation University Librarian of the University of Technology, Sydney (UTS) and a pioneer in implementing automated systems and electronic networking of Australian Libraries (Maguire & Schmidmaier, 2015). 

Editor’s note: 

You will notice, at the end of this article, that Mary makes only a one sentence comment about her time as Federation Librarian. This is not enough acknowledgement for someone who has dedicated over forty years’ service to the Federation Library. 

Hence the addendum below (written by Graeme Smart, Federation’s Deputy Librarian):  

Mary Schmidt, Librarian 1975-present

Mary completed her Graduate Diploma in Librarianship at the University of NSW in 1973. After relatively short spells at the UNSW Law Library and Sydney Teachers College, she became Federation Librarian in 1975, succeeding Miss Valmai Hastings. Unbeknownst to her at the time, she already had a connection with the library; one of her lecturers in 1973 had been Professor Wilma Radford, the Federation Librarian 40 years earlier, between 1933 and 1935.  

Library staff numbers have varied over the years, but in Mary’s early years, she was supported by a library technician and two library assistants; since 2015, the staff has comprised a Librarian (Mary) and a Deputy Librarian. From the mid-1980s, when her children were born, until 1999, Mary job-shared the Librarian position, after which she resumed the role full time.  

Mary’s time at the Federation has coincided with the emergence of computer technology, which has transformed the storage and dissemination of information. Reflecting this change, the library has shifted its focus, becoming an information and research service in addition to performing its traditional role as a lender of books (NSW Teachers Federation, 1993, p. 77).  

Mary has responded to the rapidity of change in the provision of library services in the twenty-first century with indefatigable enthusiasm and thoughtfulness. She is always looking to improve the relevance and quality of the library collection and ensuring that the information needs of Federation Officers, members and staff are met in a timely and appropriate fashion. At the same time, she has never lost sight of the importance of the union’s history and has overseen the preservation of a great variety of artefacts (banners, posters, photographs, documents, etc). But these are not hidden away; many are digitised and can be viewed on the library catalogue, and some are always on display in the library. Their accessibility ensures that the union’s history lives. 

Although Mary would be the first to observe that the librarians, like the Federation itself, work in union, it cannot be denied that her own contribution to the Teachers Federation Library has been immeasurable – truly, a notable librarian. 

OTHER TEACHER UNION LIBRARIES

Teacher union libraries were established in other Australian states. 

1922 NSW Teachers Federation

It appears that the Cooper Library in 1922 was the first teacher union library established in Australia. If NSW was not the first, it was certainly a leader. 

1924 State School Teachers’ Union (Tasmania)

The Daily Telegraph (Launceston) on 31.10.1924, reported that at a meeting of the Executive of the State School Teachers Union, “It was decided to institute a circulating library which would be available to members throughout the state” (“School Teachers’ Union,” 1924). 

1929 South Australian Public Teachers’ Union

The Advertiser reported on 23 August 1929 that the “South Australian Public Teachers’ Union has established a fine library” and there are 500 volumes on the shelves (“Teachers’ Union Library,” 1929). 

1938 Queensland Teachers’ Union

The Queensland Teachers’ Union officially opened its library on 1 July 1938.  

Two officers from the Queensland Teachers’ Union visited the Teachers’ Federation Cooper Library in 1934 to assess its suitability as a model for a library for Queensland teachers. Their initial report back to the Queensland Teachers Union was that it was too expensive, particularly the postal service, but eventually in 1938 the Queensland Teachers Union did establish a library for members, which included a postal service (Spaull & Sullivan, 1989, p. 206). 

TREASURES

To commemorate the Federation Library’s centenary in February this year, a special Friday Forum, Treasures, was held (on Friday, 18 February 2022 at Teachers Federation House) in order to display many of the Federation’s precious cultural and heritage artefacts. Volunteer guides, drawn from Federation Officers and staff, assisted visitors to find their way and with interpreting the heritage artefacts. 

A growth area of the library’s work is the conservation, preservation and celebration of the union’s cultural and heritage artefacts. There are now nearly 600 Treasures, including badges, banners, medals, pictures, posters, objects and sculptures in the library’s Artworks Collection. 

Images of the Treasures may be viewed on the library catalogue, by selecting the Artworks button on the main menu. https://library.nswtf.org.au/libero/WebOpac.cls  

Historic posters
Heritage poster, Progress in public education demands federal finance. Sydney: NSWTF, 1965. Printed by Edwards and Shaw.   

The library has a collection of over 300 posters in the Artworks Collection, stored archivally in plan cabinets. As display is inherently damaging to fragile originals, fine art reproductions, made from digitised originals, are provided for display throughout Federation House at Mary Street, Surry Hills, and in regional offices. 

Historic banners

The library has a collection of over 30 historic NSW Teachers Federation banners. Rolled storage, on archival cylinders, is used to protect the larger banners. Smaller banners are stored flat in plan cabinets. 

For the NSW Teachers Federation centenary in 2018, 14 bannerettes, made of silk, were created to highlight the historic sectional Associations, that once comprised the Federation.  

Cookery Teachers bannerette

The NSW Public School Cookery Teachers Association, which predated the Federation, being founded in 1912, was very active. The Association produced several successful cookery and domestic science books for pupils in public schools and assisted with raising funds for the war effort, Red Cross and other charitable institutions. The teachers involved also provided food for invalids during the 1919 influenza pandemic (“N.S.W. Public School Cookery Teachers’ Association,” 1919). 

Historic volumes

The library has many historic volumes, and still has books from the original Cooper collection (N.S.W.P.S.T.F. Cooper Library Accession Book: 1-10,000, n.d.). Many of the older books are quite worn and were rebound to extend their life, which lessens their value in dollar terms and their intrinsic value as artefacts. However, the founders of the library could take satisfaction in that the books that were in their care are ‘well thumbed’ as they intended. 

The first book listed in the library’s accession register from the Cooper collection is a Primer of logic, by Emily Elizabeth Constance Jones, published London, 1905. The early librarians were thorough in their record keeping and this book is noted as missing in 1940, and not seen since.  

Helen Keller
Frontispiece portrait of Miss Keller and her teacher 1895.

However, the second book accessioned, The story of my life, by Helen Keller, published London, 1906, is still part of the library collection.  Born in Alabama in the United States of America, Helen Keller was deaf, blind and mute at an early age and overcame these adversities to become a special educator and authored a number of works. This book includes several quality black and white plates, photographs of her as a child, and later with Alexander Graham Bell and Mark Twain. The stamp of the Cooper Library is on the title page and the volume is notated ‘No. 2” inside the front cover (Keller, 1906).  

Maria Montessori

The library is fortunate to have several texts from the early 20th century by, and about, the work of Maria Montessori, a pioneer in the development of early childhood education. Her reforms are still instructive today and sought by Federation members. The Montessori principles and practice: A book for parents and teachers by E. P. Culverwell, 2nd edition, published London, in 1914, has many charming black and white plates featuring children, with captions such as “Putting the chair down quietly” (Culverwell, 1914, p. 225)

Sir Henry Parkes
Frontispiece portrait of Sir Henry Parkes

Of all the historic volumes held by the library one of the most appreciated is Fifty years in the making of Australian history by Sir Henry Parkes, five times Premier of NSW between 1872 and 1891. The book was published in London by Longmans, Green in 1892 (Parkes, 1892). 

This book is significant as it contains The Tenterfield Oration, seen as the first appeal to the public rather than politicians for a federation of Australian states. 

Also in this book, Henry Parkes outlines the struggles to achieve the passing of the Public Instruction Act of 1880 through the NSW Parliament, an Act which established the Department of Public Instruction, and made for compulsory education for children 6-14 years.  

Researchers and historians are aided by having an eBook version freely available from the University of Sydneyi minus the portraits, and a digital facsimile, with portraits, from the National Library of Australiaii  but there is something compelling and inspirational in having the original text. 

All of these texts are available for viewing in the library. 

TROVE partnership

The library works to preserve the union’s cultural heritage through the TROVE partnership with the National Library of Australia. In 2017, with the assistance of the State Library of NSW, the library commenced digitisation of the Federation’s publication, Education, which has been in publication since 1919. The archive from 1919 – 2019 is available on TROVE, the National Library of Australia’s platform for digital resources. This preserves this unique and fragile resource, brings it to an international audience, and makes accessible the rich history contained within its pages (Education, 1919-). 

Dash Archive
Illuminated address presented to Ebenezer Dash by NSW Public School Teachers Federation 1925

In 2019, five grandsons and one great-great-grandson of Ebenezer Dash, the Federation’s second President, donated a collection of photographs, illuminated addresses, letters, scrap books and other items that belonged to Ebenezer Dash. These items which date from 1892, are on permanent display in the Dash Archive in the library (Coomber, 2019). 

Queen Elizabeth II Silver Jubilee Medal

Queen Elizabeth II jubilee medal

In 2013, Susie Preston, the daughter of the Federation’s former President, Dr Eric Pearson, donated her father’s Queen Elizabeth II Silver Jubilee Medal, awarded (posthumously) to Dr. Eric Pearson, in 1977, for service to the trade union movement. (Queen Elizabeth II Silver Jubilee Medal, 1977) 

Federation members and members of the general public have shown trust in the Federation and the library to care for and appreciate their precious artefacts. Perhaps it’s not just the artefacts that comprise the Treasure, but also the trust transferred with them. 

Mary Schmidt has been the Federation’s Librarian since 1975. 

My thanks to Mr. Graeme Smart, the Federation’s Deputy Librarian, for extensive research support. 

i Parkes, H. (1892). Fifty years in the making of Australian history. Sydney: University of Sydney Library, Scholarly Electronic Text and Image Service, 2000. Digital edition. https://setis.library.usyd.edu.au/ozlit/pdf/fed0024.pdf  

ii Parkes, H. (1892). Fifty years in the making of Australian history. Longman Green. National Library of Australia digitised item. Facsimile edition. https://nla.gov.au/nla.obj-3578896/view?partId=nla.obj-4109097#page/n58/mode/1up 

Find out more about the Cooper Library and the Teachers Federation Library in the library’s catalogue https://library.nswtf.org.au/libero/WebOpac.cls  

Acorn. (1929, May 15). Federation library. Education: The Organ of the New South Wales Public School Teachers’ Federation, 10(7), 243-244. https://nla.gov.au/nla.obj-531758096/view?partId=nla.obj-531808477#page/n28/mode/1up

Author list of books in the Cooper Library [A-L]. (1922, July 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(9),25-27. https://nla.gov.au/nla.obj-572024841/view?partId=nla.obj-572063636#page/n26/mode/1up

Author list of books in the Cooper Library [L-Y]. (1922, August 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(10),30-31. https://nla.gov.au/nla.obj-572024864/view?partId=nla.obj-572070425#page/n39/mode/1up

Bennett, P. J. (1922, June 15). Cooper Library: Rules and regulations. Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(8), 6. https://nla.gov.au/nla.obj-572024829/view?partId=nla.obj-572056244#page/n7/mode/1up

Berman, F. (1920, September 15). Teachers’ Institute: Sub-committee’s progress report. Education: The Organ of the New South Wales Public School Teachers’ Federation, 1(11), 294-296. https://nla.gov.au/nla.obj-530069878/view?partId=nla.obj-530115416#page/n23/mode/1up

Coomber, S. (2019, March 13). Dash of history to be preserved in library. Education. https://news.nswtf.org.au/blog/news/2019/03/dash-history-be-preserved-library

The Cooper Library. (1910, July 26). Sydney Morning Herald, 3. https://trove.nla.gov.au/newspaper/article/15166830#

Cooper Library. (1922, February 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(4), 9. https://nla.gov.au/nla.obj-572024745/view?partId=nla.obj-572040988#page/n10/mode/1up

Cooper Library: Report for year ending July 31st, 1923. (1923, September 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 4(11), 5. https://nla.gov.au/nla.obj-530314417/view?partId=nla.obj-530397916#page/n6/mode/1up

Council meeting. (1921a, November 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(1), 18-19. https://nla.gov.au/nla.obj-572024685/view?partId=nla.obj-572027679#page/n19/mode/1up

Council meeting. (1921b, December 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(2), 26-27. https://nla.gov.au/nla.obj-572024700/view?partId=nla.obj-572033432#page/n27/mode/1up

Culverwell, E. P. (1914). The Montessori principles and practice: A book for parents and teachers (2nd ed.). G. Bell & Sons.

