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NSW Teachers Federation
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  • Courses
    • All Courses
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    • Secondary
  • Journal
    • Journal Issue
    • For your Classroom
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Subject: English

Writing in Secondary Schools – understanding and applying grammar in context

Writing in Secondary Schools – understanding and applying grammar in context

Overview

The focus of this three-day course presented by Kathy Rushton and Joanne Rossbridge is supporting participants to identify the language demands of texts commonly read and written in the secondary school and recognising the features of their students’ writing.

We will focus on the teaching of writing as the context in which grammar is taught to support meaning and we will outline those grammatical features which best support teachers to make an impact on students who are writing extended responses.

Our aim is not to focus on the basics, but we will briefly review or address grammar for those who may be addressing it explicitly for the first time. This will support participants to identify and address their students’ needs as they analyse their written work. We will provide practical examples of strategies for engaging students in writing and supporting students to write effectively.

Sydney

Day 1 – Friday 12 June 2026

Day 2 – Friday 26 June 2026

Day 3 – Friday 31 July 2026

Federation House

23-33 Mary St, Surry Hills, NSW 2010

Day 1 – Language and Literacy

Talking and Listening – What’s the difference? (Grammatical intricacy and lexical density)

Reading – What’s going on? (The verbal group)

  1. Overview of sessions.
  2. Discussion of Assessment tasks.
  3. Introduction of field, tenor and mode:

    Mode continuum.
  4. Types of verbs and aspects of verbal groups identified and discussed.
  5. The importance of teacher identification of verbal groups for exploring clause patterns in texts students are both reading and writing.

Whole group trials and share strategies for supporting students to explore verbal groups

Day 2 – Language Choices

Theme (Marked)

Reading – Who and What? (The noun group)

Writing – Where? When? How? (Adverbials and Theme)

  1. Aspects of the extended noun group explained as well as the use of noun groups in developing lexically dense texts.
  2. Analysis of texts suitable for all stages. Discussion at clause and group levels building on knowledge of the verb group to introduce the concept of marked theme of clause realised as an adverbial phrase of time, place or manner.
  3. Analysis of texts and strategies for teaching adverbial phrases and their use in thematic position across the stages of texts.
  4. Sharing of scaffolds.
Day 3 – Creating Cohesive texts

Sentence structure

The third voice in your classroom – Using quality texts. (Nominalisation)

  1. Identifying the role of nominalisation and active and passive voice in quality texts and how they are used to develop theme across the stages of texts.
  2. Identifying strategies for developing writing through a joint construction.
  3. Sharing of notes for a joint construction.
Please note each day is accredited separately
Day 1 Accreditation

Completing Writing in Secondary Schools – understanding and applying grammar in context (Language and Literacy) will contribute 5 hours of NSW Education Standards Authority (NESA) Accredited PD in the priority area of Delivery and Assessment of NSW Curriculum/EYLF addressing Standard Descriptor(s) 2.5.2 and 3.5.2 from the Australian Professional Standards for Teachers towards maintaining Proficient Teacher Accreditation in NSW.

Day 2 Accreditation

Completing Writing in Secondary Schools – understanding and applying grammar in context (Language choices) will contribute 5 hours of NSW Education Standards Authority (NESA) Accredited PD in the priority area of Delivery and Assessment of NSW Curriculum/EYLF addressing Standard Descriptor(s) 2.5.2 and 3.3.2 from the Australian Professional Standards for Teachers towards maintaining Proficient Teacher Accreditation in NSW.

Day 3 Accreditation

Completing Writing in Secondary Schools – understanding and applying grammar in context (creating cohesive texts) will contribute 5 hours of NSW Education Standards Authority (NESA) Accredited PD in the priority area of Delivery and Assessment of NSW Curriculum/EYLF addressing Standard Descriptor(s) 2.5.2, 3.3.2 from the Australian Professional Standards for Teachers towards maintaining Proficient Teacher Accreditation in NSW.

“The course delivered by Jo and Kathy has been nothing short of positive and eye-opening. As a science teacher, I struggled to find why it is my role to teach literacy but that was only out of fear as I didn’t have much knowledge on language. This course not only expanded my knowledge but bolstered my confidence in implementing new strategies in the classroom. The course provided a clear understanding of literacy, allowing me to see the connections and applications of these concepts in a way that can resonate with my students. The experience I had implementing a joint construction has led to a boost in my self-efficacy. Overall, the professional learning course has been beneficial for me. It has provided me with tools and resources to enhance my teaching and better support my students on their learning journey. Thank you for the opportunity and experience.”

“Best PL I have done.”

“Presenters were highly engaging, approachable and demonstrated exceptional knowledge and pedagogical practice.”

“This course was extremely interesting and gave me many ideas for my own teaching – and my own learning.”

“This course was fantastic! Essential learning for all teachers! Thank you!”

“Thank you for the amazing and useful sessions! I feel more confident about grammar now.’

“I enjoyed the structure and engaging with colleagues regarding the strategies we started implementing into our classes.”

Kathy Rushton

Kathy Rushton is interested in the development of language and literacy especially in disadvantaged communities. She has worked as a classroom teacher and literacy consultant and provides professional learning for teachers in the areas of language and literacy development. Her current research projects include a study of multilingual pre-service teachers and the impact that teacher professional learning has on the development of a creative pedagogical stance which supports translanguaging and student identity and wellbeing.

Joanne Rossbridge

Joanne Rossbridge is an independent language and literacy consultant working in both primary and secondary schools and with teachers across Australia. She has worked as a classroom teacher and literacy consultant with the DET (NSW). Her expertise and much of her experience is in working with students from diverse linguistic and cultural backgrounds. Joanne is particularly interested in student and teacher talk and how talk about language can assist the development of language and literacy.

Secondary teachers especially teachers of all subjects requiring extended response writing such as HSIE, English, PDHPE and Science.

Teacher Librarians

$660 for three days

Three whole-day workshops with participants actively engaged in each session and undertaking pre-course and in-between course readings.

JPL Articles

Helping Your Students to Become Better Writers
Helping Your Students to Become Better Writers
Critical Literacy in English and History: Stages 3 & 4
Critical Literacy in English and History: Stages 3 & 4

Tell Me Your Story: Supporting EAL/D Students from K-8

Tell Me Your Story: Supporting EAL/D Students from K-8

Overview

We will focus on oral language development as the basis for developing literacy through the cyclical use of a range of strategies. This will be achieved through consideration of how students need to make meaning in curriculum contexts with a particular emphasis on developing knowledge about language, particularly grammar and vocabulary.

The focus of this three day course presented by Kathy Rushton and Joanne Rossbridge is to develop understandings and strategies for participants who support EAL/D students in both small groups and mainstream classrooms.

Practical strategies will be provided to foster the use of English Language (L2) while encouraging students to use all the linguistic resources that they bring to school, including the use of their first language (L1). Consideration will be given to the wellbeing framework and supporting students in an inclusive environment which honours and confirms their identity, language, and culture.

Open All

  • Day 1 – Friday 24 July 2026
  • Day 2 – Friday 7 August 2026
  • Day 3 – Friday 21 August 2026

At NSW Teachers Federation, Surry Hills

All CPL courses run from 9am to 3pm.

Day 1 – Speaking and Listening
  1. Principles of second language learning
  2. Lexical density and grammatical intricacy: The relationship between grammar and vocabulary development
  3. The Mode Continuum
  4. Elaborated and restricted codes and the relationship between L1 and L2
  5. Strategies for developing oral language through planning and the cyclical use of range of activities, e.g. communicative activities, group work, drama, rhymes, chants, poems. Link back to the mode continuum.
  6. Select a picture book and, based on today’s session, prepare strategies. Explanation of task for Session 2.
Day 2 – Reading
  1. Introduction of Field, Tenor and Mode.
  2. Before, during and after reading and in preparation for writing with a focus on:
    – field building activities to acknowledge and build on cultural knowledge (before)
    – intonation, pronunciation, punctuation and spelling (during)
    – inferential comprehension (after)
  3. Strategies for categorising vocabulary and working with language features
  4. Share strategies for selected picture book with a small group
  5. Explanation of task for Session 3.
Day 3 – Writing
  1. The teaching and learning cycle
  2. Identifying strategies for developing writing through a joint construction.
  3. Strategies for supporting written like text, eg Readers Theatre, Dictogloss, Running dictation, Advance /Detail
  4. Making links to the community through writing for a purpose
  5. Prepare notes for the joint construction of a Literary Recount and an Exposition using selected text.
Joanne Rossbridge

Joanne Rossbridge is an independent language and literacy consultant working in both primary and secondary schools and with teachers across Australia. She has worked as a classroom teacher and literacy consultant with the DET (NSW). Her expertise and much of her experience is in working with students from diverse linguistic and cultural backgrounds. Joanne is particularly interested in student and teacher talk and how talk about language can assist the development of language and literacy.

