Archive for the ‘Teaching Resources’ Category

This will be a teeny tiny post but I found this absolutely gorgeous photograph of Rita Hayworth:

rita_hayworth_7

 

As a comparison to Curley’s wife, it bears a range of uses:

  • an analysis of her body language exquisitely echoes Curley’s wife’s body language in Chapter 2;
  • the sensuality of her half-closed eyes, half open lips is a parallel to Curley’s wife’s sensuality;
  • an analysis of small details such as the cigarette can encourage students to identify how the image of class and high society – with hints (more than hints) of phallic symbolism – has become in the twenty-first century perhaps almost taboo – a range of interpretations based on different cultures’ perceptions;
  • her dress and heavy make-up bear similarities to Curley’s wife’s red lips, heavily made up face and peacock-feathers all of which suggests a reaching towards sophistication which is artificial and a mask and does not reflect the truly lonely and damaged creature lurking inside Curley’s wife;
  • as a H0llywood actress, Hayworth – or actresses like her – would have been the role-model that might have inspired the pre-marital Curley’s wife to dream of being in the “pitchers”;
  • the image captures the glamour (in its more faery connotations) and appearance of sophistication propagated by Hollywood which would have appealed because of the extreme poverty and harshness of life on the ranch;
  • the girls in my top set went even further comparing the patriarchy of Hollywood and the patriarchy of the farm, suggesting that the sensuality and sexuality of both the image and of Curley’s wife are imposed rather than natural;
  • the direction of her gaze through the camera to the viewer was taken to suggest a desperation for attention that echoes Curley’s wife’s need for attention;
  • her body position, whilst undoubtedly sensual and sexual, is also artificial and unnatural, suggesting that she and Curley’s wife may both be uncomfortable with the role ascribed to them.

One unexpected side effect: exploring the possibility of the cigarette being a phallic symbol has so appalled everyone in the class that they have declared they will never be able to smoke.

No bad thing!

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Okay.

This is scaring me, now.

I don’t mean scaring in the sense that children enjoy ‘being scared’ by stories and films. I don’t mean scaring in that delicious hide-behind-the-sofa Doctor-Who style.

I mean fully and totally clenchingly scared!

I want to – no, in my head, I have – turned my entire Programme of Study on its head. This puts the decision to swap from OCR to AQA examination boards on a level with, perhaps choosing between Cadbury’s chocolate and Galaxy. Being now permanently appointed, having a clutch of retirees and new appointments, I am rebuilding our curriculum from the foundations upwards.

And I mean from the foundations!

The curriculum I inherited – and, for my transition ‘Acting’ year haven’t really been happy with but equally, for reasons of laziness primarily, haven’t tackled – is I think a pretty traditional one.

We read books and write in response to them.

We analyse language for purposes and write techniques.

We report a single grade to parents.

We have been – and, in fairness to my school so has every other school I have ever worked in – almost wholly Literature focused, content driven and linear in structure.

So what am I changing to? Language focus. Skills driven. Cyclical and elliptical structure.

Head. Turned. Upon.

At the heart of this will be something called Covey tables, available courtesy of the PiXL club and named after Stephen Covey, author of The Seven Habits of Highly Effective People.

Covey tables – at least in my understanding of them – are at their heart a marking tool.

covey ao4(iii)

It is possible to list key skills that my students will be assessed on and I have ranked those skills along the top of the spreadsheet. They are drawn from the OCR markscheme for Controlled Assessments. In this case, they focus on AO4(iii) the sentence structures, punctuation, grammar and paragraphing. I planned on experimenting with this first because (as noted in the previous post) the changes to the KS2 curriculum and KS4 curriculum are massively raising the status of these skills. To be reporting to parents, students and SLT that a certain student may be “Level 4b” actually tells them nothing about whether they can create sentences, use paragraphs, vary vocabulary….

As can be seen from the example, teachers need to simply grade from 0-2 for each skill to represent their being no evidence of it, occasional evidence and consistent evidence. Through basic formulae and vlookups, these scores can then be converted into a GCSE grade or KS3 level.

Should I be using KS3 APP Assessment Foci for Years 7-9?

I don’t see why.I am being tested at KS4, students are being examined at KS4. What possible advantage is there in tweaking the descriptors and language of assessment between Key Stages? I am prepared to report in the 4c, 4b, 4a, 5c ladder of the KS3 curriculum (or 4.2, 4.5, 4.8, 5.2 for the sake of the mathematics required by the spreadsheet) but why tinker with the language of assessment?

How do I see these Covey charts being used?

In a word (or three) daily, openly and engagingly.

A two week introductory Scheme of Learning will start by assessing prior skill and 1s entered as a result. It is the first piece of work and therefore by definition, there can be no evidence of consistency. Doing this in the first lessons back in September will mean that the quantity of marking is going to be limited (I am really pushing for regular feedback of shorter focused tasks: having achieved a level 5 in your first half page, do I really need to read another 5 pages of the same quality of writing?!) Once initial testing is done, two weeks of teaching will lead to a second round of tests. PiXL language might describe this as diagnosing, treating and testing? After the second test, the Covey table will be updated: 0s will become 1s; 1s will become 2s. A level can then be reported on. As our reporting cycle requires a report produced in October, this will fit perfectly!

And what do we have as a teacher? A partially completed Covey chart from which we can analyse who in each class can consistently demonstrate certain skills (and, therefore, train others) and who needs practise before their skill can be relied upon. It can be projected onto the board. The next time a student forgets a capital letter or a full stop or loses a chance to deploy a colon in anger, their score can be reduced in front of them! Along with a challenge to correct their writing by the end of the lesson. Students using correct apostrophes for the first time can see their 1 being inputted.

