Friday 28 June 2013

Provision for able and interested students in York


Sarah Jackson spent her two week professional enrichment placement based at Manor CE Academy and visited other local schools.  She writes...
 
OFSTED have recently stated that bright children are being "systematically failed" by England's non-selective secondaries. These findings, however, were certainly untrue of the schools that I was lucky enough to visit during my two-week professional enrichment as part of my PGCE at the University of York. I had the opportunity to focus entirely on gifted and talented provision on a series of visits to a mixture of independent, academy and maintained schools, and therefore had the opportunity to compare practices and see what, if any, differences existed.

Certainly, there were certainly no opportunities for ‘coasting’, or as OFSTED puts it, “[treading] water” in any of the schools I visited. Rather, students were provided with inspirational teachers to develop their passion for learning, but also faced with challenging ideas, activities and questions to stretch them.  While there were differences in the basics of provision between the independent and state schools – in terms of class size and the general ability in each class – the nature of support for the gifted and talented was surprisingly similar throughout. Below are some of the common approaches that I came across, which could all be used within a mixed-ability classroom:

1. Creativity - Nearly all teachers that I observed provided opportunities for creativity within their lesson to challenge their ‘gifted and talented’ students. My own mentor simply provides the students with a set of objectives (for example, to show the differences between the suffragettes and suffragists and the reactions to these groups), and then sent students off fulfilling these objectives, giving them the option to address them in any format they chose. This allows the students to show off their abilities to their best: work produced including guides to becoming a suffragette and a suffragist, a newspaper article, and a video with a voice over. A similar approach was taken in other lessons that I observed: in a R.S. lesson choice was given to students about whether to write an essay or poem and then reflect on this in a piece of writing, and in another R.S. lesson in a different schools, students were challenged to create their own starter activity for their partner then to complete. This opportunity for flexibility, not only gives students the chance to ‘shine’, but also encourages them to feel more passionate about their learning as they can approach in a way that engages them most.

2. Independent thinking - This is also linked to another common theme that I found of learning being turned on its ‘head’ to challenge. Instead of the teacher giving the students the answers, students were given a problem to solve for themselves. For example, in a science lesson students were given the opportunity to design their own experiment to test for rusting. In another school, in an English lesson, students had to come up with their own criteria for what makes a good newspaper article, and then use this to peer-assess each other’s work.

3. Questioning - this was used unanimously in classes that I observed to stretch the most able. Teachers knew their students well, and aimed higher level questions at students that needed to be stretched, as well as getting students to develop their responses by further questions.  Students who asked questions, were answered with questions, and therefore as a result were able to come up with their own answers. This again turned the focus of the learning back onto the student.

4. Group work - students were given opportunities for testing their own learning through group work.  A panel of ‘gifted and talented’ Year 8 students told me they really enjoyed working within mixed ability groupings, as it gave them leadership opportunities, and therefore the chance to be in charge! Furthermore, many said they liked the opportunities that they got to coach and teach other students, as this enabled them to really test their own understanding. One of the teachers I spoke to also reflected on how to vary group work for different effects; sometimes she also ensures that ‘gifted and talented’ aren’t always in leadership roles, to allow them opportunities to develop their teamwork skills.

5. Extension tasks - Finally, in nearly all lessons, a series of extension tasks where often available, which stretched and challenged the most able. This varied from ‘extension questions’ at the bottom of worksheets to providing students with an opportunity to choose which themes of gothic literature they were going to search for in a text by putting them on a ‘difficulty’ scale (again providing students with choice). Furthermore, another teacher told me how she differentiates homework by providing different tasks to different students – sometimes even as simply as taking out the first 3 steps of a question, so the more able students are immediately challenged.

Gifted and talented work outside the classroom

Furthermore, in York, provision for the gifted and talented goes beyond the classroom. The ISSP project in York offers ‘gifted and talented’ students a real opportunity to not only be inspired but also to challenge themselves. Some KS3 students get the opportunity to challenge themselves with A-level standard Maths. Others get the opportunity to take part in an oral history workshop with real life war veterans. Among the students I talked to, there was a real excitement about these projects. At one school, I met with a group of about 20 students who all seemed incredibly keen to take part in the ISSP’s GCSE Latin programme. Furthermore I met with a student who was already part of the project: she relished the opportunities the project gave her to have a challenge outside school, despite having to give up several hours on a Monday evening to it.

It certainly seems to me therefore, that instead of ‘gifted and talented’ students being failed, by contrast, their educational needs are carefully addressed both within the classroom and outside it. This went beyond trying to get students to a certain level or grade: teachers wanted students’ to gain a passion for learning and for their subject through giving them opportunities to express their individual talents and flare. I finished my two weeks inspired; and I’m sure I was surrounded by students who felt the same.
Sarah Jackson, York PGCE History 2012-14

Monday 17 June 2013

Professional enrichment: using drama, music and dance in secondary school teaching and learning.


Before you read this, it might be worth mentioning that Artis (the company I worked with) give their specialists onomatopoeic names - hence why each specialist's name is followed with a 'code name' in brackets! Mine was 'Bounce'.