Doran, S. (2019). On the voices: 100 years of women activists for public education. John Dixon [for NSW Teachers Federation].

Education: The Organ of the New South Wales Public School Teachers’ Federation. (1919-). https://nla.gov.au/nla.obj-525471579

Federation House: A two purpose building designed to accommodate club premises and commercial offices. (1939, March 1). Decoration and Glass: A Journal for Architects, Builders and Decorators, 4(10), 10-15. https://nla.gov.au/nla.obj-374111330/view?partId=nla.obj-374563077#page/n11/mode/1up

Federation House. (1967, November 29). Education: Journal of the New South Wales Teachers’ Federation, 48(20), 167. https://nla.gov.au/nla.obj-710434295/view?partId=nla.obj-710471049#page/n6/mode/1up

Federation Library: Services to members. (1979, February 14). Education: Journal of the NSW Teachers’ Federation, 60(2), 41. https://nla.gov.au/nla.obj-721805454/view?partId=nla.obj-721866279#page/n16/mode/1up

Fitzgerald, D. (2011). Teachers and their times: History and the Teachers Federation. University of New South Wales Press.

General business: Various matters debated during later hours of conference. (1941, January 28). Education: Official Organ of the New South Wales Public School Teachers’ Federation, 22(3), 87-96. https://nla.gov.au/nla.obj-531917337/view?partId=nla.obj-531943712#page/n24/m   ode/1up

Gift to Cooper Library. (1936, August 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 17(10), 319. https://nla.gov.au/nla.obj-531758814/view?partId=nla.obj-531886953#page/n8/mode/1up

Hancock, H. S. (1931, September 15). Cooper Library. Education: The Organ of the New South Wales Public School Teachers’ Federation, 12(11), 355. https://nla.gov.au/nla.obj-533182648/view?partId=nla.obj-533274908#page/n22/mode/1up

Hastings, V. (1968, December 4). Federation library. Education: Journal of the New South Wales Teachers’ Federation, 49(20), viii. https://nla.gov.au/nla.obj-717087475/view?partId=nla.obj-717129136#page/n10/mode/1up

Jones, D. J. & Radford, N. A. (2005). Radford, Wilma (1912-2005). Obituaries Australia. https://oa.anu.edu.au/obituary/radford-wilma-14113

Keller, H. (1906). The story of my life: With her letters (1887-1901) and a supplementary account of her education, including passages from the reports and letters of her teacher, Anne Mansfield Sullivan by John Albert Macy. Hodder & Stoughton.

The late Mr. D. J. Cooper: Memorial at Waverley. (1910, November 14). Sydney Morning Herald, 8. https://trove.nla.gov.au/newspaper/article/15207658#

Library catalogue. (1934, November 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 16(3), 25. https://nla.gov.au/nla.obj-530448660/view?partId=nla.obj-530521837#page/n26/mode/1up

Maguire, C. & Schmidmaier, D. (2015). Dorothy Peake 1930-2014: Inspirational librarian, visionary leader, artist. Australian Academic & Research Libraries, 46(2), 135-137. https://www.tandfonline.com/doi/pdf/10.1080/00048623.2015.1040149

Minutes of adjourned Council meeting, held at 9 a.m., Saturday, 25th May, in the Assembly Hall, Education Department. (1935, June 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 16(8), 269. https://nla.gov.au/nla.obj-530448802/view?partId=nla.obj-530561706#page/n38/mode/1up

Minutes of Council meeting, held in Science House, Gloucester Street, on Saturday, October 9, at 9 a. m. (1937, November 15). Education: Official Organ of the New South Wales Public School Teachers’ Federation, 19(1), 432-434. https://nla.gov.au/nla.obj-534083414/view?partId=nla.obj-534108688#page/n33/mode/1up

Minutes of Executive meeting held in the Federation Club Rooms, O’Brien House, July 26, 1935. (1935, August 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 16(10), 323-326, 340-341. https://nla.gov.au/nla.obj-530448844/view?partId=nla.obj-530569891#page/n12/mode/1up

Mitchell, B. (1975). Teachers, education and politics: A history of organizations of public school teachers in New South Wales. University of Queensland Press.

New South Wales Public School Teachers’ Federation. (1921, September 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 2(11), 32. https://nla.gov.au/nla.obj-571297941/view?partId=nla.obj-571303404#page/n37/mode/1up

N.S.W. Public School Cookery Teachers’ Association. (1919, December 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 1(2), 42. https://nla.gov.au/nla.obj-530069699/view?partId=nla.obj-530077740#page/n19/mode/1up

NSW Public School Teachers’ Federation. (1938). Annual report and agenda paper.

NSW Public School Teachers’ Federation. (1941, June 7). Report of Library Investigation Committee to Council on Saturday 7th June 1941. NSW Teachers Federation Documents collection (No. 502), Sydney, NSW.

NSW Public School Teachers’ Federation. (1945). Annual report.

NSW Teachers’ Federation. (1967). Annual report.

NSW Teachers Federation. (1993). Annual report.

NSW Teachers’ Federation. (1999). Annual report.

NSW Teachers Federation. (2008). Annual report.

NSW Teachers Federation. (2022). Annual report.

N.S.W. Teachers’ Federation: Council meeting. (1935, May 6). Education: The Organ of the New South Wales Public School Teachers’ Federation, 16(7), 225-228. https://nla.gov.au/nla.obj-530448781/view?partId=nla.obj-530555014#page/n26/mode/1up

N.S.W.P.S. Teachers’ Federation: Executive report of 22nd and 25th September to Council, 6th Oct. (1933, December 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 15(2), 36-39. https://nla.gov.au/nla.obj-530447190/view?partId=nla.obj-acce530469353#page/n5/mode/1up

N.S.W.P.S.T.F. Cooper Library accession book: 1 – 10,000. (n.d.).

Obituary: Sudden death of Mr. D. J. Cooper, M. A. (1909, November 17). Australian Town and Country Journal, 79(2076), 53. https://trove.nla.gov.au/newspaper/article/263710468?searchTerm=%22sudden%20death%20of%20mr.%20d.%20j.%20cooper%22

Observations. (1936, January 29). Education: The Organ of the New South Wales Public School Teachers’ Federation, 17(3), 102-103. https://nla.gov.au/nla.obj-531758653/view?partId=nla.obj-531831190#page/n39/mode/1up

Parkes, H. (1892). Fifty years in the making of Australian history. Longmans, Green.

A pleasant evening at the Cooper Library. (1922, March 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(5), 8-9. https://nla.gov.au/nla.obj-572024768/view?partId=nla.obj-572044490#page/n9/mode/1up

Positions vacant. (1937, July 17) Daily Telegraph [Sydney], 14.

https://trove.nla.gov.au/newspaper/article/247220448?searchTerm=advertisement%20librarian%20%22cooper%20library%22#

Queen Elizabeth II Silver Jubilee Medal. (1977). https://library.nswtf.org.au/libero/WebOpac.cls?VERSION=2&ACTION=DISPLAY&RSN=16462&DATA=TFB&TOKEN=keCm9WMJqv6304&Z=1&SET=1

Schmidt, M. & Carr, K. (2022). Library books its place in history. Education Quarterly: Journal of the New South Wales Teachers Federation, 2022(1), 30-31. https://news.nswtf.org.au/education/editions/education-quarterly-online?c=issue-1-2022-quarterly-magazine&page=30  

Schmidt, M., & Stanish, F. (2001, March). From horse and cart to heritage building. Incite: Magazine of the Australian Library and Information Association, 22(3), 18. https://www.austlii.edu.au/cgi-bin/viewdoc/au/journals/inCiteALIA/2001/37.html#

School teachers’ union. (1924, October 31). The Daily Telegraph [Launceston], 4.

https://trove.nla.gov.au/newspaper/article/153704520?searchTerm=%22State%20School%20Teachers%20Union%22%20AND%20%22library%22

S.E.H. (1921, December 15). Assistants’ Association. Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(2), 12. https://nla.gov.au/nla.obj-572024700/view?partId=nla.obj-572031615#page/n13/mode/1up

Spaull, A. & Sullivan, M. (1989). A history of the Queensland Teachers Union. Allen & Unwin.

Stein, H. (1996). From the Barn on the Hill to Edwards & Shaw: 1939-1983: The story of two young men who built a master printery and publishing house that became a major influence on printing and book design in Australia. State Library of New south Wales Press.

Taylor, A. V. (1922, February 15). The Cooper Library. Education: The Organ of the New South Wales Public School Teachers’ Federation, 3(4), 9. https://nla.gov.au/nla.obj-572024745/view?partId=nla.obj-572040988#page/n10/mode/1up

Taylor, A. V. (Compiler). (1933). A short title class list with an author & a subject index of the books in the Cooper Library. N.S.W. Public School Teachers’ Federation.

Teachers’ Association. (1910, May 18). Daily Telegraph [Sydney], 15. https://trove.nla.gov.au/newspaper/article/239402225

Teachers’ Institute Committee: Report to council. (1921, August 15). Education: The Organ of the New South Wales Public School Teachers’ Federation, 2(10), 14-15. https://nla.gov.au/nla.obj-529384765/view?partId=nla.obj-529438509#page/n15/mode/1up

A teachers’ library. (1910, May 11). Daily Telegraph [Sydney], 12. https://trove.nla.gov.au/newspaper/article/239397125

Teachers’ union library. (1929, August 23). The Advertiser, 19. https://trove.nla.gov.au/newspaper/article/29616046?searchTerm=%22teachers%20union%20library%22

Tragic death of Mr. D. J. Cooper, M.A. (1909, November 13). Sydney Morning Herald, 10. https://trove.nla.gov.au/newspaper/article/15110704?browse=ndp%3Abrowse%2Ftitle%2FS%2Ftitle%2F35%2F1909%2F11%2F13%2Fpage%2F1306473%2Farticle%2F15110704

The University of Sydney. (2021, March 2). Beyond 1914: The University of Sydney and the Great War. https://heuristplus.sydney.edu.au/heurist/?db=ExpertNation&ll=Beyond1914

Policy

In 2007 the Executive of the Federation confirmed the library’s role in supporting the work of the Federation, assisting in recruitment of new members, supporting the professional development needs of members, and conserving and preserving the cultural and heritage artefacts of the union (NSW Teachers Federation, 2008, p. 51).

Online catalogue

Since 2013 the library’s Web based Libero catalogue has enabled members anywhere to discover the library’s resources and make a request online for resources to be posted to them. In a way this is nothing new. In 1933, the library’s catalogue was made available to members throughout the state in printed form. Using current technology, the catalogue is delivered to members online, the commitment to member professional learning continues.

Postal service

Members can have resources posted to them at no cost.  If members need assistance with returning resources to the library, pre-paid mail satchels are provided for returning borrowed items.

Recommendations for purchase

Members can also make recommendations for purchase of new resources, not held by the library. Professional learning resources are expensive, and this service, where members can access the resources they need, without any cost to them, offers great support for members’ professional learning.

Hot Topics

Members can discover the library’s resources through the online Libero catalogue. Another convenient way for members to discover the library’s resources is by using the library’s Hot Topics guides. These short guides, lead members to the most popular and up-to-date resources on professional learning themes. The library currently maintains nearly 90 Hot Topics, which are available to members both online and in print form.