Kathy Rushton

Kathy Rushton is interested in the development of language and literacy especially in disadvantaged communities. She has worked as a classroom teacher and literacy consultant and provides professional learning for teachers in the areas of language and literacy development. Her current research projects include a study of multilingual pre-service teachers and the impact that teacher professional learning has on the development of a creative pedagogical stance which supports translanguaging and student identity and wellbeing.

Primary and Secondary teachers who support EAL/D students in both small groups and mainstream classrooms.

$660 for 3 days

Please note, payment for courses is taken after the course takes place.

Three whole day workshops with participants actively engaged in each session and undertaking reading and assignments between sessions.

“Perfect balance of theory vs practical strategies. The theories and strategies will be impossible to forget – putting it into practice between session was great.”

“Loved the depth of knowledge on all aspects of literacy in the context of EAL/D learners.”

“So glad I attended – have learnt so much and feel inspired to share what I have learnt.”

“Presenters are absolutely fabulous! The perfect amount of banter and professionalism. They are experts in their field, and it shows. They invite the learner in – whatever level of knowledge they are coming with.”

JPL Articles

Critical Literacy in English and History: Stages 3 & 4
Critical Literacy in English and History: Stages 3 & 4
Helping Your Students to Become Better Writers
Helping Your Students to Become Better Writers
Tell Me Your Story: Working with EAL/D Students in Mainstream Classrooms
Tell Me Your Story: Working with EAL/D Students in Mainstream Classrooms

Assessment Literacy for School Teachers

Assessment Literacy for School Teachers

The CPL and The University of Sydney’s Centre for Educational Measurement and Assessment (CEMA) have entered into a collaborative partnership to deliver professional learning Literacy modules for all K-12 teachers.

About the Assessment Literacy modules

The six modules include video presentations by Professor Jim Tognolini, downloadable PDF files, formative self-assessment, reflective questions, recommended short readings, and collaborative webinar opportunities.

Each module will take you between four and six hours to complete and achieve the requisite PD hours towards maintenance of accreditation.

You will be able to: develop an understanding that assessment involves professional judgement based upon an image formed by the collection of information and is used to locate student performance on a developmental continuum; contextualise the role of assessment in teaching, and know, understand and use assessment related terms and strategies including reliability, validity, assessment for learning, assessment of learning, performance standards, and normreferenced assessment. Modules also include a specific consideration of the standards referenced system used in NSW, predicated on a measurement model.

Module 1 – Modern assessment theory including standards referencing

Module 2 – Constructing selected response and short-answer items including Higher Order Thinking Skill (HOTS) items

Module 3 – Constructing extended response and performance tasks, and writing analytic and holistic rubrics

Module 4 – Evaluating the function and classroom assessment tasks and tests

Module 5 – Examining the impact of feedback on learning

Module 6 – Exploring the role of moderation and reporting in classroom assessment

  • A leading expert in educational assessment has designed the modules
  • You can start the fully-online modules when convenient and complete them at your own pace
  • Each module is competitively priced
  • Each module is accredited 
  • Modules address Standard Descriptors in Proficient Teacher Standard 5: Assess, provide feedback and report on student learning (5.1.2, 5.2.2, 5.3.2, 5.4.2, 5.5.2)
  • The University of Sydney has approved the modules for articulation to postgraduate award courses. Details are available on the Centre for Educational Measurement and Assessment’s website

Please click here for further details on Assessment and Data Literacy.
Data Literacy modules will be available at a later date.

$300 for each module.

Federation financial members are eligible to receive a 10% discount on each module.

On confirmation of your financial membership with the NSW Teachers Federation, you will be sent further details on how to register for the modules.

All Teachers K-12

These modules are delivered online and can be completed at your own pace.

  • Professional Learning in Assessment and Data Literacy
  • CEMA: Who we are, What we do

Stay still, dive deep-approaches to read to write and the craft of writing

Jowen Hillyer and Rosemary Henzell give some practical advice on how to teach Reading to Write and Module C the Craft of Writing of HSC English Advanced and Standard syllabuses . . .

When we first encountered Module C there was a bit of confusion and in some cases trepidation. We found that reactions went a few ways:

  1. Hooray I get to work on the intricacies of refining writing with my kids!
  2. Oh great, a whole MODULE on writing with my kids (who barely pick up a pen)
  3. So, we annotate and look mainly at language techniques, right?
  4. If it’s not a close study then what is it?

Really the answer lay somewhere in between and was often context dependant. Due to Covid blocking our initial Centre for Professional Learning (CPL) conference plans, we had a whole year to actually apply what we presented. Despite our very different contexts, we decided to trial a uniform approach in both our schools to see if it would be effective.

From there we presented some approaches that worked.

Ultimately the philosophy behind both Read to Write and Craft of Writing did not change between courses or context:

Stay still, dive deep

READ TO WRITE

Some early approaches to this module, which worked brilliantly in many contexts, did not work for us. Many teachers created exciting units with a focus area and worked with texts centred on that concept- such as ‘Dystopian texts’ or ‘voices of protest’. While this helped us to tie things together in our minds it did not always work for students. Sometimes students saw the texts and the concept before they understood the module and their focus was diverted. Ultimately the module is not about a concept but about: incremental skill building, testing those skills and then expanding on them.

It was better to strip it back to the pure tools of writing where form is the focus. Asking students to consider the purpose of form was one of the most powerful things we uncovered.

In Read to Write we introduce students to “the writer’s toolbox/toolkit”- Vocabulary & grammar, elements of style, elements of composition and the often neglected one- fine tuning and refining.

The last tool was very important because, although it appears in our syllabus documents, the temptation for students to say ‘one and done’ is great. This module offers a chance at a retraining of PROCESS.

We devised a few steps to keep us on track too:

  • Read
  • Discuss
  • Zoom in
  • Create

The secret to success was to not skip any steps. It is so tempting last period Friday with a recalcitrant group to not bother discussing and just annotate and write silently but we tried that too and it led to incomplete writing and running out of things to say. Skipping steps means skipping process and that is what this module is training students for – the process and particulars of writing. It is called Read to Write so that the focus is on the students wide reading- a springboard into having something to say.

Kicking off reading to write

To begin the unit, we would start with letters to themselves on their last day of year 12- it acts as goal setting, introduces you to them and allows you to have a good idea of where they are at with discursive writing

Then we follow the process. An example might be Roald Dahl’s Lamb to the Slaughter:

  1. We read aloud, this helps students to hear the craft of the text and to understand performative aspects of text (as well as simply enjoying being read to)
  2. Discuss – this is not random ‘around the room with someone holding court’ It must be a guided discussion. Using the 4Cs routine was our chosen thinking organiser – often in group work .
  3. Zoom in on the text using different lenses go over it once for vocabulary and grammar, then for elements of style, then elements of composition
  4. Create Now that they understand how the text works and how they think and feel about it, they create a text which springboards from it- it could be an alternate version, a different context or even just an element of style or composition which was important in creating meaning in that text.
Table 1. The 4Cs Routine (Harvard Graduate School of Education, Project Zero)
Our reflections

Students enjoyed it more- there is safety in structure. It gave us an opportunity to purposefully choose texts to dive into and model excellent examples of discursive and persuasive texts.  Students reported seeing the practicality behind English, reading long form fiction for the first time in years and most importantly about why we read and write.

CRAFT OF WRITING – THE EVOLUTION FROM READ TO WRITE

In Read to Write students engage with other’s writing to build their own.

In Craft of Writing students focus on their own authorship. 

In Read to Write they are building a bicycle with an instruction manual (complete with scaffolded training wheels sometimes).

In Craft of Writing, they ride the bike.

In Read to Write we filled the toolkit.

In Craft of Writing, we build things- not well at first sometimes but practice is key with little bits of writing regularly.

In Module C the texts, on the prescriptions list, do not contribute to the pattern of study so it is a good opportunity to expose students to textual forms they are not as strong in or need development in. Not only does it assist with their crafting, but it helps strengthen the Paper 1 Section 1 muscle too.

Alongside the texts that teachers choose, students should be encouraged to read widely and in the 30 mandated hours for this course there can still be lots of other modelled texts to explore, alongside the prescribed ones selected.

Regardless of the course (Advanced or Standard), most Module C texts are hybrids.

The process doesn’t change much from Read to Write in the way we approach texts. This is not a close study and extreme annotation is not the aim of the game.

The steps are:

  1. Read & think- what emotions/idea does it raise, why did the author write this?
  2. Zoom in- with a layers routine (think of the text like a dish on MasterChef- look at the whole story, break it apart and look at the elements, look how it fits together so we understand the whole, evaluate).