 

As a Secondary History trainee teacher about to qualify, I was given the opportunity to complete two weeks of ‘Professional Enrichment’ in a school-based context of my choosing. As a former actress, this choice, for me, was simple: it had to be an organisation that synthesised creative arts with teaching, learning and professional development. Artis (www.artiseducation.com) immediately ticked all these boxes: through both its holistic approach (fusing drama, music and dance with school curricula, by sending specialists into schools and making excellent use of primary schools’ PPA time) and its Impact programme (focusing on providing training for teachers in how to unlock the potential of the arts in their classroom).

 

 

The power of the arts in education has been a subject of much debate, with the recent government-commissioned review, ‘Cultural Education in England’, finding it significantly enhanced teaching and learning (Henley, 2012). No surprises there – I’ve always embraced the arts in my practice and seen first-hand the benefits it has for pupils’ engagement and confidence (look here and here!). However, the review goes further - “The best performing schools bring Cultural Education practitioners into schools, alongside classroom teachers, to share their knowledge with pupils” (Henley, 2012, p. 8). I can think of no better description for Artis Specialists - both skilled practitioners in a range of creative arts, and trained by Artis in behaviour management, lesson planning and other aspects of pedagogy - than ‘cultural educators’.

 

However, secondary schools are hampered by the fact that they do not have PPA time to spare to facilitate regular programmes run by specialists. I wanted to use my Artis experience to observe and adapt their techniques, so I could use them in my practice as a secondary school history teacher – and share them with my colleagues. What I have learned can be used in the teaching of history, in pastoral care and across the school as a whole – in true Artis style, a completely holistic approach. 

 

In history, the arts can be used to develop complex, concept –based thought. Alex Kaye (Bash) got pupils at Beecholme Primary School using movement to explain how gravity changes between the Earth and space. Stuart Barter (Chime) used dramatic tableaus at St Paul with St Luke’s to demonstrate changing habitats through time. Inspired by these excellent sessions, I thought about how I could use this in history lessons - how about getting pupils to use facial expressions to create a living graph of reactions to a key event, to illustrate the concept of diversity?

 

The arts also promote engagement with literacy. Iryna Pizniuk (Snap) used ‘Romeo and Juliet’ as a stimulus for a market-based drama scene and a dance to Prokofiev’s ‘Montagues and Capulets’ with a Year 6 class at St Anne’s Primary School. ‘Disguising’ learning in this kinaesthetic way effectively engages pupils who find it a struggle.

 

More widely, the benefits the arts have on personal development can be used effectively as a pastoral tool to ease the transition from primary to secondary school. Compiling the proposals for Artis’ summer programmes was inspiring – they use the arts and group work together to ‘break the ice’ between pupils in new Year 7 cohorts, as well as developing the foundations of key PLTS skills that they will need throughout their secondary school education. As a Year 7 form tutor next year, with my own Year 7 Induction Day coming up, this insight was invaluable and I will incorporate it into my pastoral planning in the new academic year.

 

Although some may fear that the freedom that creativity brings and excellent pupil behaviour are mutually exclusive, my experiences with Artis have shown this is not the case. Through integrating classroom routines, such as ‘silent signals’, Tarika Hidayatullah (Wiggle) at St Bernadette’s RC Primary had the whole (rather challenging) class under her spell! This links to another whole-school issue surrounding the use of the arts – co-operation between staff is crucial in linking creativity to the curriculum to really enhance teaching and learning. Charlotte Farmar (Chortle) at Singlegate Primary had incredibly detailed lesson plans, which had come about as a result of her relationships with the school’s teachers (and her own hard work and research!). She also demonstrated one of the most impressive qualities of Artis Specialists – their constant desire to reflect and improve – by asking me for feedback and taking some of my suggestions on board.

 

My two weeks with Artis have been invaluable for my development as a creative teacher of history, and I would like to say a huge thank you to the Artis team and all the specialists who have made these two weeks so useful and memorable. I’ll really miss being ‘Bounce’!

 

References

 
Henley, B. 2012. ‘Cultural Education in England’. https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/77941/Cultural_Education_report.pdf

Laura Horton, York PGCE History trainee 2012-13.  You can read Laura's own blog at: www.educatingwolsey.blogspot.co.uk

Wednesday 5 June 2013

Fun and learning at Beningborough Hall



York University PGCE English and History students spent a happy day at Beningborough Hall -  experimenting.  With the shackles of precise learning objectives removed and thrown into an unfamiliar environment, the challenge was to work together to use the house - and include drama.  With the help of some great costumes, the expertise of our house guide John and the adrenaline caused by perhaps being seen by members of the public, the students produced some engaging and varied work.  More importantly, a vast range of ideas about learning had been triggered by the day.  Discussions ranged widely from the potential for cross-curricular collaboration, to the reinforcement of learning by being active in the house after hearing the history, and from the use of portraits to stimulate literary creativity to the potential for really engaging with change and continuity.

https://docs.google.com/a/york.ac.uk/file/d/0B4z2aBtp4NTtTVRiMDNxUllQVkU/edit