Synergy

After refurbishment of the 1st floor in 2017 the library is now situated in close proximity to colleagues from the Centre for Professional Learning (CPL) which provides for a synergy between library and professional learning activities. Hot Topics on relevant themes and class sets of resources are provided to support members attending Centre for Professional Learning courses.

The library works closely with the Aboriginal Education Coordinator, the Women’s Coordinator, the Multicultural Officer, and the Trade Union Training Officer to develop collections of relevant resources and focused Hot Topics guides to support members attending their training programs and events.

Library tours and briefings on library services, are provided to members participating in training, targeted to their interests. This also provides the library with the opportunity to meet and interact with active Federation members and learn directly about their interests and information needs.

Support for Councilors

The library provides a specific service for Councilors attending the Federation’s Saturday Council meetings. The library is open, and a Library Bulletin of new resources is distributed to delegates. Many delegates are from country areas, distant from any library. Access to the library for professional reasons, for Federation business, or recreation, is a valuable opportunity.

Library facilities

Members may visit the library for relaxation or study. A comfortable lounge area is provided, as well as computers, WiFi and study areas. Members may book the library meeting room at no cost.

The library premises are open to members throughout the year, including during vacations. The library opens from 9 am – 5 pm Monday to Friday. The library also opens on the Saturdays when the Federation Council meets, from 9 am – 1.30 pm.

Mary Schmidt is the Federation’s librarian.

Mary completed a Bachelor of arts Degree at the University of Queensland in 1972, followed by a Graduate Diploma of Librarianship at the University of NSW in 1973.

Having worked in the University of NSW Law Library while a student, and after graduation at Sydney Teachers College, Mary commenced work at the NSW Teachers Federation in 1975, International Women’s Year, an inspiring time to begin work with one of Australia’s leading trade unions.

Highlights include: the expansion of the library’s services to include support for the union’s industrial and campaigning work, as well as providing professional learning resources for members; the publication of the library’s online catalogue in 2013; digitisation of the Federation’s journal, Education, in partnership with the National Library of Australia, for the Federation’s centenary in 2018.  Currently, the archive from 1919-2019 is available on TROVE.

A-Century-of-Professional-Learning-Mary-SchmidtDownload
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Teaching Drama in Primary School

Natalie Lopes examines the reasons why teaching Drama in primary school classrooms is so important. She writes about the benefits brought by Drama for students’ learning and development as well as the joy it brings to them . . .  

I have a clear memory of my seven-year-old self running home from my first speech and drama lesson to set up my bedroom like the room in which my teacher taught. Sarah, from across the road, came over to play and I tried to give her the lesson I’d just experienced, much to her annoyance. From that moment on drama and performance became my strongest passion and I relished any opportunity for them.  

We did very little drama at my primary school, but I had my weekly lessons outside of school. I studied Drama at high school and completed a Bachelor of Arts (Acting for the Stage and Screen) at university. When faced with the choice between Honours or a Diploma of Education (Secondary Drama) I chose the Dip Ed, knowing that, as a performer in Australia, I’d need a day job. I always felt teaching Drama would be more fulfilling than being a waitress. I never planned to be a full-time teacher; it would be suitable work whilst I was waiting for the phone to ring.  

After five years as a casual teacher, I was offered a Drama RFF teaching role in a primary school. I decided to take it because securing part time work in the summer school holidays was becoming tiresome. Sixteen years later I am still at the same primary school teaching Drama. 

When I was asked to write this article I immediately panicked, and my imposter syndrome reared its ugly head. I’ve taught Drama for many years, but what do I know really? I didn’t plan to be a primary school teacher, and always thought I’d end up in a high school. I decided to talk to my students about it. ‘Why do you think Drama is important in primary school?’ I asked them. ‘What does Drama mean to you?’ Their answers helped inspire what I realised I could share with you. 

‘Drama is great because you can escape the real world and jump into a different reality.’ – A Year 5 student 

Drama allows its participants to pretend. Young children love to engage in make believe role playing when they play together, and drama is an extension of this natural ability. Drama is a chance to play, to imagine, to create characters and act like other people, to create ideas, stories, worlds. Playing roles also gives students the option to use the role as a shield, where they can let themselves go in a manner they wouldn’t be able to if they weren’t ‘playing a role’. 

‘It lets me reach out and stretch my imagination and creativity.’ – A Year 5 student 

Drama is an imaginative experience where the students are constantly creating. When students improvise and devise their own performances, they are using critical and creative thinking to do so. The ability to spontaneously improvise and really ‘be in the moment’ is an amazing skill to develop. Students learn to resist the temptation to pre-plan what they will do when performing. One must surrender to the experience. 

‘It boosts your confidence and lets your emotions out with joy.’ – A Year 6 student 

More people in this world fear public speaking than death. This means, (I tell my students regularly) that more of the population would rather die than get up in front of an audience and perform. If you can do that confidently from a young age that is an excellent skill to have.  Drama, when taught in a safe environment (and by safe, I mean a space where students feel they can explore and present ideas without ridicule and extreme judgment), helps to foster self-confidence in students. Each time they participate in a drama activity their confidence grows. Students develop trust with the space, with each other and with the teacher. A safe creative environment cannot operate successfully without a level of trust. Students know they won’t be ‘wrong’ if they participate. They can always grow and improve, but the space is a safe one to experiment and take risks. Drama also becomes a safe space to explore feelings and emotions that they might not feel comfortable expressing in real life.  

‘Drama helps me understand what characters are thinking.’ – A Year 4 student 

Drama helps students to develop empathy. By looking at situations from different characters’ points of view, they begin to understand that all humans deal with life differently: that we are complex beings and that we respond to experiences with varying feelings and emotions. When we play characters, we put ourselves in other’s shoes.  Empathy and understanding grow because of this. 

‘I like working with others. You can show all your ideas and have fun.’ – A Year 6 student 

Drama is a group-based subject. In my classroom the students know that to devise in a group they must do the three C’s – Collaborate, co-operate, and compromise. 

Collaborate – they need to creatively work together as a team. 

Co-operate – they need to cohesively work together as a team. Save the drama for the stage! 

Compromise – they must meet in the middle with their ideas. This is often the trickiest skill to develop when you have several passionate group members who want to be in creative control of the idea. 

Group Drama activities call on these skills to be in constant use and the students develop confidence in using them for group work. Group devising in Drama allows students to develop their ability to problem solve. 

‘You can be whoever you want to be.’ – A Year 6 student 

Drama is fun! Whether students are improvising and creating their own stories, playing Drama games, or acting out scripts or texts others have written, Drama is a joyful experience that most children love. Drama is not competitive in the classroom and can be a subject students realise they enjoy and are good at, despite their ability in other areas. Drama is an organic subject – you don’t need anything to do it except yourself. Drama is for everyone. Experiencing and participating in Drama is not just about rehearsing for a performance. That is, of course, one part of it – and a rewarding and fun part of it indeed – but the benefits of exploring drama in the classroom go much deeper than simply the ability to perform well. The confidence, creativity and imagination, problem solving skills and ability to work in a team are lifelong skills that benefit all students. 

A specialist Drama teacher RFF role in a primary school is a privileged position and I can appreciate that not all schools can accommodate this. However, there are many ways that Drama can be incorporated into a primary school teacher’s lesson.  

These are a few suggestions for ways to use more Drama in your classroom. 

  1. As a physical activity often linked to PDHPE. There are numerous Drama games and activities that involve using your body. These are well suited as warm up games at the start of a PDHPE lesson. K-2 students enjoy games like Traffic Lights and Knights in the Museum whilst 3-6 students love Wolf in a House and Zombie Tag.  They can also be great as brain breaks in the classroom, for example, Knife and Fork, What Are You Doing? and can be utilised to get students using their bodies to help fire up their creativity and imagination when brainstorming. 
  1. As a literacy tool. Drama and literacy are intrinsically linked and the use of Drama when exploring texts in the classroom is a way of developing a deeper understanding whilst having fun. Having the chance to move and/or act like a character from a text can bring it to life. Simple storytelling games where students retell the events of a story can enhance the students understanding of the plot and characters. Improvising and acting out scenes that happen in the text, as well as creating scenes that do not happen in the text (for example, alternative endings) provide wonderful opportunities for students to delve deeper into the text. 
  1. As a devising tool. Improvisation can be used to help plan stories and scripts. It is also a valuable tool when students are beginning group work in a range of subject areas. For example, students might improvise a story for the Drama activity of Typewriter where they narrate the story out loud. Later, they might use that story as a first draft for a piece of creative writing. A group of students might improvise a television commercial they are planning for the product/service they have created in a unit of work in HSIE. 

For more suggestions of how to use Drama in the primary school classroom check out the following resources –  Act Ease and  Arts Unit  here  

‘Drama’s just the best…yeah that’s all.’ – A Year 6 student  

It’s hard not to feel inspired about why Drama is important in the primary school classroom when you see the joy it brings the students. I hope this article has helped to highlight the importance and some of the many benefits of utilising Drama in your classroom. 

NSW Department of Education (2020) Act Ease https://education.nsw.gov.au/teaching-and-learning/curriculum/creative-arts/early-stage-1-to-stage-3/drama

NSW Department of Education Arts Unit: https://artsunit.nsw.edu.au/digital-resources/drama 

Natalie Lopes is a drama teacher at Stanmore Public School where she teaches RFF Drama to students in K-6. She also runs an after-school Drama program for students in Years 3-12. Natalie also works as an actor, writer and director in the theatre and TV industry, however the arrival of two small thespians of her own have meant less time for this area of her life in recent years. 

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Helping Your Students to Become Better Writers

Joanne Rossbridge & Kathy Rushton share a framework for improved extended response writing…

Introduction

Teacher knowledge about language and how it works is critical for not only developing dialogue around texts but can make explicit for students the strategies used by effective writers across subject areas. This requires understanding of the grammatical features of the common genres students commonly are asked to write in the secondary school.

This article looks at the extended response to support teachers to analyse student writing and examine both the language and literacy demands related to writing extended responses in secondary settings. The following outlines the approach and principles that are drawn upon in both a one-day and three-day CPL course entitled Conversations about Text in the Secondary School and Developing Dialogue about Text in the Secondary Schools respectively.

Making appropriate choices – Field, Tenor and Mode Framework for writing

Texts can be discussed using a framework developed by Michael Halliday (Halliday & Hasan, 1985) in which the three critical aspects of the register of the text, field, tenor and mode are utilised to analyse and understand how successful texts are constructed to reflect their context and purpose:

  • Field refers to the subject matter of the text and this of course will differ across and within subjects;
  • Tenor is the relationship established between the reader and writer;
  • Mode addresses the nature of the text itself and the role language plays within it.

When viewed together, all students can be supported to understand the range of language choices which need to be made to successfully realise the purpose of a text for the audience it is addressing.

For further explanation see Halliday & Hasan, 1985 and Rossbridge & Rushton, 2015.

This helps students to realise that careful reading and note-taking may address field but to meet the challenges of engaging an audience and establishing a clear purpose for their text a range of other language choices need to be made.

The following framework provides teachers with a time-saving and focussed way to provide the support that developing writers may need at all levels of text from word, clause, group and sentence to paragraph and text levels (Derewianka, 2011).

Choices in context: a case study from the ancients

The context for writing in secondary schools is provided by the subject areas. Students may be involved in field building through the focus on teaching content around a topic such as an example of The Ancient World in History. In addition to acquiring the field knowledge we also need to be explicit about who the audience may be that they are writing for as well as the relationship between the writer and reader.

The following examples show how the field of the writing may be similar but the tenor and mode differ. This can be seen by the more personal connection with the audience in Text 1 while Text 2 seems to convey more authority on the topic. In addition, the mode of the texts may differ in that the writing may be more spoken or written-like as evident in Text 2, which sounds more written-like or academic in the way the ideas have been packaged and organised.