  3. Springboard from layers- look at FORM, DYNAMICS, THEMES/IDEAS
  4. Create
  5. Reflect- This is a structured activity. – we are not defending our work but making direct connections between our own writing and the techniques chosen from the texts we have read. You are composer and critic in Module C.
Table 2. Layers routine 1 (Harvard Graduate School of Education, Project Zero) 
Table 2. Layers routine 2 (Harvard Graduate School of Education, Project Zero) 

Ultimately, both Read to Write, and The Craft of Writing are about skill development through creative exploration. Students and teachers will find in these modules a space to explore great writing from all genres, times and places. Most importantly it is a space to work with students as they discover the power and versatility of language.

Open All

Harvard Graduate School of Education. (n.d.). Project zero. http://www.pz.harvard.edu/ 

Jowen Hillyer

Jowen Hillyer is currently Head Teacher of English, HSIE and languages at Aurora College, the Department of Education’s first selective virtual school for rural and remote students (7-10) and remote students in Stage 6.

Jowen has been a teacher, head teacher and teacher educator for 26 years, with experience in both rural and disadvantaged public schools, as well as 3 years as an Associate Lecturer at The University of Sydney.

In her current role Jowen leads a large, diverse faculty situated all over the state in new approaches, innovation, and student engagement. Her research interests are centred on project-based learning, boy’s writing in the middle years and mentoring programs for beginning English teachers.

Jowen has also contributed to the Journal of Professional Learning and recently has had a peer reviewed article published on post pandemic teaching in the Journal of Adolescent and Adult Literacy.

Rosemary Henzell

Rosemary Henzell is an English and Drama Teacher at Willoughby Girls High School. Rosemary has a keen interest in project-based learning ranging from individual creative writing projects to building a whole-grade website exploring the modern relevance of Shakespeare.

As a senior member of her school’s Professional Learning Team, she is helping lead the school-wide implementation of Costa’s Habits of Mind, and Project Zero’s Cultures of Thinking Project.

Rosemary has also contributed to the Journal of Professional Learning and the Journal of Adolescent and Adult Literacy.

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.

Critical Literacy in English and History: Stages 3 & 4

Kathy Rushton and Joanne Rossbridge explore the important concept of Critical Literacy. They explain why it is essential for teachers (in both primary and secondary classrooms) to use critical literacy to ensure student engagement, to teach our students how to properly analyse all text and to allow them to develop a wider view of, and critical understanding of, the world . . .

The aim of critical literacy is a classroom environment where students and teachers together work to (a) see how the worlds of texts work to construct their worlds, their cultures, and their identities in powerful, often overtly ideological ways; and (b) use texts as social tools in ways that allow for a reconstruction of these same worlds.

Luke (2000) Critical Literacy in Australia: A matter of context and standpoint. Journal of Adolescent and Adult literacy. Vol. 43/5 448-461 p.453

Teachers in the middle years, Stages 3 & 4, are supporting students in their transition from the primary to secondary years. This transition often requires students to interrogate more challenging texts and respond to and compose more sophisticated texts of their own. Teachers, therefore, need to develop their own critical analysis and curation of texts for use in the classroom and to develop a range of appropriate teaching and learning strategies to support the development of critical literacy for their students. The theoretical perspectives that inform this perspective relate to issues of race, gender and ethnicity and also how these issues impact on language choices.

Designing learning with a critical literacy perspective

Defining critical literacy can be facilitated by reviewing the four reading resources (Freebody & Luke, 1990) particularly the Text Analyst role which supports students to question and analyse texts. Students can be supported in the development of critical literacy if teachers are able to identify links to critical literacy in English and History Syllabus documents. These links can then be exemplified for students by, for instance, elaborating on cross curriculum priorities and general capabilities.

In practice teachers can analyse features such as context, author background, date and place of publication and then support their students to discuss different perspectives and contestability. This is most easily done in a modelled reading lesson accompanied by strategies to support students before, during and after reading. Before reading, viewing and analysing images can support the development of field knowledge and provide a starting point for developing vocabulary related to the subject. Strategies such as verbal ping pong, which is often used to develop debating skills, can engage students in developing arguments for or against a topic as an initial strategy for developing field knowledge or following a modelled reading to elaborate on aspects of the topic. Similarly, a drama strategy such as conscience alley can be used before, during or after reading to help develop empathy for a character, historical or imaginary, when they face a critical event. (Dutton et al, 2018; Rossbridge & Rushton, 2011 & 2015)

By encouraging a focus on language choices, students are also supported in their analysis of perspectives. Some students may find that they are excluded from the texts which they are required to read or produce in the school (Bishop, 2003). Alton-Lee (2000) exemplifies this by reporting an incident in which a teacher in New Zealand accidentally excluded an Indigenous student “from the ‘we’ of the classroom” (p.26). It is easy to see how this situation could be replicated in any English or History classroom if the texts that are used do not analyse the “we” and identify the perspective from which they are written. For instance, texts written from the perspective of Aboriginal Australians may position non-Aboriginal readers as visitors to sites or ceremonies or as outsiders or invaders in events from the past rather than as actors ‘discovering’, ‘describing’ or ‘evaluating’ the same sites and events.

Selecting texts to develop critical literacy

If texts are viewed from a critical literacy perspective, a range of texts can be selected to represent a variety of perspectives in contemporary Australian society. Especially in History, texts should be considered in terms of contestability and empathetic understanding as well as how they develop and challenge understandings about contemporary issues and the past. To support students to engage critically in response to texts, teachers can identify, deconstruct and analyse language features to support critical analysis. In particular questioning perspectives based on context, author background, date and place of publication will support this process. In this way students will be supported to describe and assess the motives of individuals and groups within historical contexts and in literary texts. Supporting students to develop the ability to interpret, explain and identify perspectives in a range of texts in both English and History will support the understanding of subject matter and literacy. Intercultural understanding will also be supported through comparison of texts especially those written from an Aboriginal and Torres Strait Islander perspective. The table below suggests some questions which could be used to interrogate and analyse a text and to develop the role of the Text Analyst.

Table 1. (click here to view table)

Guiding questions for selecting and curating texts: Developing the Text analyst role

How do you interpret the perspective of this text?

How does the context of the text differ from your own context?

What assumptions does the author make about the audience?

What perspective is assumed by the author?

Who do you think might disagree with the author’s stance? Why?

Is the text relevant to contemporary Australia? Why?

Is the text authoritative or does it explore the subject and allow you to think critically about it?

Whose voices are silent or whose interests absent?

 Working with texts to develop critical literacy

Developing a critical literacy approach to teaching is truly dependent on the curation of a range of texts that define perspectives such as Aboriginal and Torres Strait Islander or Asian perspectives and texts which also promote intercultural understanding. To develop empathetic understanding, teachers can identify and compare features from a range of texts. A sequence of teaching and learning strategies to support critical responses to texts can also be developed by critically analysing perspectives and making connections. Reading and writing in the subject area will also be supported if the critical literacy practices outlined in the English and History Syllabus documents and the cross-curriculum priorities and general capabilities are properly considered.

Writing from a critical literacy perspective

Writing is a way of investigating perspective and interpretations of History and responding to ideas and representations in texts in English. After exploring multiple texts across the English and History subject areas with a focus on historical events and perspectives, students can then be supported in writing. Of great importance is the establishment of a context for writing. As when reading form a critical literacy perspective, writers will also need to consider the identity or role of the writer, the audience, the mode of publication, the time of writing and the values and beliefs of the time. This will determine whether the writing is to be imaginative or more informative or argumentative as well as the overall purpose of the text. A focus on historical content might be based on significant historical events or significant individuals. Consider the contextual choices below and how they might construct different perspectives and empathetic understanding regarding the subject matter.

(click here to view table)

Subject matterTime of publicationAuthorAudienceMode of publication
early contact between Indigenous people and the colonisers1788journalistcolonisers in the Sydney areanewspaper article
daily life of a free settler1795female free settlerwriter/family discovering diary 125 years laterdiary
friendship between an Indigenous British child2020Australian authorchildren in contemporary Australiacomic or picture book

These contextual features will influence the language choices of a text. Any shift in these features will impact on the text features. Consider how a newspaper article about early contact between the Indigenous people and the colonisers would differ when published in 1788 compared to 2020.

Once a clear context for independent writing is established, teachers will need to think about similar texts to use as models to show students how to develop a critical literacy response through written language. Models for writing may be selected from those texts that students have already investigated from a critical literacy perspective or models can be written by teachers. Students will need to see such models and be guided through how text choices create or challenge a particular perspective. This will involve an explicit focus on language choices. For example, if writing an historical narrative, a focus could be placed on choices related to whose voice is included, how people are named and described and who is constructed as an actor or sensor (Rossbridge & Rushton, 2015). After modelling students could then participate in a joint construction where the writing process, development of ideas and talk of language choices is handed over to students with the teacher taking on the role of facilitator. The teacher will need to continue to support students in thinking about how their choices construct a particular perspective often through thinking aloud during the text construction. Once students are confident with discussing texts using modelled metalanguage they may move in to independent construction. The provision of clear criteria around perspectives and empathetic understanding will support them in drafting and reviewing their texts with a critical literacy approach.

References:

Alton-Lee, A. (2003). Quality teaching for diverse students in schooling: Best evidence synthesis.
Wellington: Ministry of Education. Retrieved from http://www.educationcounts.govt.nz/publications/series/2515/5959

Bishop, R. (2003) Changing Power Relations in Education: Kaupapa Māori Messages for “Mainstream” Education in Aotearoa/New Zealand. Comparative Education, 39, 2, (27), 221-238Retrieved from  http://www.jstor.org/stable/3099882.

Dutton, J., D’warte, J., Rossbridge, J. & Rushton, K. (2018) Tell me your Story. PETAA: Sydney

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

Luke, A. (2000) Mediating Adolescent Literacies. Journal of Adolescent and Adult Literacy 43:5,448-461

Rossbridge, J. & Rushton, K. (2015) Put it in Writing. PETAA: Sydney.

Rossbridge, J. & Rushton, K. (2011) Conversations about text 2: Teaching grammar using factual texts.

Newtown: PETAA

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

Joanne Rossbridge is an independent literacy consultant working in both primary and secondary schools and with teachers across Sydney. She has worked as a classroom and ESL teacher and literacy consultant with the DoE (NSW). Much of her experience has involved working with students from non-English speaking backgrounds. Joanne is particularly interested in student and teacher talk and how talk about language can assist the development of language and literacy skills.

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.

 

“The Way of Words”: Understanding and Teaching Reading in Primary Classrooms

Robyn Ewing makes the case for teaching reading that considers the individual needs, background and abilities of each child and cautions against trying to follow a prescriptive recipe for all students…

The way of words, of knowing and loving words, is a way to the essence of things, and to the essence of knowing.

John Dunne

How should reading be defined?

Controversial discussions about the best way to teach reading have ebbed and flowed for well over a century (Ewing, 2006) and sometimes fail to consider how individual differences shape the process. In an early consideration of the reading research, Huey (1908) concluded that “human variation” must always be considered and that learning to read defied a prescriptive recipe for all children.

Nevertheless, many continue to search for a reading recipe for all children. The arguments that continue to rage over the teaching of reading — and how children can be best assisted in learning to read — have much to do with the way different theorists understand the reading process (Davis, 2012, 2013). In addition, they relate to differing ideologies and understandings of pedagogies. As Moss and Huxford (2007) assert, it is essential that literacy issues are not addressed using a single paradigm’s field of reference. Rather, before making critical decisions, policymakers in educational systems need to carefully consider evidence from different paradigms and disciplines.

The process of learning to read has often been conceptualised as developing a set of cognitive skills to crack the print code. Learning to read has thus been seen as involving the development proficiency in a hierarchical set of simple and discrete skills, then moving to more complex skills through a range of activities, including recognition of sound-symbol relationships about letters or groups of letters, at the same time encouraging students to memorise most commonly used sight words. Once competency in these skills has been achieved, students would then also answer questions about what they read to check their comprehension. In fact, Gough and Tunmer’s (1986) “simple view of reading” advocated a clear differentiation between word recognition processes and language comprehension processes because they asserted this allowed teachers to assess word recognition and comprehension performance separately, and then plan different kinds of teaching for each. Reading tests over the years have often consisted of merely asking children to read lists of words (see examples, Daniels and Diack, 1983; Schonell, 1971).

However, the Language and Reading Research Consortium (2015) has suggested that too often these simple models of reading are problematic and conflated when defining what it means to read, and when assessing reading ability.

For the purposes of this review, a far more expansive understanding of reading has been adopted. Reading is defined as a process of bringing meaning to and constructing meaning from texts (text is defined in its broadest sense to include visual and digital). It is not merely about deciphering a written code: it is about understanding the world and opening up new possibilities for being in the world. In Australia, the Early Years Learning Framework (EYLF) (2009) asserts that reading development is part of children’s social, emotional and physical growth and that it is essential to acknowledge that children develop at different rates and stages and that different learning experiences will also impact when children will be ready to read. The Australian Curriculum: English (2018) defines reading as:

Processing words, symbols or actions to derive and/or construct meaning. Reading includes interpreting, critically analysing and reflecting upon the meaning of a wide range of written and visual, print and non-print texts.

 

Some useful definitions

Etymology: The study of the origin and history of words and how their form and meaning changes over time.

Decoding: Working out the meaning of words in text.

In decoding, readers draw on contextual, vocabulary, grammatical and phonic knowledge. Readers who decode effectively combine these forms of knowledge fluently and automatically, and self-correct using meaning to recognise when they make an error (The Australian Curriculum: English).

Grapheme: A single letter or combination of letters that represent a phoneme. Graphemes occur within morphemes and can represent more than one phoneme. In English, 44 sounds and 26 letters offer more than 120 grapheme choices.

Graphophonic knowledge: The knowledge of how letters relate to the sounds of spoken language.

Morphemes: The smallest units of meaning-bearing structures of words (bases or affixes — prefixes, suffixes and connecting vowel letters).

Morphology: The system-enabling morphemes that combine to represent the meaning of words. Every word is either a base, or a base with another morpheme fixed to it.

The morphophonemic principle: Refers to the fact that morphemes can vary widely in their phonological representation across related words. English orthography has evolved to favour consistent representation of morphology over phonology to mark connections in meaning across words.

Onset and rime: Children learn to identify the sound of the letter or letters before the first vowel (the onset) in a one-syllable word, and the sound of the remaining part of the word (the rime).

Orthography: The writing system that represents the meaning of a language.

Phonemes: The smallest units of a spoken language which can be combined to form syllables and words. In English, there are 44 phonemes but only 26 letters (although accent can play a role here).

Phonemic awareness: An auditory skill, the ability to focus on and manipulate individual sounds in spoken words.

Phonics: Matching letters — the symbols of the written language (graphemes) to the sounds (phonemes). In the classroom, there may be an overlap; teachers may use various aspects of these approaches based on the children’s needs rather than a one-size-fits-all recipe.

Synthetic phonics: A part-to-whole approach that begins with focus on individual letters and emphasises teaching students to convert letters (graphemes) into sounds (phonemes).

Analogy-based phonics: Teaches children to use similar parts of known words (word families) to identify and decode words with similar parts. Onset and rime also used (for example, once “meat” is recognised, this can be used to identify beat, feat, heat, neat, seat, treat, etc).

Analytic phonics: Refers to larger-unit phonics programs that tend to start with children’s known language and introduce shared reading. An explicit focus on words from these sources follows, including teaching children letter-sound correspondences and analysis of words into their component parts. The emphasis is on the larger sub-parts of words (i.e. onsets and rimes, spelling patterns) and phonemes.

Embedded phonics: Children are taught letter-sound relationships during the reading of connected text. Since children encounter different letter-sound relationships as they read, this approach will not be a preconceived sequence, but can still be thorough and explicit.

Phonology: The system by which speech sounds of a language represent meaning.

Phonological awareness: A broad understanding of the sounds around us that provide the basis for understanding phonics. Includes awareness of spoken words and syllables; rhymes; sounds; and phonemes.

Recoding: Translating sound to print, with no associated meaning. Compare with decoding, defined above, which includes meaning.

Semantic information: Refers to meanings used when reading. Includes a reader’s prior knowledge, as well as the meanings embedded in text. Semantic meaning assists in decoding a text.

Syntactic knowledge: The way sentences are created using words, phrases and clauses.

What factors are most important in helping children learn to read successfully?

There are many factors that contribute to learning to read successfully, beginning with the opportunities young children have to talk and listen to their parents, older siblings and other caregivers, and also to engage in storying (Lowe, 2004).

Oral language development and shared reading

As Wolf (2007, page 85) cogently reminds us:

Each aspect of oral language makes an essential contribution to the child’s evolving understanding of words and their multiple uses in speech and written texts.

From birth, children develop strong associations between talking, hearing stories and being loved. During these opportunities, and as their early language develops, they learn names for things. Children delight in making discoveries about language. Time for children and their loved ones to engage in serious play with sounds and words is critical (Ewing, Callow and Rushton, 2016).

However, this is not always the young child’s experience. Many researchers suggest huge differences in the vocabularies and language processing of children who are linguistically advantaged by more opportunities to talk with their parents and caregivers rather than just overhearing talking (for example, Fernald and Weisleder, 2015). Research led by Hirsch-Pasek (for example, 2015) concludes the quality and diversity of one-on-one interactions between parent and child is critical. How much children are read to and read themselves is also an important predictor for success in reading. Wolf (2007, page 82) asserts:

Decade after decade of research shows the amount of time a child spends listening to parents and other loved ones is a good predictor of the level of reading attained later.

This is discussed in more detail below.