Text 1

Have you ever wondered what life was like for women in Ancient Sparta? They had lots of power and could think for themselves more than some of the other women in other places in Greece.

Text 2

Spartan women had a reputation for strength and independence. They enjoyed greater freedom and power than women in other city-states in Ancient Greece.

This framework for considering and talking about language choices in context can provide the basis of a strong scaffold (Hammond, 2001; Vygotsky, 1986) for adolescent writers.

Writing pedagogy

The genre based pedagogy known as the Teaching Learning Cycle was originally developed by Sydney School genre theorists… [it] has proved a powerful resource for scaffolding literacy development, with numerous published units of work documenting and/or guiding its implementation.                        (Humphrey & Macnaught, 2011, p. 99)

The Teaching Learning Cycle includes building the field, text deconstruction, joint construction and independent construction. Our focus is on supporting teachers to undertake the more challenging text deconstruction and joint construction.

We consider that the critical dialogue about text occurs during text deconstruction and joint construction (Rossbridge & Rushton, 2014). In many classrooms, texts are modelled but the rich language about language, metalanguage, can only be developed when the teacher and students talk together about the language features of the texts they are reading or writing (Lemke, 1989).

For this reason, one of the courses involves the conversations about text that teachers can develop to support writing development (Rossbridge & Rushton, 2010 & 2011). By using the field, tenor, mode framework for writing, not just the field (content) but also the tenor (relationship) and mode (nature) can easily be the focus of these conversations.

What a conversation might lead to

The following transcript provides an example of the conversations which might occur between a teacher and students. In this example from a whole class joint construction the notion of perspective in History texts is explored by considering the development of the noun group to name participants in events.

Student: Dan would say he’s like a visitor because he wouldn’t say he is trespassing or doing anything wrong. He’d say he’s visiting and helping out his country.

Student: You probably know that their settling there as a new country.

Teacher: So are you saying he’s a settler?

Student: Yeah. Like saying he would know he’s not really going to be going anywhere.

Teacher: So, is he a visitor or a settler?

Students: Settler.

Teacher: What have we built? Dan, who was a young British settler. What have we just built?

Student: Noun group.

Teacher: Yes, we’ve built a whole noun group with an adjectival clause.

(See Rossbridge & Rushton, 2014 & 2015)

Key principles for developing a critical dialogue about text

  • The key principles for developing the critical dialogue about text are, in our view, language, the learner and the support or scaffold provided for the student. The teacher needs to be very clear about the language needed to write target texts as well as having a clear view of the purpose of talk in the classroom.
  • The dialogue can be supported by questioning, Think Alouds (when the teacher verbalises their thinking as they read for meaning to model the thinking skills required for comprehension) and other strategies which provide opportunities for talk and substantive communication.
  • The learner needs to be both engaged and supported to undertake risks (Hammond, 2001) if they are to master the challenges of writing an extended response in an academic context. The support needed is not just modelling but the ability to hand over the tasks to the students (Gibbons, 2002 & 2006) at the right point, the Zone of Proximal Development (ZPD) (Hammond, 2001; Vygotsky, 1986). This may require both micro and macro scaffolding when programming and teaching.
  • One of the most important understandings about language development is that it can be viewed on a continuum from spoken-like to written-like language, the mode continuum. At one end of the continuum is oral language which differs from written language mainly in its density. Written language is lexically dense in the sense that more meaning is carried in fewer words (Halliday, 1985). The challenge teachers face is to support students to develop the lexically dense texts which are valued in our education system.Written language is lexically dense in the sense that more meaning is carried in fewer words

Nominalisation and theme

Using the framework of field, tenor and mode two very useful tools for writing can be drawn upon. These are the features of nominalisation and theme which can be identified in texts. Students can be taught how to use them to make their texts more effective.  Nominalisation is a resource that allows writers to change verbs, conjunctions and adjectives into nouns.

Making language more powerful

We should reduce mining near the coastline.

The reduction of mining near the coastline will result in greater preservation of coastal ecosystems.

In the example the verb group in the first clause has been turned into a noun group (nominalised) and placed at the front of the second clause in theme position. By doing this the main focus of the writing can be put up front, the writing sounds more written-like and by repackaging the first clause into a noun group the writer is able to add additional information.

Such conversation and dialogue around text enables students to take on knowledge about language in the context of texts and apply it to their own writing.

The use of these features relates to the genre of the target text (Macken & Slade, 1993; Martin & White, 2005; Martin & Rose, 2008).  While unfamiliarity may initially challenge students, when teachers become adept at deconstructing both modelled and student texts even very young students are able to grasp the concepts and begin to utilise them in their writing.

Our CPL courses demonstrate a range of strategies for developing extended responses which include the effective use of these features and support students to master them.

References:

Derewianka, B. (2011) A new grammar companion for primary teachers. Newtown: PETAA

Gibbons, P. (2006) Bridging discourses in the ESL classroom: Students, teachers and researchers (pp.59-70). London: Continuum

Gibbons, P. (2002) Scaffolding language, scaffolding learning: Teaching second language learners in the mainstream classroom (pp.77-101). Portsmouth: Heinemann:

Halliday, M.A.K.(1985) Spoken and written language (pp.61-67). Victoria: Deakin University Press

Halliday, M.A.K. & Hasan, R. (1976) Cohesion in English (pp.238-245). London: Longman

Halliday, M.A.K. & Hasan, R. (1985) Language, context, and text: Aspects of language in a social-semiotic perspective (pp.238-245). Victoria: Deakin University Press

Hammond, J. (Ed.) (2001) What is scaffolding?  Scaffolding teaching and learning in language and literacy education (pp.1-14). Newtown:PETAA

Humphrey S., Droga, L. & Feez, S. (2012) Grammar and meaning: New Edition.  Newtown: PETAA

Humphrey, S. &  Macnaught  S. (2011) Revisiting joint construction in the tertiary context. Australian Journal of Language and Literacy. 34(1), 98-116

Lemke, J. (1989) Making text talk: Theory into practice. Columbus, Ohio: College of Education Ohio State University

Macken, M. & Slade, D. (1993) Assessment: A foundation for effective learning in the school context. In Cope. B & Kalantzis, M. (1993) The powers of literacy: A genre approach to teaching writing. (pp.203-222)  Bristol, P.A.: The Falmer Press

Martin, J. & Rose, D. (2008) Genre relations: Mapping culture London: Equinox Publishing

Martin, J. & White, R. (2005) The language of evaluation: Appraisal in English. (pp.26-38) Basingstoke: Palgrave Macmillan

Rossbridge, J. & Rushton, K. (2015) Put it in writing. Newtown: PETAA

Rossbridge, J. & Rushton, K. (2014) PETAA Paper 196 The critical conversation about text: Joint construction. Newtown: PETAA http://www.petaa.edu.au/imis_prod/w/Teaching_Resources/PETAA_Papers/w/Teaching_Resources/PPs/PETAA_Paper_196___The_critical_conversation_.aspx

Rossbridge, J. & Rushton, K. (2010) Conversations about text: Teaching grammar with literary texts. Newtown: PETAA

Rossbridge, J. & Rushton, K. (2011) Conversations about text: Teaching grammar with factual texts. Newtown: PETAA

Vygotsky, L. (1986) Thought and Language. Cambridge, Massachusetts: MIT Press pp.xi-xliii

About the authors

Dr Kathy Rushton is interested in the development of literacy, especially in socio-economically disadvantaged communities with students learning English as an additional language or dialect. She has worked as a literacy consultant, EAL/D and classroom teacher with the DOE (NSW), and in a range of other educational institutions. Kathy is a lecturer in the Faculty of Education and Social Work at the University of Sydney.

Joanne Rossbridge is an independent English, language, literacy and EAL/D consultant working in both primary and secondary schools across Sydney and Australia. She has worked as a classroom and ESL teacher, literacy consultant and lecturer in universities. Much of her experience has involved working with students with language backgrounds other than English. Joanne is particularly interested in student and teacher talk and how talk about language can assist in the development of language and literacy skills.

‘We Are Not Just Some Kids’: The Gallery as A Classroom Space for Student Engagement

Dr Kate Winchester is a facilitator and lecturer who is passionate about student engagement, inspiring social justice, creativity and authentic learning. Kate began working in schools as an Arts facilitator in disadvantaged schools in the United Kingdom. This experience motivated her to pursue a career as a teacher and she returned to Australia to undertake a Master of Teaching degree at Western Sydney University. Having been particularly inspired by the work of the Fair Go Program in her studies, Kate worked as a teacher in a variety of Primary schools that serve lower socio-economic communities in both Western Sydney and in the UK, and she continued to explore the key ideas from the Fair Go Program and how arts pedagogy could deeply engage students in these social contexts. Her PhD research, completed at Western Sydney University, examined how the synchronous interplay of the themes of creativity, arts practice, student engagement and big ideas in learning could enhance the social and academic outcomes of all learners, particularly those from disadvantaged backgrounds. This article talks about important ideas from that research.

The quote in the title of this article is from a student participating in the ‘Gallery’ pedagogical model. The words carry the important message that the Gallery had become a classroom space where the students saw themselves as valued members of an engaged learning team. The statement highlights a changing mindset in the students’ own perception of themselves as learners and a growing understanding that they themselves had powerful and valuable learning to communicate to their school and to their local community.

The ‘Gallery’ was designed to facilitate rich opportunities for students in low SES communities to experience arts-based creative teaching and learning experiences, and to dive deeply into learning about ‘big ideas’ in the curriculum.  The Fair Go Program’s Student Engagement Framework (the MeE Framework) was a strong and crucial aspect of the Gallery design and subsequent research that took place in low SES primary school contexts in Western Sydney. This article provides an overview of the Gallery model in operation, and offers ‘food for thought’ about how the Gallery might open up classroom spaces for sustained and meaningful learning.  

What is the Gallery?

The Gallery model is conceptualised as a ‘gallery’, evincing the language and physical domain of the arts world as a way of encouraging the students to think differently about their learning, and so to act differently within the more dynamic spaces that were opened up to them. Thought about in this way, both the gallery as a public space and the classroom as a learning space value the exhibition and expression of art in all its forms. Both are spaces that invite the interaction of the participants. Both have the potential to generate emotion and empathic understanding, and both value the idea that art has the power to reflect important local and global issues.

The Gallery learning experiences were designed to work towards the creation of an ‘Exhibition’.  The classroom exhibition was likened to that of a public showing in an art gallery, and this was seen as an opportunity for students to share with their local community the deep and purposeful learning that had been occurring throughout the Gallery experiences.  The Exhibition was thus not perceived to be a disconnected, one-off artistic showcase, but rather a purposeful exhibition of student learning. An important feature of the Exhibition was that it was to be designed and built by the students themselves, and so promoted a rich expression of artistic learning, rather than a fanciful artistic ‘show’. It was intended to accentuate the participants’ feeling of ownership as part of the student engagement concept of the ‘insider classroom’ (Fair Go Team, 2006). For this reason, it was seen less as a ‘product’ of learning and more as an invitation to the audience into the ‘process’ of the Gallery learning 

The Gallery Themes

The Gallery is informed by the four research themes: student engagement, arts pedagogy, creativity and ‘big ideas’. The interaction and intersection of these key themes shape the theoretical and pedagogical framing of the Gallery model. 

Student engagement

The Fair Go Program’s (FGP) student engagement model (Munns et al., 2013) was deployed as a way of understanding the interactive and reciprocal dynamics of classrooms. The FGP model emphasises engaging and meaningful learning experiences, rather than focusing on the control of student behaviour. The FGP concept of ‘in- task’ behaviour (substantive engagement: strong psychological investment) was firmly at the heart of the arts practices developed for this research, and so two important aspects of the FGP frame were implemented. The first was the design of pedagogical experiences that were high cognitive (intellectually challenging – ‘thinking hard’), high affective (enjoyable – ‘feeling good’) and high operative (‘assisting students to become better learners’). The second was the promotion of processes aimed at the FGP idea of the ‘insider classroom’ – a student community of reflection and self-assessment, and teaching as conversation with feedback focused on self-directed learning. 

Arts pedagogy

At an intellectual level, the model was informed by Eisner’s (2002) view that human understanding can be represented beyond literal language and quantification (p. 204), and that an aesthetic response might help with enhanced learning insights. Since the students in the research were reluctant (indeed, often opposed) to becoming involved with intellectually challenging work, the research wanted also to contest the common perception that the arts in educational settings are ‘affective rather than cognitive, easy not tough, soft not hard, simple not complex’ (Eisner, 2002, p. 35). So, artistic expression was favoured in this study as a viable format for the expression of intelligence (Dewey, 2005, p. 46). There was also a consideration of how emotion interplayed with intellectual understanding. Research was utilised showing that artistic expression is an important resource to negotiate and display intellectual understanding (Gallagher et al., 2013, p. 9). Emotional responses, therefore, were appreciated as particular forms of cognitive expression, and were central to the types of planned intellectual activities. 

Creativity

The research considered the interrelationship between creative and intellectual work, and the importance of creativity as a shared social practice. There was a response to Craft’s (2008) call for ‘creativity with wisdom’, which is where creative practice is empowered by its connection to human concerns and ideas. Here, the relationship between creativity and wisdom informed the interplay of the four themes of this research. The Gallery embraced the importance of creative pedagogy aiming to improve learning through imaginative thinking (Egan, 2007), play and possibility thinking (Craft, 2000), collaboration (John-Steiner, 2000; Sawyer, 2014) and inquisitiveness (Lucas et al., 2013). The gallery model also challenged what Craft (2005) identifies as ‘blind spots’ in the discourses surrounding the educational importance of creativity, such as those that most highly value individuality. Here, Csikszentmihalyi’s (1991, 1996, 1997) concept of ‘flow’ and Sawyer’s (2004, 2006) notion of ‘group flow’ were both considered. For Csikszentmihalyi, ‘flow’ is a state of consciousness of optimal experience in which the participant undergoes complete focus and fulfilment. In Sawyer’s (2004, 2007) notion of ‘group flow’, creative collaboration and a ‘collective state of mind’ can explain high levels of engagement (2007).  

‘Big Ideas’

To this point there emerges a picture of the way the pedagogical spaces of the gallery were crafted. That is, the gallery model was clearly shaped by a focus on learning intellectually and emotionally through the arts, a commitment to creativity as a shared social practice, and conscious teacher planning of high level and enjoyable experiences that would develop a community of learners. The final theme of big ideas provided specific directions within this shaping. The first was that the pedagogy should favour processes such as play, collaborative work and corporeal expression (Egan, 2013; Eisner, 2002; Gallagher, 2010; Winston, 2015). The reasoning was that these processes were important to balance the types of performative curriculum practices that can dominate the pedagogy of classrooms in all too many disadvantaged contexts. Second, content was designed to connect, both with students’ life experiences (Brophy & Alleman, 2007, p. 15, drawing on Dewey, 1938), and then, as a social justice issue, with fundamental understandings about the human condition through authentic learning about ‘big ideas’ (Brophy et al., 2010). Big ideas were employed to foster creative thinking, curiosity, deeper understandings and empathic experience, and to encourage a deep emotional connection between learner and content (Brophy & Alleman, 2007, p. 17). Their implementation into the gallery was a key engagement strategy, and complemented FGP engagement ideas around content that is authentic, interesting, relevant and worth learning. It was an approach that focused on schooling as an intensely social and moral process, and not a technical endeavour (Winston, 1998: p. 90). These four theoretical themes are summarised and depicted in the Figure below.  

What could the Gallery look like in practice?

The following Figure shows the key planning ideas in the development of the Gallery.

What does this look like?

Let us now look at a brief illustration of a Gallery in action in a school in Sydney’s South West. This description of the Gallery in action paints a brief picture of how the model might take place over a series of lessons, perhaps once a week for a term. 

Decide on the ‘Big Ideas’ in the topic

Students in a Stage 3 class undertook learning in the NSW Syllabus: Geography content topic ‘A Diverse and Connected World’. The ‘big ideas’ and key inquiry questions of the learning experiences that were to take place became:

  • What are Australia’s global connections between people and places?
  • Who were the people who came to Australia? Why did they come? 
Select resources that facilitate drawing out and working through the Big Ideas

The Gallery opened up spaces for the students to explore individual narratives of the migration experience of refugees. Picture books documenting the experience of being a refugee or asylum seeker were employed as the basis of the artistic learning experiences. The books selected were: Ziba Came on a Boat (Lofthouse & Ingpen, 2007) and Home and Away, (Marsden et al., 2008). The descriptive poem, The Magic Box, (Wright & Bailey, 2009) was also used as a foundation for ideation and to help the students to structure their own poetry in response to the ‘big ideas’ as listed above. 

Plan a sustained series of arts-based practices that can be employed as a vehicle for students to explore the resource and big ideas

Students responded to the picture books through a variety of arts-based strategies. The theatrical device of tableaux, in which participants freeze in poses that create a picture of a key moment from a story, was an important strategy that was employed to support them to empathise with, and embody, characters, as well as to express their comprehension of the narrative. The students were also involved in exploring dance elements such as dynamics, relationships, action and space to create movement sequences to communicate a story or message (NESA, 2006). Working collaboratively, they used mime and movement to explore how emotions and feelings can be expressed to an audience.  Drama activities were the main artistic modality that was invoked in order to support the students in expressing their understanding of the topic. 

Provide time and various opportunities for students to collaborate and ‘play’ with their ideas through artistic or imaginative expresssion

Improvisational drama games were a key element in providing scaffolding for the students to work cohesively in teams, collaborate on a task and to encourage them to share and respond to each other’s ideas. Time and space were allowed for students to discuss their responses to the resources through planned and scaffolded group brainstorming activities, creative writing challenges and reflection. Writing challenges were given at key points in the program, only after the students had built up imaginative expression through drama games and activities first. Emphasis for such challenges was on play and experimentation.  

Ensure a focus on learning, not behaviour and include high cognitive, high effective, high operative experiences. Establish an ongoing community of reflection

The creative and artistic learning space is intentionally planned against the high cognitive (‘thinking hard’), high affective (‘feeling good)’ and high operative (‘becoming a better learner’) structure.  The tasks in each Gallery ensure intellectual inquiry focused on the big ideas, affective enjoyment and purposeful learning as well as reflective activities to help students work with the high operative level of their learning. The focus for each experience is on the process of learning, taking up artistic challenges and intellectual expression through creative practice, rather than on behaviour management and compliance. Learning is the main game. 

Build learning experiences toward an ‘exhibition’ of deep student learning

An exhibition should be a celebration of the learning that has taken place in the Gallery as opposed to a one-off, disconnected, fanciful ‘performance’. This particular Gallery incorporated the students’ growing interest in shadow play (from playful shadow activities linked to measurement and Earth and Space Sciences), and this interest culminated in an Exhibition in which students decided to produce and share a shadowography performance in their own self-made shadow theatre. The story of the shadow theatre was designed by the students themselves and played out an account of a refugee who fled a war-torn country to travel by boat to Australia. Students were focused on communicating the Big Ideas and feelings about the topic to the wider school community.

In summary, the key aspects of a Gallery in practice include:

  • Sustained aesthetic practices that value empathic and artistic expression as intellectual expression.
  • Experiences of the essential human qualities of play, collaboration, improvisation and imagination.
  • Focus on learning, high expectations, student active participation (shared control, student voice in reflection and discussion), high engaging experiences, increased student collaboration with links to wider school community.
  • Sharing empathic understanding through big ideas around local and global impact and effect.

Data collected from the Gallery at this primary school illustrated that students, when provided with these kinds of learning experiences, were able to take ownership, shift their perceptions around achievement and begin to challenge their own, and the wider school community’s, perception of what a classroom might look, sound and feel like.   

The Gallery and the ‘bigger pictures’ of student engagement

The Gallery is presented in this article as a model for deep and purposeful learning, particularly for students in low SES areas. The Fair Go Program’s Student Engagement Framework (the MeE Framework) was a critical component of the inspiration, design and implementation of the Gallery.  The pedagogical practices in the Gallery respond to a belief and commitment that all students, including those from marginalised backgrounds, need to be provided with intellectually demanding and meaningful work, not only as an engagement strategy but as a matter of social justice (Hayes et al., 2006). The metaphor of the Gallery, suggested here as an engaging classroom space, is a worthwhile response to the teaching challenge that many educators face. That students who were involved in this model were able to see themselves as ‘not just some kids’, but as people with powerful learning to share, and this points to the real possibility that the Gallery model can be a platform for advancing social and academic outcomes for students in low SES communities.  

References

Brophy, J., & Alleman, J. (2007). Powerful social studies for elementary students (2nd ed.). Thomson Wadsworth.

Brophy, J., Alleman, J., & Knighton, B. (2010). A learning community in the primary classroom. Routledge.

Craft, A. (2000). Creativity across the primary curriculum: framing and developing practice. Routledge.

Craft, A. (2005). Creativity in schools: Tensions and dilemmas. Routledge Falmer.

Craft, A. (2008). Tensions in creativity and education: Enter wisdom and trusteeship? In A. Craft, H. Gardner, & G. Claxton (Eds.), Creativity, wisdom, & trusteeship: Exploring the role of education (pp. 16-34). Corwin Press.

Csikszentmihalyi, M. (1991). Flow: The psychology of optimal experience. Harper Collins.

Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. Harper Collins.

Csikszentmihalyi, M. (1997). Finding Flow: The psychology of engagement with everyday life. Basic Books.

Dewey, J. (1938). Experience and education. Macmillan.

Dewey, J. (2005). Art as experience. Perigee Books. (Original work published 1934).

Eisner, E. W. (2002). The Arts and the Creation of Mind. Yale University Press.

Egan, K. (2007). Imagination, past and present. In K. Egan, M. Stout, & K. Takaya (Eds.), Teaching and learning outside the box: Inspiring imagination across the curriculum (pp. 3-20). Teachers College Press.

Egan, K. (2013). Wonder, awe and teaching techniques. In Egan, K., Cant, A. I., & Judson, G. (Eds.), Wonder-full education: The centrality of wonder in teaching and learning across the curriculum. Taylor & Francis.

Fair Go Team (2006). School is for me: Pathways to student engagement. NSW Department of Education and Training.

Gallagher, K. (2010). Improvisation and education: Learning through? Canadian Theatre Review, 143, 42-46.

Gallagher, K., Ntelioglou, B.Y. & Wessels, A. (2013). “Listening to the affective life of injustice: Drama pedagogy, race, identity, and learning”. Youth Theatre Journal, 27(1), 7-19.

Hayes, D., Mills, M., Christie, P. & Lingard, B. (2006). Teachers and schooling making a difference: Productive pedagogies, assessment and performance. Allen & Unwin.

John-Steiner, V. (2000). Creative collaboration. Oxford University Press.

Lofthouse, L., & Ingpen, R. (2007). Ziba came on a boat. Penguin/Viking.

Lucas, B., Claxton, G., & Spencer, E. (2013). Progression in student creativity in school: First steps towards new forms of formative assessments (OECD Education Working Papers, No. 86). OECD.

Marsden, J., Ottley, M., & Children’s Book Council of Australia. (2008). Home and away. Lothian.

Munns, G., Sawyer, W., Cole, B. (Eds.) & the Fair Go Team (2013). Exemplary teachers of students in poverty. Routledge.

NSW Education Standards Authority (NESA). (2006). Creative Arts K-6 Syllabus. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/creative-arts/creative-arts-k-6-syllabus

Sawyer, R. K. (2004). Improvised lessons: Collaborative discussion in the constructivist classroom. Teaching Education, 15(2), 189-201.