Social and economic factors

Closely related to opportunities for the development of linguistically rich oral, and shared opportunities for young children, other well established predictors of children’s reading success include parents’ education and socioeconomic status (Mullis et al, 2007; OECD, 2010a) and cultural orientations to reading (Williams, 2000; Bernstein, 1990; Heath, 1983). Bernstein’s (1990) work on restricted and elaborated codes is critical to our understanding of the socially constructed language barriers that can impede disadvantaged children’s success in learning. These factors are strongly connected to how language is used at home and how — or perhaps if — reading for different purposes is valued in the home and immediate community. Bernstein’s research concluded that children from more advantaged social backgrounds were more likely to use elaborated language codes. Williams’s (2000) study of mothers reading to four-year-old children identified huge differences in the use of language across different socioeconomic areas in Sydney, NSW.

Ensuring young children have easy access to a range of books in the home can be extremely difficult for those at risk or living in poverty. Given that one in six Australian children are living in poverty (Australian Council of Social Services, 2016), this is a very real issue. PISA (2009) indicates that almost 70 per cent of the gender gap and 30 per cent of the socioeconomic gap in reading attainment is associated with disparities in the breadth and depth of reading (OECD, 2010a). Therefore, ready access to libraries is important (Krashen et al, 2012).

Purcell-Gates’s (2007) research reported profound differences between five-year old children who were frequently read to at least five times a week compared to children who were not. Those who were read to often were more capable storytellers and used more sophisticated language and syntax, enabling the transition to reading.

Children from disadvantaged or vulnerable backgrounds require a much higher level of support in early childhood contexts and at school. At times, diversity of language use in the home is not realised or addressed sufficiently when a child begins preschool or school. Therefore, schools that have higher enrolments of disadvantaged children need the best resources and teachers, and require access to the most up-to-date research and professional learning to understand the challenges some children face.

How do children learn to read?

Three important sources of information in text are meaning, grammar and letter sound relationships — often referred to as semantics, syntax and graphophonic relationships respectively (Emmitt, Hornsby and Wilson, 2013, page 3).

Meaningful use of spoken and written language in a range of play-based and child-centred activities in different contexts lays a firm foundation for learning to read and write (Campbell, 2015, page 13). Sharing stories with young children helps lay the foundation for them to become good readers. Listening and responding to stories builds vocabulary and grammar knowledge and encourages children to read regularly, which is by far the best way of developing reading ability, writing competence, grammar, vocabulary, and spelling (Meek, 1988). What children attend to in reading lessons depends on what they and those around them think reading is for and how it can be used. Children will have a very different view of reading if it is mainly used as a quiet or settling time before bedtime rather than if a child is actively engaged in making meaning, asking questions and sharing related experiences (Williams, 2000; Meek, 1988; Chambers, 1985; Brice Heath, 1983).

The interaction between a child’s oral language and learning-to-read process has been emphasised by many researchers, including Holdaway (1979), Ashton-Warner (1986), Clay (1979) and Cambourne (1988). Reading with young children should involve much discussion about images and context as well as sounds and symbols. Children delight in making their own discoveries about words and images on a page. Building a strong oral base around storybook language (Fox, 1993) and vocabulary, exploring the ideas in stories, relating them to personal experiences and asking questions are part of what Scott Paris (2006) has described as the development of unconstrained reading skills. Singing, exploring rhymes, chants and all sorts of oral language play also help establish reading as an enjoyable and creative learning experience, as well as establishing the foundations for phonological awareness.

When children focus on letters and sounds as they engage in shared reading experiences, associated writing activities enable them to demonstrate their developing knowledge and skills — they begin to write their name, see the relationships between letters and sounds, make short lists, create labels and re-tell events. Paris’s (2005) constrained skills theory is an important reconceptualisation of how children learn to read. He proposes a continuum of skills, some highly constrained and more easily measured (such as writing your name, letter knowledge, phonic knowledge), some moderately constrained (phonological awareness, reading fluency), and others unconstrained (vocabulary development, comprehension) that are learned over many years, and perhaps even a lifetime. While constrained skills are necessary, they are insufficient for the development of complex reading (Stahl, 2011).

Stahl also points out that if highly constrained skills are overemphasised, unconstrained skills can be compromised.

Emerging findings from Transforming Literacy Outcomes (TRANSLIT), a major research project at the University of Wollongong (Jones, Kervin, Mantei, 2018), explore Stahl’s continuum of constrained to unconstrained literacy practices students encounter as they transition from early childhood settings to primary school and then to secondary school. At a recent symposium at the University of Sydney, Jones, Kervin and Mantei shared their emerging findings. The project is investigating the nature of students’ literacy experiences at key points in schooling, from foundation to senior secondary (preschool to school, primary to secondary school).

In particular, the research examines how teachers teach “constrained skills” (Paris, 2005), including alphabet knowledge, word lists and phonics, and how they allow for “unconstrained skills” to develop. One aspect of their research highlights increasing parental pressure on early childhood educators to introduce more constrained skills and code-based practices, including phonics, in preschool curriculum in readiness for school. These demands can threaten to overshadow broader literacy repertoires that are so important for emergent readers. Further findings will be valuable for all teachers of literacy and for schools in developing their literacy programs and policies, and will also help those outside the teaching profession understand how isolated instructional experiences can be integrated into rich, engaging and meaningful literacy programs.

Becoming a fluent and accurate reader means learning to use all the cue systems: semantic, graphophonic and syntactic cues, as well as having an understanding of Freebody and Luke’s (1990, 1999) reader roles (code breaker, participant, user and analyst). Developing graphophonic knowledge is part of an approach to reading that focuses on meaning, purpose and enjoyment (Ewing, Callow and Rushton, 2016). Graphological and phonological aspects of decoding print are a part of the reading process, not the first or the most or least important. Therefore, there is an important interrelationship between a reader’s thinking, language and reading. The role of any of the cues in learning to read must be understood with other predictors of reading success. These include the centrality of:

  • a language and story-rich home environment where reading and writing for different purposes is modelled and shared (Heath, 1983);
  • frequent and diverse linguistically-rich parent/child oral interactions;
  • the provision of a range of books; and
  • quality, literacy-rich preschool experiences.

It must also be emphasised that readers of different languages use different pathways for reading different scripts (for example, Chinese and English), and these different pathways are used in the same brain. Children learning straightforward alphabets, such as German or Greek, gain fluency more quickly than those learning more challenging codes, such as English (Wolf, 2007). It is within this complex context, with its inter-related set of factors, that the current debate about synthetic-versus-analytic phonics and a phonics check for all six-year old Australian children must be considered.

The complexities of what it means to “read” and the challenges for some children in learning to read must be understood. Policies that address these complexities need to be accompanied by much needed resourcing and professional learning. Views of reading research that suggest one approach will provide answers for every child are unhelpful for teachers, parents and children.

Robyn Ewing AM is Professor of Teacher Education and the Arts at the University of Sydney. A former primary school teacher, she teaches, researches and writes in the areas of curriculum, English and drama, children’s literature, language and early literacy development. Her current research interests include teacher education, especially the experiences of early-career teachers and mentoring; sustaining curriculum innovation; and the role of reflection in professional practice.

Robyn was president of the Primary English Teachers Association Australia (PETAA) from 2001-2006 and the Australian Literacy Educators Association (ALEA) from 2011- 2015. She currently chairs the Academic Board of the Australian Film, Television and Radio School (AFTRS), is an honorary associate with the Sydney Theatre Company, a board member of WestWords, and visiting scholar at the Barking Gecko Theatre Company. She enjoys working collaboratively with classroom teachers interested in innovative curriculum practices, and, since 2009, has worked in partnership with the Sydney Theatre Company on School Drama, a co-mentoring teacher professional learning program that focuses on the use of educational or process drama with literature to develop students’ imaginations, creativities and critical literacies.

This article is extracted from Robyn Ewing’s report, Exploding SOME of the myths about learning to read: A review of research on the role of phonics, (2018). Read the full report and references here.

Considering the Advanced and Standard Courses in the New Stage 6 English Syllabus: Part II: Year 11

Deb McPherson, Jane Sherlock, Jowen Hillyer and Rosemary Henzell suggest some approaches to planning for the new Standard and Advanced Stage 6 English courses …

 

…Come, my friends,

‘Tis not too late to seek a newer world…

To sail beyond the sunset, …

Ulysses, by Alfred, Lord Tennyson

PART 2: Year 11

This report is based on the 2017 Centre for Professional Learning English Conferences, presented by Associate Professor Jackie Manuel, Jane Sherlock and Deb McPherson with teaching strategies and texts from Rosemary Henzell and Jowen Hillyer. It provides an orientation to the new Standard and Advanced Year 11 courses. It discusses the planning required for implementing the new Year 11 courses, including unpacking the Modules for Standard and Advanced, commentary on new texts and suggestions for Year 11 pathways. Click on the image to download

What’s new

The Year 11 course has new elements, with set electives and assumptions. There is a change from broad Electives to specific Modules. Now there are three prescribed modules with Area of Study removed and replaced by the Common Module – Reading to Write. It is mandatory to program the Reading to Write module first to further develop students’ skills to respond to texts and refine their writing.