Sawyer, R. K. (2006). Educating for innovation. Thinking Skills and Creativity, 1(1), 41-48.

Sawyer, R. K. (2007). Group genius: The creative power of collaboration. Basic Books.

Sawyer, R. K. (2014). Group creativity: Music, theater, collaboration. Psychology Press.

Winston, J. (1998). Drama, narrative and moral education. Routledge Falmer.

Winston, J. (2015). Transforming the teaching of Shakespeare with the royal Shakespeare company. Bloomsbury Publishing.

Wright, K., & Bailey, P. (2009). The magic box: Poems for children. Pan Macmillan.

Let’s Play! Benefits of Music Recitals

Ashleigh Smith celebrates performance through an exciting school recital series…

Why a recital program?

Music plays an important role in our social, cultural, aesthetic and spiritual lives. At an individual level, music is a medium of personal expression. Through my experience developing a recital program in a comprehensive public high school, I have found that it has provided a platform for students to showcase their abilities in performance and to grow as a musician, with benefits to HSC results, confidence and personal development of the students involved.

At my school, Keira High School, music has always been an important focus, and the Recital Program has provided the school community with the opportunity to celebrate the success of a range of individual and group performances. Inspired by the renowned composer Antonio Vivaldi and his signature suite, The Four Seasons, the programs builds into the school calendar a series of recitals to be held annually. These four celebrations of musical talent take the name of each season, reflecting Vivaldi’s work and connecting the school community to the individual performers and to the world of classical music beyond the classroom.

Such events allow students to hone a vast array of collaborative and organisational skills through direct engagement in decision-making around aspects such as staging, programming, rehearsal schedules, technical support and performance delivery. A scope and sequence of learning activities supports students to negotiate the decision-making required of them to work towards delivery of these events. Associated student self-evaluations and teacher observation assessment documents also provide feedback on the development of problem-solving abilities and the impact of this on the quality of each event. Combined with audience responses to these programs, it is clear that our program has been successful in building these key capabilities within our music students.

Curriculum beyond the classroom

A school’s curriculum can be enhanced by the inclusion of quality learning experiences provided to students beyond the classroom and syllabuses. Whilst there can be many competing priorities, delivery of music programs, which are inclusive, well-resourced and sustained, should be a significant focus at all schools to ensure a sufficiently broad and culturally rich curriculum. This is especially true for schools serving disadvantaged communities.

At Keira, our band program connected to the recitals boasts high levels of participation of students, with some 35 students from Years 7 to 12 performing in a variety of contexts, both within and outside of the school community. We think this popularity comes from providing a supportive learning environment that allows students to explore music in a culture that values the importance of making mistakes, seeking feedback, and planning for future success. Most importantly, our music program has allowed a wide range of students to enjoy exceptional success as part of a quality band, as the statement below from Year 11 student, Lola Sossai, who joined the Recital program in 2018 and featured at the Summer Recital in 2019 as the leading musician, attests:

Recitals build character, resilience, friendships and can benefit one’s happiness immensely. I never liked to sing in front of people, I loved to play the drums and guitar and hoped it would bring a smile to someone’s day. The on-going support from music teachers and students helped me learn to love singing in front of people. You create memories, you create moments, and you can maybe leave a recital stage, having inspired someone with the same potential they didn’t know existed.

Overcoming challenges for performers

It is important to acknowledge that the COVID-19 pandemic we are living through has affected our program, and we were unable to run live events in 2020. During the last week of Term 2, this year our Winter Recital was modified and performed to selected class groups; a change that was decided upon very last minute. The Recital ran in school hours and was filmed and sent to parents, carers and performers via a YouTube link. It was important for me that the students had this opportunity to showcase the hard work they had put in over the term, and it also taught students the importance of innovation in the performing arts.

More than external factors, since the beginning of our program, it has been clear that the biggest obstacle for students is performance anxiety. Most students in the 2018 Recital Program had never performed for their classmates, let alone their parents, teachers and friends. As a performer myself, I understood the necessary tricks needed before a performance, which included being prepared and limiting self-doubt. A student will typically feel more confident in their performance if there has been substantial preparation before the recital. So, leading up to what we call ‘show week’ there are numerous rehearsals at lunch times and after school. As a teacher, this might appear to be a lot more work. However, what initially appears to be a substantial increase in workload actually provides the platform for student growth in creativity and self-expression and makes future teaching more efficient and effective. A rehearsal does not only provide students time to practise a piece, but also has social benefits which build rapport between students and across year groups, which makes the classroom environment more positive too.

Last notes

Performing is a major element of the arts, and the Recital program provides students with the platform to aim higher. Creating this opportunity for students to perform on stage, with a program and audience brings many benefits. Our Recital Program has built the confidence of many students and increased their skills, contributing to the development of each child. Creating a program that has built student confidence has positively impacted my classroom. Not only has it given students the chance to strive toward excellence in the performing arts, it also regularly brings our community together to celebrate the successes of our students through music.

Ashleigh Smith teaches Music at Keira High School where she initiated the development of a framework to successfully re-establish the importance of a school band and to provide the learning and organisational structures to support it. Ashleigh has been teaching for five years and co-ordinates the intermediate and beginner Concert Band, advanced Stage Band, Choir and upcoming string and woodwind ensembles as well as the professional experience program between the school and universities.

 

 

Collaborating Critically and Creatively In Visual Arts

Karen Maras (UNSW) argues that Critical and Creative Thinking (CCT) should be a fundamental part of all Visual Arts teaching. She provides us with the findings of a collaborative research-based professional learning program (carried out by Karen and public school Visual Arts teachers) developed to make CCT an integral part of Visual Arts classrooms. . .

Critical and Creative Thinking (CCT) is regarded as an important attribute that students need in order to adapt to a dynamic and rapidly changing world of work and life in the 21st century (ACARA, 2020). CCT is one of eight general capabilities nominated in proposals for curriculum reform in New South Wales (NESA, 2019) and as an area to strengthen in recommendations for the further development of the Australian Curriculum (Commonwealth of Australia, 2018). General capabilities are proposed by policy-makers and researchers in the area of educational measurement as a means for improving students’ academic achievement in all subject areas (Education Council, 2019; Griffen, McGaw, & Care, 2012).

Definitions of CCT abound. They are typically expressed, however, as generic statements describing sets of capabilities that can be integrated in learning, teaching and assessment. ACARA (2020) defines CCT as ‘two types of thinking’ that support ‘complementary dimensions to thinking and learning’ including the mastery of cognitive skills such as concept formation, theory construction, metacognitive reflection and higher order thinking. A CCT learning continuum describes how these skills articulate at different levels of learning. The Department of Education New South Wales also subscribes to this definition of CCT, further distinguishing them as separate skills in their advice to teachers (DOE, 2020).

The Report

While Visual Arts teachers and policy makers are confident that the development of CCT is fundamental to learning in the subject, to date there is limited research or advice that makes explicit the links between syllabus content in Visual Arts and pedagogical strategies teachers can use to promote the development of CCT in the classroom. To progress the challenge of understanding more deeply the relationships between CCT and learning and teaching in Visual Arts, Ms Kathrine Kyriacou, Dulwich Hill High School, in partnership with Dr Karen Maras, School of Education UNSW Sydney, designed a collaborative research-based professional learning program to investigate the role and place of CCT in teaching and learning in Visual Arts.

This initiative, Teaching and assessing students’ critical and creative thinking skills in Visual Arts Years 7-10, was awarded the inaugural Creative Innovation Grant funded by the Learning and Teaching Directorate, NSW Department of Education in 2019. The aim of the project was to develop teachers’ understandings of the theoretical bases of critical and creative thinking in Visual Arts and explore how this understanding could be applied in the classroom to enhance students’ CCT. A group of five early career and more experienced teachers, from a range of metropolitan and remote rural public schools, collaborated with a researcher in this Visual Arts professional learning program through online and face-to-face meetings. The project comprised four parts which supported the group to move from theory to practice and back again.

Phase 1: Professional learning workshops

The investigation of research on CCT in Visual Arts was grounded in the premise that CCT in Visual Arts is a domain specific capability (Maras, 2019) and takes the form of practical and conceptual reasoning (Brown, 2017/2005). The group took a deep dive into learning about empirical research, focussing on the cognitive and conceptual dimensions of students’ reasoning in art. They learned how students develop increasing autonomy in their reasoning and thinking in art as they learn to work with frameworks of meaning and the practicalities of reasoning about artworks, artists, audiences and subject-matter as they grow older (Brown & Freeman, 1993; Freeman, 2011, 2010, 2004; Maras, 2010, 2018a, 2018b). These studies show that, as students develop, they gradually acquire reasoning skills that support them to organise sets of critical claims, or facts about art, and use these recursively to create and represent intentional points of view about relationships among agencies in the artworld. Recursion in reasoning is the means by which we learn to engage in the processes of concept formation, theory development and metacognitive reflection (Fleischer-Feldman, 1987). These skills underscore CCT (Maras, 2019).

Through further investigation of the cognitive constraints on reasoning in art, the teachers learned how CCT relies on mobilising Visual Arts syllabus concepts in students’ thinking and reasoning in their learning (Maras, 2018a). This phase of the project concluded with an investigation of how concepts, derived from frameworks of meaning and value, in conjunction with the core concepts of artist, artwork, audience and subject matter within the Visual Arts Syllabus, provided a rich array of possibilities that could be strategically engaged, in the classroom, to support the development of CCT. CCT was, therefore, understood to be at the heart of learning in the domain of art.

Phase 2: Curriculum construction

Each teacher then applied their new understandings of CCT to the design of a lesson sequence. The aim of the lesson sequence was to support students to engage in concept formation, theory building and metacognitive reflection as a function of their critical and creative reasoning and thinking about art. To achieve this aim, the sequence addressed nominated concepts from the Years 7-10 Visual Arts Syllabus (2003) to augment an existing program of work implemented in Stage 4 or 5 Visual Arts. Lesson sequences featured activities that engaged:

  1. one or two key concepts derived from one Frame
  2. particular relationships between agencies of the artworld they wanted students to explore in depth (Conceptual Framework)
  3. pedagogy promoting critical reasoning exchanges and the formation of a point of view about art
  4. examples of artworks by one or two artists, and
  5. a body of resources that would be used as prompts to extend students’ critical reasoning exchanges about artwork meanings.

Group discussions of pedagogical strategies that would best support students to engage in recursive reasoning exchanges (that promoted the sharing and clarification of critical claims and the creation of different points of view about the meaning and value of artworks) supported teachers to develop their lesson sequences.

Phase 3: Curriculum Implementation

Each teacher then implemented their own lesson sequences in their schools. They engaged formative and summative assessment strategies to evaluate levels of student engagement in CCT. As would normally occur in their practice, the teachers assessed artworks, art writing and observations of students’ classroom exchanges to make an evaluation of how successful reasoning strategies, and associated pedagogies, were in promoting students’ engagement in CCT.

Phase 4: Evaluation

The teachers participated in individual and group reflections about their experiences in the project. They were invited to reflect on what they learned about the relationships between CCT, Visual Arts content and the role of recursive reasoning in promoting CCT in students’ creative exchanges and performances. They also reflected on the challenges they perceived in the design, and implementation, of teaching strategies that they had envisaged would enhance CCT in the classroom and the way these challenges could be addressed. Discussions in this phase of the project were recorded and transcribed for research purposes in accordance with UNSW Human Research Ethics and State Education Research Approvals Process (SERAP) approvals. The results of this component of the project will be addressed in greater detail in articles published in peer reviewed research journals in accordance with these ethical clearances. A summary of key insights gained about the role and CCT in Visual Arts teaching and learning follows.

Reflections and learnings

The outcomes of this project were multi-layered:

Student engagement in CCT

When working with students to make critical claims and using these claims to create new points of view in their reasoning, the teachers commented on the ways these two types of thinking functioned in an integrated way rather than as discrete types of thinking. They observed, when engaging in whole class in recursive reasoning exchanges in which particular concepts were made more explicit, that they were largely surprised by the responses of their students. For example, they observed that:

  • many students gradually gained confidence in working with the practical and conceptual structure of reasoning, with more students actively contributing to these investigations of art
  • the discussions were more lively than usual with an increase in peer-to-peer exchanges as claims were debated and collectively evaluated
  • students of all ability levels generally appeared to enjoy these exchanges and, when encouraged to reflect on their learning in previous lessons, appeared to be more confident in expressing their points of view in more coherent and reasonable terms, evaluating their own stance in relation to others’ views, and representing these ideas in written accounts.

On the whole, while some teachers acknowledged their own need to continue exploring strategies to engage all students in whole-class and small group exchanges, they were confident that the calibre of students’ CCT and the representation of these in oral and written accounts had improved.

Pedagogical strategies for developing CCT in Visual Arts

Strategies that were effective in prompting students to extend their reasoning about artworks, when building critical judgements and constructing explanations of their own artmaking, involved providing information about the circumstances that informs the production of an artwork or situates the development of an artwork within conventions of practice. This involved asking students to explain and interpret source material including:

  • images of the artwork in context of site, or with audiences and artists
  • extracts from critical reviews and historical accounts
  • statements by artists and audiences
  • extracts from documentaries or video clips on the artist and their practice.

Teachers also commented that, by orientating their teaching to targeted concepts, they felt more engaged in the reasoning exchanges in the classroom and intervened in reasoning exchanges by students more often and with greater strategic purpose. For example, they felt greater confidence in offering counter views or issuing provocations to adopt alternate views to prompt students to explore different kinds of critical claims. They believed that these kinds of interventions promoted the development of critical claims that supported students to develop higher order thinking and metacognitive reflections about their thinking.

Teacher autonomy through collaborative learning

Teachers reflected on ways their understanding of syllabus content and strategies (for engaging with particular concepts that built, over successive investigations, toward the creation of more substantive and reflexive forms of thinking about art in the classroom) had developed and deepened. Paramount in these individual and collective reflections were claims that the teachers:

  • deepened their own knowledge of Visual Arts syllabus content (frames, conceptual framework and practice) and how to apply this in the design of learning activities sequenced to build increasingly more complex ideas
  • had developed greater confidence in knowing how to adapt their pedagogy to further enhance the development of students’ CCT in their classroom practice,
  • felt initially challenged by the research and theory, but through revisiting the literature several times and then working with their peers in collaborative and open discussions of how the theory applied to classroom practice, these feelings abated.

They all remarked that they enjoyed learning with peers and that the exchanges about subject specific issues and ideas left them feeling reinvigorated as professionals. There was consensus among the group that professional learning opportunities that specifically addressed their subject expertise, and facilitated links with other teachers in different schools, was of great value to their own development as teachers.

Conclusion

The apparent alignment between students’ engagement in sustained, practical, and conceptual reasoning about art, points to the centrality of CCT to learning and teaching in Visual Arts. While teachers’ observations and reflections, on their lesson sequences and pedagogical strategies, revealed some interesting insights into the nature of teaching and learning CCT, these are provisional findings that require confirmation in the form of further research. Extending this initial investigation to delve more deeply into these issues could entail implementing a similar project across a broader range of schools in which data could be collected in the form of observations of classroom exchanges between teachers and students and evaluations of work samples. One thing was crystal clear. The benefits of research-informed teacher professional learning that addressed a general capability, in the terms of the discipline content and pedagogy, was the key factor for the teachers involved.

Acknowledgements

All members of this project would like to thank Ms Connie Alves, Principal, Dulwich Hill High School of Visual Arts and Design for her support. We would also like to acknowledge the wonderful support received from DoE Creative Arts Advisors Julia Brennan, Cathryn Ricketts and Nicole McAlpine in the development of the project and the resources herein.

References:

Australian Curriculum and Assessment Authority (ACARA). (2020). General capabilities in the Australian Curriculum. Retrieved 20 April 2020  from http://v7-5.australiancurriculum.edu.au/generalcapabilities/overview/general-capabilities-in-the-australian-curriculum

Brown, N.C.M. (2017/2005). The relation between evidence and action in the assessment of practice. In N.C.M. Brown (Ed.). Studies in philosophical realism in art, design and education, (pp. 243-260). Switzerland: Springer.

Brown, N.M., & Freeman, N.H., (1993). Children’s developing beliefs about art as a basis for sequencing in art education, Australian Association for Research in Education Annual Conference, https://www.aare.edu.au/data/publications/1993/brown93025.pdf

Commonwealth of Australia. (2018). Through Growth to Achievement: Report of the review to achieve educational excellence in Australian schools. Retrieved 20 April 2020 from https://docs.education.gov.au/documents/through-growth-achievement-report-review-achieve-educational-excellence-australian-0

Department of Education (DOE). (2020). Creative thinking. Retrieved 30 April, 2020 from: https://docs.education.gov.au/documents/alice-springs-mparntwe-education-declaration

Feldman, C. F. (1987). Thought from language: The linguistic construction of cognitive representations. In J. Bruner & H. Haste (Eds.), Making sense: The child’s construction of the world (pp. 131-146). London: Methuen.

Freeman, N.H. (2011). Varieties of pictorial judgement. In E. Schellekens & P. Goldie, (Eds.), The Aesthetic Mind: Philosophy and Psychology (pp 414-426). Oxford University Press.

Freeman, N.H. (2010). Children as Intuitive Critics. In C. Milbrath & C.Lightfoot (Eds.), Human Development (pp.185-206). NewYork: Psychology Press/Taylor & Francis.

Freeman, N.H. (2004). Aesthetic judgment and reasoning. In E. W. Eisner & M. D. Day (Eds.), Handbook of research and policy in art education (pp.359-378). Mahwah, New Jersey: Laurence Erlbaum Associates.

Griffen, P., McGaw, B., & Care, E. (2012). Assessment and Teaching of 21st Century Skills. Dordtrecht: Springer.

Maras, K. (2019). Reconciling critical and creative thinking capabilities and critical practice in Visual Arts education: a work in progress. Australian Art Education, 40(2), pp. 262- 276.

Maras, K. (2018a). Mind, language and artworks as real constraints on students’ critical reasoning about meaning in art. International Journal of Art & Design Education, 37(3), pp.530-540.

Maras, K. (2018b). A realist account of critical agency in art criticism in art and design education, International Journal of Art & Design Education, 37(4), pp. 599-610. DOI: 10.1111/jade.12206

Maras, K. (2010). Age-related shifts in the theoretical constraints underlying children’s critical reasoning in art, Australian Art Education, 33(1), pp. 20-28.

New South Wales Educational Standards Authority (NESA). (2019). Nurturing wonder and igniting passion: designs for a future school curriculum. NSW Curriculum Review – Interim Report. Retrieved October 24, 2019, from https://nswcurriculumreview.nesa.nsw.edu.au/pdfs/interimreport/chapters/NSW-Curriculum-Review-Interim-Report.pdf

New South Wales Educational Standards Authority (NESA). (2003). Years 7-10 Visual Arts Syllabus. Retrieved April 30, 2020, from https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/creative-arts/visual-arts-7-10

Dr Karen Maras is a senior lecturer specialising in curriculum development and change, teacher education and visual arts education, School of Education, UNSW Sydney, Australia.

Her research interests are focussed on the theoretical foundations of students’ critical and conceptual development in art learning and the implications of this for developing concept-based approaches to learning progression, curriculum and pedagogy more broadly. A key focus of this work is the role reasoning plays in the practical and conceptual dimensions of knowledge construction and learning through dialogic exchange in the classroom.

In response to global imperatives in education, Karen has recently commenced a program of research focussing on the extent to which general capabilities logically articulate in reasoning as a basis for learning and teaching in specific subject disciplines, and Visual Arts in particular. This work informs a recent collaborative project Teaching and assessing students’ critical and creative thinking skills in Visual Arts Years 7-10 involving UNSW and Dulwich Hill Visual Arts High School and funded by the NSW Department of Education Creative Innovation Grant, Learning and Teaching Directorate ($25,000).

Karen’s contributions to teacher education are complemented by her ongoing involvement in state and national curriculum reform, previous classroom teaching experience in schools and leadership roles in professional teacher associations at state and national level.

Karen-Maras-For-Your-Classroom-Semester-2-2020Download

Practical Creativity with Tangible Outcomes

Graham Sattler suggests an approach to combining music, emotion, language and technology in your classroom using the NSW Music Syllabus…

It is widely accepted that music pre-dates speech (Botha, 2009; Mithen, Morley, Wray, Tallerman & Gamble, 2006; Storr, 1993). Investigations of all cultures that have ever existed, and have been documented, indicate that music played and plays an essential part in cultural, individual and group (community) human development (Harvey, 2017).

While human speech developed, and continues to develop, to impart information, music exists to communicate emotion. Music acts as a social and emotional glue, connecting and comforting, inspiring, motivating, uniting and enthusing people. Even motivational speeches, whether to small groups of people or whole populations, rely on prosody; that is, the discipline of emphasising and exploiting the proto-musical elements of speech (rhythm, phrasing and intonation), to achieve a compelling and impactful result. Think of significant speeches throughout history, expressions such as hanging on every word and music to my ears exist for a reason.

The arts (and specifically, creativity) as a learning area is becoming compromised. The requirement of teachers to engage students in the understanding of (and expression through) artistic concepts, brings with it a need to develop tools, resources and strategies to facilitate student creativity and confidence in their capacity to create, appreciate and connect creative capacity and experience to their lives, their learning, community and cultural meaning. The good news is that tools and resources are easily, and in many cases freely, available. This article proposes a practical solution, called Music Emotion Language & Technology (MELT), to the third element of the equation; it offers a strategy, by way of a project plan for students to engage in the creative process, satisfy syllabus outcomes, and integrate with other Key Learning Areas while affording awareness and appreciation of cultural and language diversity.

Although the plan proposed herein for stages 4-6, it is both practical and scalable for students of any age and stage from early stage 1 upwards. For a list of NSW 7-12 syllabus outcomes integrated through this process please see Attachment 1.

While the project can be tailored to run across any number of sessions, here we consider an eight-week or session ‘course’. The number of sessions, however, is not a critical consideration; it is the staging of the process across the course that is important.

Outline

Across the (say, 8) class sessions, students identify and explore the musicality and emotional impact of everyday language and transform information-weighted text into emotion-weighted music.

To do this, students bringing a line of text to the session, and using music notation apps (ScoreCloud or similar), chart the expressive inflection in their own vernacular, language, or dialect (elements of pitch, emphasis and rhythm) and transform the inherent intonation of speech into musical patterns, creating a musical composition or compositions.

The melody, melodies, or sets of melodic fragments that result can be interwoven, creating counterpoint (separate melodies played in conjunction with each other). Harmonies and instrumentation (both acoustic and electronic, and potentially including the use of tablet and/or smartphone technology) can be explored and applied in relation to the emotional and dramatic meaning that emerges from the melodies and the texts.

Using available music technology programs or apps, such as Garageband or Logic, the composition(s) can be assembled and recorded with all participants having contributed to the development and performance outcome. While this sounds complicated, it need not be. Simple compositions can ‘emerge’ from one simple line of text from the youngest student. Two simple lines, or more, from as few or many students in the class as desired can be woven into original compositions and recorded on whatever devices (smartphones/mp3 recorders) are available. The music notation app or program comes into play in notating the pitches and rhythms inherent in the intonation of the recited text.

This is the point at which students’ emotions present as music!

There may or may not be a lyrics component in the final work or works. To some degree, outcomes demonstrate the primacy of music in expressing emotional meaning and drama over ‘language’ as a medium for communicating information. Shared ownership of the compositions means that the pieces, or sections/fragments thereof, would be available for students to incorporate into other workshops and learning activities across animation, game development, filmmaking and so on.