There is a stronger focus on individual reading to inform, inspire and encourage writing. The Standard course has become more prescriptive; there is a requirement for Standard only that in Module A one complex multimodal or digital text must be studied. In Module B one substantial literary print text is required. In the Advanced course, teachers could consider a complex multimodal text for Year 11 as there are few opportunities in Year 12. Teachers should note that one assessment task for Year 12 must be a multimodal presentation. Click on the image to download

Teachers will need to consider the strengthening of a wide and independent reading/viewing culture to create a community of readers and viewers. Of crucial importance will be the planning of text choices, Cross Curriculum Priorities (CCP), past and contemporary texts, integration, wide reading and backward mapping.

Text requirements

Apart from the requirements listed above, teachers have other text requirements to consider for Year 11. The Stage 6 syllabus text requirements have similarities to the 2012 K-10 English Syllabus. Again, the selection of texts across the stage MUST give students experience of:

  • Quality literature
  • Intercultural experiences and cultures of Asia
  • Australian texts, including texts by Aboriginal authors
  • Cultural, social and gender perspectives and texts which integrate the modes

Students must explore a range of texts drawn from prose fiction, drama, poetry, nonfiction, film, media and digital texts. The Cross-Curriculum Priorities (CCPs) are also in Stage 6, and teachers need to be aware that the Stage 6 descriptions have clear distinctions from Stage 5. For example:

  • Aboriginal and Torres Strait Islander histories and cultures …recognise the histories, cultures, traditions and languages of Aboriginal and Torres Strait Islander peoples for their foundational and central presence among contemporary Australian societies and cultures …read the Principles and Protocols….
  • Asia and Australia’s engagement with Asia …studying texts from Asia, about Asia and by Asian authors is one way to ensure that a creative and forward-looking Australia can engage with our place in the region.
  • Sustainability …research and discuss this global issue and learn the importance of respecting and valuing a wide range of world views.

(Stage 6 English Syllabus)

The CPP are ‘lenses’ which teachers can use to plan to ensure that content is linked meaningfully to the real world, and many teachers may choose to explore these areas in Year 11 rather than in Year 12.

Challenges for Year 11 2018

Faculties will need to consider how to build on Stage 5, the introduction of new and more complex texts and ways to build readiness to cross the bridge to Year 12. Preparation for Year 11 begins with analysis of the new module descriptions and shortlisting of texts and resources to deliver the content. A bookroom audit should look at what already exists and may suit Year 11 (including previous HSC texts), what texts need to be increased in quantity and what should be discarded as well as identifying funding for new texts to implement the new syllabus demands from school and P&C sources. Teachers will need to consider a different way of thinking about class texts, especially in the Reading to Write module, where student voice and choice should be considered.

Putting in place pathways and texts that will build to and support the HSC study will lead to a more coherent and interconnected Stage 6 program. Consider a common thread in the pathway if the arrangement of texts allows and any links to the texts you will consider for Year 12 and the concepts you might explore.

Year 11 Common Module: Reading to Write

This module must be programed first in 2018. It provides an excellent opportunity to explore a range of types of texts drawn from prose fiction, drama, poetry, nonfiction, film, media and digital texts. Reading and viewing widely is what it is all about. Central to this module is developing student capacity to respond perceptively to texts through their own considered and thoughtful writing and judicious reflection on their skills and knowledge as writers. This module is a great place for exploring CCPs.

The Common Module: the key questions

  • How to structure a wide reading and viewing program using a range of modes and media? (thematically, aesthetically, stylistically and/or conceptually)
  • How will these texts broaden your students’ understanding of themselves and their world?
  • What reasons and opportunities to write will you give your students?
  • What creative and critical texts which meet their needs and interests can be offered for their choice?
  • How will you develop the skills that students need to extend their own writing? (For example, connections, reflection, comprehension, analysis, interpretation and evaluation?)
  • How will you model ways to explore ideas/relationships/endeavours/scenarios in texts?
  • How will you model the ways tone, structure, imagery, syntax, voice and image can shape meaning?

The module requires students to read a number and range of texts linked either:

  • Thematically e.g. speculative, crime
  • Aesthetically e.g. the nature of beauty and art over time as revealed in the books we read
  • Stylistically e.g. verse novels, voice
  • Conceptually e.g. perspective, authority, argument, character, codes and conventions, context, genre, intertextuality

Students need to read widely to find models of different styles and voices which can be used for their own writing e.g. 99 Ways to Tell a Story: Exercises in Style by Matt Madden is a series of engrossing one-page comics that tell the same story 99 different ways.

Writing is prompted by what is being read. Writers are readers – reading and writing are inseparable.

Some ideas for structuring the reading and viewing include:

  • Regularly read and write with your students in the classroom
  • Enjoy the experience as you read and view with your students
  • Legitimise and normalise reading within the school day as a critical component of what we do in teaching English
  • Make better readers by giving students what they want to read. Find their passion and their spark, their curiosity about a topic to build confidence and fluency
  • Establish reading and viewing groups with clear roles and scaffolds for what is required
  • Propose a quest/search/pursuit over time, concepts, genre
  • Provide and invite a selection of texts e.g. fiction, film, nonfiction poetry, drama, cartoons, essays, feature articles, to suit student needs and interests and diversity and allow choice by students

The first task is engaging students – getting them reading. It is essential that students be given some choice about the texts they can read and view.

The essential conditions for developing writing accomplishment and confidence are:

  • Time
  • Choice
  • Real purposes and audience
  • Craft knowledge and skills
  • Understanding writing as process (growing repertoire of skills, strategies, routine, reflective abilities. How does someone get started? What do they do when they get stuck?)
  • Response feedback
  • Community – writing is a social act; it requires the establishment of a community of learners

When planning a unit of work for the Year 11 Common Module the following template may be useful.

Planning Template for Year 11 Common Module: Reading to Write
What is your focus for this module? Big ideas? Consider a Project Based Learning style question.
Resources? Collect novels, short stories, films, poetry anthologies, plays, cartoons, trailers or visuals and make available in book boxes, devices or through the library.
Required reading and viewing? Consider at least six texts e.g. fiction + film/play script + poems + non-fiction texts.
Reading and viewing groups? What roles and expectations will you set up?
Ways into the unit to provide the initial hook? Consider 3-4 short and varied texts e.g. cartoon, poem, song, short story, film or book trailers, visuals to introduce some of the big ideas and how the reader/viewer’s response is positioned by the composer.
Timeline for unit? Structure unit with skills lessons/“masterclasses” on how to explore a text, mid-point tasks, reflection points, and progress reports and how these will be presented and reported.
Variety of writing tasks? Use a small, everyday notebook for reflections and trigger words.
Syllabus requirements? Make a checklist for Standard and Advanced for outcomes and content that match unit knowledge, skills and understandings. Assign numbers to the content points e.g. Outcome 1. Content point 4=1.4 so that you can pinpoint the content reflected in the unit and reduce the amount of syllabus text in your program.
Assessment tasks? Decide which of the Year 11 English School-based Assessment Requirements suits this Module.

The following four examples feature ideas and texts for units to engage students in Reading to Write:

1. Thematically: Dystopias

2. Stylistically: Connections in a Crowded World

3. Conceptually: First Voices

4. Aesthetically: World Literature.

Early lessons need to provide a foundation of how composers use their texts to explore the selected focus e.g. the future or relationships. Students need to be positioned for their investigation. Consider a selection of short texts in a variety of media which illuminates your focus and the conventions used by those texts and what students need to look for. Use an article which explores the focus to provide some background.

You will find elaborations of resources, texts and assessments for each example in Attachment 1 at the end of this article.

Year 11 Module A Standard Contemporary Possibilities

A reminder that there is a requirement for Standard only that in Module A one complex multimodal or digital text must be studied.

Year 11 Module A Standard: the key questions

  • What are the different communication technologies with which we interact in our world?
  • What are the features of digital, multimedia, multimodal and nonlinear texts?
  • In what ways do these different communication technologies shape the ways that we read, navigate, understand and respond to digital, multimedia, multimodal and nonlinear texts?
  • What are further creative possibilities of such technology?
  • What text will you use for your detailed study of one complex multimodal or digital text for example film, media or interactive narratives?
  • How will you develop students’ understanding of the nature, scope and ethical use of digital technology in their own responding and composing?
  • In what ways and with what texts will you develop your students’ deeper appreciation and understanding of the power of communication technologies to reach a broad audience for a range of purposes?
  • Using the selected texts, what strategies can help students appreciate the active roles of both composer and responder in controlling and choosing the reading pathways through texts?
  • How can students analyse and interpret the ways composers use and manipulate a variety of aural, language and visual devices to shape our understanding of what we listen to, read or view? Students may explore notions of hybridity and intertextuality.
  • How will your students individually or collaboratively design and create their own multimodal or digital texts to communicate and represent their ideas; understanding the importance of creating a responsible digital footprint?
  • What types of viewing, listening or reading experiences will you give your students to enable them to analyse and assess the text’s specific features and form?

Suggested multimodal texts for this module include Snow Fall: the Avalanche at Tunnel Creek, a digital essay by the New York Times; What they Took with Them, a film based on a rhythmic poem by Jenifer Toksvig; My Year 12 Life; The Dressmaker; and several SBS interactives including the Cronulla Riots, Exit Australia, The Boat and K’gari.

Jowen Hillyer’s work has explored how to deliver Contemporary Possibilities in a low SES school or context with limited technology. Details of this approach to teaching the unit can be found in Attachment 2 at the end of this article. Rosemary Henzell’s work explored a range of digital texts to be used in the classroom and how to set up a basic project in which students collaborate to build a website or interactive online experience. Students have choice and can consider a local event, place, person or history, or a social issue of importance to them. Rosemary’s article ‘Contemporary (Im)possibilities’ is also in this edition of the Journal of Professional Learning.

Year 11 Module B Standard: Close Study of Literature

The key difference in this module is that a substantial PRINT text is mandatory.

Year 11 Module B Standard: the key questions

  • What substantial literary print text have you chosen?
  • What strategies will you develop for students to study and respond to the text in its entirety?
  • How can you develop your students’ understanding of the ways that language features, text structures and stylistic choices have been used in their text?
  • What strategies will you use to help students identify, analyse and respond to the ideas in the text and the ways in which meaning is shaped?
  • In what ways will students examine the conventions that are particular to their chosen literary form, and the ways that authors use, manipulate and/or challenge those conventions?
  • What types of critical and creative responses to the text will students experience to develop their understanding of the use and effects of elements such as style, tone and mood?
  • How can students further develop their critical skills to analyse and assess the ways meaning is shaped and conveyed?
  • How will you enable students to engage with the text to further develop their personal connections with, and enjoyment of the text, enabling them to express their personal interpretation of its meaning and importance?

Classroom considerations and texts for Year 11 Standard Module B

It is important to choose an engaging text as students will be spending considerable time on it. Consider texts that will enrich students’ experiences and take them somewhere they may not have been or may not go to without support. While it is tempting to go to previous HSC Module B texts it may be useful to consider some better choices from recently published texts or previous Area of Study or Modules A or C.

Some suggested Year 11 Standard pathways are included in Attachment 3 at the end of this article. They include suggested texts for the Common Module, Module A and Module B.

Year 11 Advanced Module A: Narratives that Shape our World

There are distinct differences in this module from the previous syllabus. Students are required to study a range of narratives with a focus on story-telling and the diverse ways it can be explored in texts.

Year 11 Advanced Module A: the key questions

  • What narrative will frame your study?
  • What texts will you choose which will be a range of narratives from the past and the contemporary era that illuminate and convey ideas, attitudes and values?
  • What strategies will you employ to help students consider the powerful role of stories and storytelling as a feature of narrative in past and present societies?
  • Which of these are explored in your chosen texts: connecting people within and across cultures, communities and historical eras; inspiring change or consolidating stability; revealing, affirming or questioning cultural practices; sharing collective or individual experiences; or celebrating aesthetic achievement.
  • How will you help students deepen their understanding of how narrative shapes meaning in a range of modes, media and forms, and how it influences the way that individuals and communities understand and represent themselves?
  • What strategies will you develop to enable students to analyse and evaluate one or more print, digital and/or multimodal texts to explore how narratives are shaped by the context and values of composers (authors, poets, playwrights, directors, designers and so on) and responders alike?
  • How can your students investigate how narratives can be appropriated, reimagined or reconceptualised for new audiences?

Year 11 Advanced Module B: Critical Study of Literature

This module is more familiar to teachers and requires students to engage with the literary text in its entirety and to consider its textual integrity.

Year 11 Advanced Module B: the key questions

  • What literary text has been selected to suit the needs and interest of your specific students?
  • How will you help students develop analytical and critical knowledge, understanding and appreciation of their literary text?
  • How will you enable your students through increasingly informed personal responses to the text in its entirety, to develop understanding of the distinctive qualities of the text and notions of textual integrity?
  • How will you assist your students to explore how the author’s ideas are expressed in the text through an analysis of its construction, content and language?
  • How can students develop their own interpretation of the text, basing their judgements on evidence drawn from their research and reading, enabling the development of a deeper and richer understanding of the text?
  • In what ways can students consider notions of contexts with regard to the text’s composition and reception, investigate the perspectives of others, and explore the ideas in the text, further strengthening their personal perspective on the text?
  • What opportunities will you provide to enable students to appreciate and express views about the aesthetic and imaginative aspects of a text by composing creative and critical texts of their own?
  • Through what kinds of reading, viewing or listening opportunities will your students analyse, evaluate and comment on the text’s specific language features and form?
  • How will you provide opportunities for your students to engage deeply with the text as a responder and composer to further develop their personal and intellectual connections with this text, to enable students to express their informed personal view of its meaning and value?

Classroom considerations and texts for Year 11 Advanced Module B

Teachers can revisit previous Module B texts or texts from the Area of Study, Modules A and C. The time available gives you opportunities to vary the writing/ responding activities e.g. review, for a specific publication, imaginative re-creation or digital essay. There are opportunities here to explore Shakespeare and look at different interpretations and readings. You could include research into different productions on stage and on screen or look at different interpretations of characters, setting, and re-contextualisations.

Some suggested Year 11 Advanced pathways are included in Attachment 4 at the end of this article. They include suggested texts for the Common Module, Module A and Module B.

Some of the new aspects of the Standard and Advanced courses in Year 11 are challenging and also exhilarating. The Common Module Reading to Write will provide an opportunity to reset the way we do English in Year 11 and open students up to the excitement of reading widely and choosing what to read and view. The multimodal requirement for Standard (why not Advanced as well?) will encourage and validate the exploration of digital texts, websites and films in the classroom.

Deb McPherson taught English in NSW government secondary schools for 28 years as a classroom teacher, Head Teacher and Deputy Principal. She was a member of the committee selecting texts for the Higher School Certificate English courses for over 15 years. She worked as a Senior Curriculum Officer, English, at the Board of Studies and as the Manager of English for the NSW Department of Education and Training. She has been a lecturer and tutor at the University of Newcastle and at the University of Wollongong. She is an author of four anthologies for schools for OUP and co-authored Choices for English, a collection of recommended texts for the 7-12 English classroom with Helen Sykes and Ernie Tucker. Her review column, ‘Reading and Viewing with Deb McPherson’, appears in the AATE journal, English in Australia.

Jane Sherlock is an experienced, enthusiastic and passionate public education teacher of English for 40 years having retired from teaching as Head Teacher English at Kiama High. Currently, Jane is the NSW English Teachers’ Association project officer for HSC student days which are run throughout the year. Jane is also an author of a number of English textbooks, including the national award-winning Oxford HSC English. Jane is a presenter for the NSW Teachers Federation’s Centre for Professional Learning and with Deb McPherson has now presented at four English conferences for the CPL. In 2009, Jane received the Australian College of Educators award for her contribution to education.

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

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

The Making of a Teacher: Why NAPLAN is not Good Enough for Us

Richard Gill has directed the finest Australian Operas. He looks back on his time as a teacher and considers NAPLAN’s place in education today…

 

It might be expected that I will write about the efficacy of Music Education in the lives of children. I have written thousands and thousands of words on this subject and am always happy to do so.

However, I am now at that stage of my life where I think we have to see things as they really are.

Getting real

Quality Schools, the title of the Review to Achieve Educational Excellence in Australian Schools, or, “Gonski 2.0”, contains a sentence which says:

Australia has an excellent education system but our plateauing or declining results highlight that while strong levels of investment are important, it’s more important to ensure that funding is being used on evidence-based initiatives that are proven to boost student results.

First, we do not have an excellent education system. If we did, we would not be plateauing (such a politically correct euphemism for failing).

Why do we need to boost results? Is schooling about results? It is hard to believe that in 2018, in a world so rich with wonderful things, all we can think about in a school is results.

How insulting this is to teachers. Is that why you teach? To get results which can be measured by others?

We cannot love what we do not know

As I work to improve our music education system, I am only too well aware of forces that seemingly conspire at every turn to frustrate the creative teacher and reward narrow ‘results’.

I was drawn to teaching because I loved reading novels, poetry and plays and loved music. I still do love all these things. I am also aware that I owe debts to people who helped me directly or indirectly.

We cannot care about those things we do not love or know, and so we need, in this country, to let our teachers know that there are some of us out there who do care about you, who do share the concept of a love of learning for its own sake, who don’t give a damn about a NAPLAN score, and who will go to the barricades for you and fight for the right for you to teach children properly.