Initiating the process

Students would only be required to bring one or two lines of text to the process. The text(s) should not be from existing song repertoire, and should ideally be of the student’s devising. There is no requirement for rhyme, sophistication or poetic quality, and the inclusion of texts in more than one language, reflecting the cultural and language diversity of the school or class, is encouraged. The line(s) of text should be in some way meaningful to the student, and the student should be able to articulate, in simple terms, what that meaning is. Click here to view or download table.

The plan

Creating musicians

Through the process outlined above, students will create, record and perform a composition that is meaningful to them, is culturally relevant and, that explores both awareness and appreciation of diversity. Through thoughtful investment and engagement in the creative process from the first step, you can lead them to participate in making their own music, regardless of their age and stage, while developing facilitated collaborative practice and identity. Placing students in control and supporting them to use existing, found, and developed materials, also develops the skills to be creative, innovative, thoughtful, confident and informed musicians. Through our lessons, we can encourage our students to express themselves and their cultures; and consider and engage with the cultures, cultural values and practices of others.

And, isn’t that what a comprehensive public education is all about?

References:

Australian Curriculum, Assessment and Reporting Authority (2019), The Australian
Curriculum, F-10 Curriculum, The Arts, Music
 
https://www.australiancurriculum.edu.au/f-10-curriculum/the-arts/music/

Botha, R. (2009). On musilanguage/“Hmmmmm” as an evolutionary precursor to language.
Language & Communication, 29(1), 61-76.
Harvey, A. (2017). Music, evolution, and the harmony of the souls. Oxford University Press, UK: Oxford.
Mithen, S., Morley, I., Wray, A., Tallerman, M., & Gamble, C. (2006). The singing neanderthals:  The origins of music, language, mind and body. Cambridge Archaeological Journal,16(1), 97-112.
NSW Education Standards Authority. (2003). Music 7-10 Syllabus. Sydney: NSW Government. http://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/creative-arts/music-7-10
NSW Education Standards Authority. (2009). Music 1 Stage 6 Syllabus. Sydney: NSW Government.   http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-creative-arts/music-1-syllabus
NSW Education Standards Authority. (2009). Music 2 Stage 6 Syllabus. Sydney: NSW Government. http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-creative-arts/music-2-syllabus
NSW Education Standards Authority. (2018). Australian professional standards for teachers. Sydney.
Storr, A. (1993). Music and the mind. New York: Ballantine.

Dr Graham Sattler has extensive music teaching experience in primary, secondary and adult education settings. He has been involved in course design and delivery around concepts and strategies for both pre-service and existing teachers, writing and delivering K-6 and secondary Music courses in partnership with the NSWTF CPL since 2014, and is committed to the principles of access and equity and student-focused learning experiences. Graham presents regularly at international music education conferences, drawing on his PhD research in the field of socio-cultural development through group music activity in marginalised communities. He is currently Executive Director, Mitchell Conservatorium and Casual Academic, Central Queensland University.

Building Confidence and Success in Stage 6

Khya Brooks suggests an approach to the HSC which can reduce everyone’s anxiety…

On the day my first HSC classes’ results were released, I was nervous and excited. However, I did not expect the reactions that I witnessed.

Many people turned to me and said “Congratulations. You did so well”, as though I had just sat the tests myself. Meanwhile, some of my colleagues were sitting with their head in their hands saying “I didn’t even get one band 6. What happened?” The rest of the day was spent listening to colleagues criticise their own practice and try to justify their classes’ outcomes to themselves; “Oh, I should have focused more on this area in the syllabus…” and “If only I had thought to revise this case study more thoroughly”.

What I learnt that day was to internalise the HSC results as though they were my own. I learned that my classes’ success somehow translated into how valuable I was as a teacher. The day was not spent celebrating, it was spent critically reflecting. Sure, this is great practice for long-term improvement, but what I have found is that it has also increased the pressure experienced by teachers. I have noticed that this pressure is then often transferred onto students, resulting in unnecessarily increased anxiety throughout the school.

I argue that this approach is reflective of a growing individualistic and negative culture within society and therefore teaching; which positions individual teachers rather than school systems or society more widely as solely responsible for student outcomes. This anxiety is reinforced by constant questions from the school executive, such as “Did you differentiate enough?”, “Are you providing enough scaffolds?”, “How many band 6s will you get this year?”

There is often too much pressure on many of the adults and, subsequently, many of the children at school.

I thought school was supposed to be joyful!

What to do?

So, I decided to actively address this cultural shift. I wanted students to own their own learning, rather than assuming it was all my responsibility. I began to reshape my programs, assessments and my overall practice. The more confident and successful my students became with their skills, the more confident and successful I felt within my practice. Our collective anxiety melted away and school days became more positive.

I found this new approach enabled me to have a better range of measures to gauge my success as a teacher. Rather than relying on quantitative numbers at the end of the HSC, I established a clearer set of procedures that allowed me, and the students themselves, to better measure our progress.

Below are some practical strategies that have helped me in achieving this cultural shift in my classroom, with a view to empower learners and improve their confidence, and ultimately, their success. I will focus prominently on the strategies utilised with my Society and Culture classes, but they are strategies that are easily transferrable to other subjects.

Please note, I work in a partially-selective public school in South-West Sydney. This means I have a large range of students; from high to lower ability, from advantaged to disadvantaged backgrounds, and from the disengaged through to some ‘over workers’. I have found that these strategies have assisted all of my students. For this reason, they should be applicable in almost any school context.

Strategies to develop a culture of student-driven learning

No summary, no marks

A strategy I have implemented is to withhold marks from students after they initially receive their assessments back. I encourage students to read through their feedback, and write a summary outlining what they need to work on, and how they intend to improve a particular skill in future assessments.

Once they do this, I provide them with their mark. This is a way to maximise student engagement with feedback. Also, students tend to keep these summaries and read over them before submitting future drafts.

Specific student-led feedback

I no longer accept copies of drafts from students seeking copious feedback. I found that quite often I would have read a draft several times before it came to marking it, and it was exhausting, time consuming and students generally still made similar mistakes in later assessments (indicating it was not as effective as I wanted it to be).

As a result, I developed a feedback matrix to use with my classes. The matrix outlines a three-step feedback system where I give specific feedback at set times and students are required to actively engage with it. The steps are outlined in Image below or click here to view.

                           Image 1 – Feebdack Matrix

There can be many benefits to using the matrix. As students use the marking criteria to develop specific questions for their feedback, they self-identify areas they thought they were not as strong in. For teachers, this means no longer spending copious time fixing tiny issues. Instead, we are able to provide wider feedback that students then identify in their own work. Also, students can easily see if their ‘limitation’ was someone else’s strength, and they can seek more help from one another.

Grouped feedback activities

Following the submission of a formal assessment task, I allocate each student a shape based on the marking criteria. Each shape is representative of a skill they should aim to actively improve. I then dedicate a lesson to improving those skills by grouping students by shape around the room, and each ‘shape group’ completes an activity dedicated to improving that skill. For example, I gave a student a triangle to indicate that they needed to better synthesise their research. I then had a triangle station, where all students that received the triangle worked on an activity where they ‘blended’ primary and secondary information together to identify conclusions. Students then practised writing these conclusions into paragraphs, to improve this skill further.

Strategies to develop specific skills

Writing

To improve student writing, I developed an acronym (shown in Image 2 below) focussed on sentence starters. Whilst there are many popular paragraph structures around, this approach focusses on the sentence level and students tend to find this more visible. Over the course, students begin using different sentence starters, eventually utilising the acronym as an editing checklist rather than a structure. It has been hugely successful across all stages and courses and has also been adopted by various other faculties and schools.

               Image 2 – Writing Acronym

Once this acronym is introduced, I often develop an activity where students read various responses and highlight the different elements using different colours. The responses are usually related to course content, so that students actively learn relevant information through the process. We then discuss which responses were better and why, and students rewrite one of the poorer examples using the structure themselves. Often, I will then have students ‘highlight’ one another’s responses to begin to foster a peer marking culture.

I also use the highlighting activity as self-guided feedback through the course. Students learn to highlight their responses and identify whether they have used too much description, or if they need to embed more examples.

Applying concepts

In many subjects, applying concepts is integral. I scaffold this skill in a multitude of ways.

  1. The concepts are colour coded in my classroom, and are all displayed on the wall.
     
  2. Each lesson, I have students identify the various concepts that were discussed in class. Through this, students learn that a lesson can cover elements of a concept without the teacher explicitly stating it, and so they begin to look for opportunities to make these connections themselves.
     
  3. I provide students with paragraphs from previous responses. Students identify two concepts that would enhance the paragraph, and rewrite the paragraphs with the concepts applied. They then peer mark one another’s responses.
     
  4. Randomly, I will pass each student three cards, one with a ‘fundamental’ concept, one with an ‘additional’ concept and one with a ‘related’ concept. Students are then given one minute to prepare, and then discuss a key point of the case study using all three concepts. It helps to revise content, and enhances students’ ability to apply concepts appropriately.

Strategies to build a culture of success in the subject

One of my biggest successes has been developing a good rapport between cohorts. This has enhanced the mentorship my Year 11 students receive each year, and has also contributed to the growing profile and number of Stage 6 classes in my school.

Year 11 markers

Each year, one week before the Personal Interest Project (PIP) major work is due, I spend a day with my Year 11 students deconstructing exemplar PIPs and marking them collectively. This is a positive and voluntary experience, and the focus is about building up each other rather than putting pressure on Year 11 to produce Year 12 level work, or, of criticising older students.

Once students feel more confident in their understanding of the requirements of each section in the PIP, I then have them ‘mark’ draft Year 12 PIPs. This provides an array of advantages, such as my Year 12 students are provided with additional feedback, my Year 11 students have a better understanding of the skills required of them to achieve higher results, and I use the opportunity as a checkpoint to ensure all students have finalised their PIP at least a week prior to submission day.

Q&As

Each year I ask a number of my previous Year 12 students to come and speak to my new Year 12 students. The new group develop questions they want answered and my older group provide hints, tips and pieces of advice. Often, the older students offer to assist with PIP topics or research too.

Student developed questions

Lastly, following each topic, I have students map past HSC questions to the syllabus dot points and concepts. Students then develop a question for the topic, by mixing two dot points and adding a verb or integrating a concept. Finally, students add their question to a shared document and everyone selects three questions to respond to for practise.

This empowers students to develop their own resources for revision (I also get a bank of new question ideas). Often students will then show the question designer their response, and this suggests more collegiality between the students, as the class becomes more focussed on achieving great marks for everyone rather than personal or individual success alone.

Building up each other

It is important to note that I am very explicit with my students about the skills they learn, and how each of these strategies empowers them as learners. What I have noticed after integrating the strategies listed above is that students become less reliant on me to feed them information and are much more active about their own development. This allows each of them to feel confident and ultimately enables them to succeed as a class. It also makes it easier for me to measure how well they develop essential skills. It is this development that I value most in my teaching, knowing my students have come so far, and guiding them to continue to learn and grow more confident even when they are no longer in my classroom.

Khya Brooks currently teaches in Social Sciences at Elizabeth Macarthur High School. She has conducted workshops at the Australian Geography Annual Conference, worked in collaboration with local schools to develop higher-order-programs for the Australian Geography Curriculum, conducted research and had it published on behalf of the Western Sydney University EPIC (Educational Pathways in the 21st Century) program and contributed to educational podcasts. Khya’s students have received awards from the Society and Culture Association​ for their outstanding accomplishments in examination and PIP components of the HSC course. She has also contributed to the sustained growth and success of Stage 6 classes in her school. Khya is currently refining her approach to higher-order-learning strategies, and is guiding a research cycle of inquiry within her school.

 

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