Section 582, 1958

Allow me to introduce Mrs. Holder…

Mrs. Holder, a Lecturer in English, stood at the front of our section, Section 582 at the then Alexander Mackie Teachers’ College on a frosty September morning in 1958 and uttered the immortal words which I have never forgotten:

Plan, teach, test.

Section 582, listen to me very carefully. If you don’t plan you can’t teach and if you can’t teach you can’t test and if you can’t test you have no idea what the children know. Remember – plan, teach test.

Plan, teach, test

At the age of sixteen, I was the youngest member of my section, having passed the Leaving Certificate in 1957 with Bs in English, Ancient History and Modern History and an A in French. Notice the lack of Maths and Science!

I had applied to go to the then New South Wales State Conservatorium of Music to train as a High School Music Teacher, but my complete lack of Theory and Harmony led the examining panel to suggest to me that were I to complete Sixth Grade Theory and Sixth Grade piano in that year I would be awarded a scholarship in 1959. They were as good as their word and in 1959 I made it to The Con.

In between times I had accepted a Teachers’ College Scholarship to Mackie as one couldn’t be certain of anything, and failure at tertiary level was real. No appeals, no show cause, no “I had a nose-bleed in the exam”; just fail!

So it was that as the appointments to primary schools for practise teaching period were posted, I was sent to Eastwood Primary School.

It was decided that I should be given a very difficult class of all boys, a 5D, and from day one with this class and their brilliant teacher, Mr. Peter Black, my life changed. Mrs. Holder was my supervisor so I planned, taught and tested to insanity.

I still have my three exercise books of lesson preparations with a comment given to me by Mr. Black on every lesson.

I could hardly wait to get to school each day and every day was a joy.

NAPLAN? … Anyone? … No?

So what has all of this to do with the iniquitous NAPLAN?

Even as a very young student teacher it was patently clear to me that the individual classroom teachers had an amazingly detailed knowledge of their pupils.

Morning teas and lunches in the staff room, apart from the usual banter, were often detailed discussions about children and their progress, or lack of it, indicating to me that a classroom teacher was, in fact, constantly assessing and evaluating her or his students indirectly without having to write reams of pointless information.

If a parent wanted to know something about a child, an interview was arranged with the teacher.

While there were often fireworks, some parents believing that their children were direct descendants of Einstein and the Virgin Mary, with all the attendant virtues, most parents were content with the reports which the classroom teacher could provide orally with an astonishing level of detail and depth of knowledge of the child in question.

Know thy students

On the matter of syllabus and curriculum, there were documents available for teachers to use which most of the teachers with whom I worked chose to consult rarely or chiefly ignore.

I think this was because they knew what levels their children were attaining in all areas and had realistic expectations of what they could do. In short, they created their own curricula.

The bright classes were well above average in every discipline, and a class such as mine, the fabulous 5D, was working at its own level. There was no point in doing activities or teaching concepts out of reach of the children.

On one memorable afternoon, I was given a spectacular lesson in over-reach by Mr Black.

I had spent the entire one-hour lunch break creating a solar system on the blackboard, labelling the planets, tables of figures and the like. It was a visual triumph. There was more coloured chalk in this masterpiece than Leonardo had ever dreamed of.

I gave the lesson during which I had the feeling that the kids couldn’t have cared less. At the end of the lesson Mr. Black asked me to wait behind after school to discuss what I had done.

During the discussion he said:

“These kids don’t have a concept of 10, let alone a concept of millions. The figures you gave them were meaningless to them. They have nothing to relate to and you gave them no real insights.

The use of coloured chalk, however, was very effective. See you tomorrow.”

I was shattered but knew that I had given a really dud lesson. At the same time, I was really grateful for the frank advice. Mrs. Holder, who had also sat in on the lesson, agreed and rammed home the point:

“You planned nicely but irrelevantly. You taught nothing, they learned nothing and therefore you couldn’t test them. Better luck next time.”

I still have those comments in my practice teaching exercise book lesson plans.

What worked about these times?

The points I am making are:

  1. these teachers were fundamentally autonomous;
  2. they devised their own curricula and syllabuses to suit their classes;
  3. they collaborated with each other and shared ideas;
  4. teaching was not competitive and there was no Federal interference;
  5. they enjoyed their work, in the main, and the word ‘stress’ was unknown;
  6. they knew the strengths, weaknesses and potentials of their charges;
  7. they tested officially only twice a year;
  8. a school report was a short one-page affair;
  9. no one, and in some cases not even parents, knew their charges better than the teacher.

While many of these points would still apply today, NAPLAN has destroyed collegiality, created competition, created stressed-out parents, teachers, Principals and students and, above all, has promoted a continually sliding scale of under-achievement nationally.

NAPLAN is not diagnostic. Never has been and never will be.

If the robots are permitted to take over marking students’ writing, the next idea will probably be to hire a robot to teach our children too. Creepy!

Looking to our future

No one, but no one, knows Primary school children better than the classroom teachers. Parents who think that a NAPLAN result is an indicator of a child’s abilities, capacities or potential are seriously deluded. All a parent has to do is make an appointment to see a teacher, who can give the best diagnostic information about the child.

As I travel the country teaching classes and doing workshops, I always ask teachers and Principals what they think of NAPLAN. I haven’t yet met a Primary school teacher who has a good word to say about NAPLAN. Some Principals tell me they are frightened to speak about NAPLAN because they feel they have to toe a party line.

Recently, I was giving a workshop in which my ten minute attack on NAPLAN was greeted with enthusiastic applause from the assembled teachers. At the end of the workshop a very timid teacher came up to me, looked around the room several times before whispering “Thank you for that. We are not allowed say anything about NAPLAN to anyone or we will get into trouble.”

She looked once more around the room and then fled.

I hadn’t realised until that moment that we were living in a totalitarian state.

NAPLAN is not good enough for us

Surely teachers should be encouraged to have all sorts of views about all sorts of subjects without imposing any views on their students, but encouraging them also to have views and ideas and to have all of these views without fear.

It seems to me we go to school for two reasons and two reasons only: to learn how to learn together, and to learn how to think for ourselves. NAPLAN encourages neither of those precepts. The stranglehold of literacy and numeracy has hijacked all serious learning and enquiry.

Literacy and numeracy are NOT disciplines or subjects. They are states or conditions at which one arrives as a result of being well educated.

Schools which abandon their Arts disciplines in favour of more time given to literacy and numeracy are betraying their children, insulting their teachers, depriving their children’s minds of genuine creative growth, limiting their imaginations and training them to be all the same.

Music, Art, Dance, Drama and so on are essential in the life of a child. It is through endless hours of play, fantasy, imaginative games, songs, dances, painting and the like that children begin to make sense of the world. Stories, nursery rhymes, nonsense rhymes, acting out little scenes, together with the other activities already mentioned, are the stuff and lifeblood of education. Children engaged in these activities learn to love learning.

This attitude to education is recognised in countries which seem to perform consistently well in all areas of learning. Have we anything to learn from them? Or are we too busy testing First Grade children?

Why are we so obsessed with assessment? Why the absence of commensurate treatment following this relentless ‘diagnosis’?

Why aren’t we as a nation totally devoted in our education programs to those disciplines which promote creative and imaginative thinking, and lead children down the genuine path to literacy and numeracy?

Hope

I’ve seen in this country some brilliant creative teaching which fired up the minds of the children in an extraordinary way. It was inspiring at every level and something every teacher could do.

Teachers need to stand up and be counted and we need to rid this country of an iniquitous and destructive assessment system. I am not suggesting for one minute that children shouldn’t be tested; remember Mrs. Holder’s wise advice: plan, teach, test. Simply that, in very early education testing is the job of the teacher, not some outside authority who has no real idea of your classroom.

Recently, I attended a Kindergarten assembly at which each child had a specific sentence to read. What was brilliant was that the teacher had devised the sentences according to each child’s ability so that each child was successful in the eyes of the school community.

Why is this brilliant? Because it meant that the teacher was very well aware of what his children could do and he didn’t need an outside authority to help him.

Let’s all aim for a NAPLAN-free future and a return to teacher autonomy accompanied by appropriate fiscal remuneration for all good teachers.

Life is short and art is long. The minds, souls, hearts and imaginations of our children are immeasurable, priceless, invaluable and bursting with ideas. I want to hear those ideas so I can learn something too.

Richard Gill AO, founding Music Director and Conductor Emeritus of Victorian Opera, is one of Australia’s most admired conductors and music educators. He has been Artistic Director of the Education Program for the Sydney Symphony Orchestra, Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, and Artistic Advisor for the Musica Viva Education program. He is the Founder and Director of the National Music Teacher Mentoring Program, Music Director of the Sydney Chamber Choir and the inaugural King & Wood Mallesons Conservatorium Chair in Music Education, at the Conservatorium High School, Sydney.

“Perhaps it’s just as well that Leonard Bernstein is dead. Otherwise he’d probably have to relinquish his great reputation as a musical educator – or at least share it with Sydney’s Richard Gill.”

John Carmody, The Sun Herald

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