Use for discussion with SLT? Invaluable!
A role in identifying Intervention candidates? Incalculable!
Its place in selecting focussed 30 minute skills’ revision rather than wide ranging generic revision classes? Immense!
Parents’ Evening tool? Potent!

Further Covey tables could be (will be) created for the specific AOs: I think that creating a table of this nature for every level of every skill in every AO on one sheet would be far too cumbersome. And finally, an overview sheet could use formulae and vloookups to simply pull the final grades together for each AO and then average them into an overall grade. Weightings can then be applied as well if necessary.

covey overview

The onus is on teaching staff to keep each of these Coveys up-to-date: without up-to-date data, this will fall apart as I envisage the Covey chart being used as both a summative tracking database and as a formative interactive teaching tool. And, it will be an onus for at least some of my staff: another chore that would probably fall to the bottom of their to-do lists.

So what can I do to ease other burdens as I impose this one? Well, let’s think:

  • marking: the Covey sheet is marking! Mailmerge should allow us to create stickers or labels easily in which a grade is given to the child along with a list of skills which justify that level and other skill required for the next one and this could be generated weekly – although fortnightly fits with the rhythm of our curriculum more naturally;
  • planning: if I were to write Schemes of Learning focused exclusively on specific sets of skills – why should a Learning Objective make reference to anything other than these skills which are what they’re being assessed on? – then I both keep control introducing this very new framework and take one other burden from my team.

In fact, all I am asking my Department to do is to deliver (with verve and enthusiasm) my lessons and Schemes of Learning and to differentiate them according to the demands of their own classes.

So, what will this create? An integrated Programme of Study over five years with an integrated and unflinching focus on progress, skills and achievement? A single thread of skills informing Assessment for Learning, Planning, Schemes of Learning and Reporting? A rigorous, accountable and open system of assessment – firming up what may be one of our weaker skill set at Key Stage 3? A consistent marking policy?

Cripes!

And is it a massive burden on me to write Schemes of Learning across all year groups? Well, if it’s the right thing to do, for the sake of the children, that shouldn’t be a bar! And the benefits in terms of reducing marking will apply to me as much as to anyone else. And all I would be doing is sharing and directing others to use the Schemes of Learning which I would be creating for my own teaching any way!

Yes, still scared!

But the more I consider this, the more right it seems!

I have to be trying to teach children to read, write, communicate and (despite its removal from the new KS4 qualification) speak and read. To teach them to answer the set question on a set text is simply not good enough!

Hmmmm…

I wonder whether the fact that GCSE Prose From Other Cultures exam is on tomorrow accounts for the following spike in views of the blog in which I present my thoughts on Tsotsi…

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Looking at the search terms linking the Internet to my blog, I think quite possibly that is the case!

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Bless them!

And if anyone else wants to view it, the blog is here and the Tsotsi posts are here.

I wonder if any of those were my own students….

Good luck to you all tomorrow morning, but for now, for the sake of all that is sacred, get some sleep!

KS4 template

It’s that time of the year again… when I revisit the Departmental Database and wonder how it could be developed and improved.

And this year, in addition, how to include the iGCSE into the growing range of qualification that we are offering.

So, last year, I was using a fairly basic =IF formula to compare the scores given by teachers into indicative grades. It was a little clunky and a little ‘Heath Robinson’ but it did the job.

This year, I am intending to use =VLOOKUP formulae to look the score given up in the table of grade boundaries on a separate sheet. It has taken a bit of time just inputting the grade boundaries (each possible score in each element of each qualification needs a grade allocated to it.

vlookup

 

Once done, however, the hope is that it will be straightforward enough to simply fiddle with and amend the grades accordingly. Obviously, the =VLOOKUP will amend itself according to the data entered on the lookup sheet. And alterations in grade boundaries can be applied and grades amended according to the changes in data that we have.

In terms of staff inputting, all I need will be the score for each Controlled Assessment or mock exam. With judicious use of protected cells and suspicious passwords, that should in fact be all that the staff can do.

Their “dashboard”, if you like, will look like this:

database template

 

Obviously there will be a range of data to be inputted for each child to track vulnerable groups, pupil premiums, intervention groups, withdrawal groups and accelerated groups – we have a tendency to generate five or six overlapping lists of students which no-one has any real overview of! – which can be done in anticipation of the start of term.

The database should also add up and / or average out scores for individual tasks to create the final figure to be entered into the OMR at the end of Year 11.

It should also be able to identify students whose Controlled Assessments pull down their raw ability; students who underperform in exams; students who might benefit most from specific forms of intervention.

One other item from the PiXL Club main conference that I liked was what I have dubbed micro-tracking.

This database is a broad-brush, specification wide tracking system. I intend to supplement it with a range of micro-tracking databases that track students’ success in individual exam questions to track their ability to perform certain skills rather than overall. A revision session on summarising skills for a select group of individuals persistently falling down on that skill will be more effective than a revision session on the OCR Information and Ideas Examination or the iGCSE Paper 1 or 2 which only touches on summarising. The same goes for directed writing skill, analysis skills, language skills, presentational devices responses or imaginative writing.

Additional sheets can be added at any time which could record mock exams on a question-by-question basis and a formula can easily add those up and record them in the main database.

Obviously, getting antiquated and somewhat Luddite staff to actually complete the database is another matter!

Yesterday was the PiXL Main Conference.

PiXL – for those who don’t know which included me until recently – stands for Performance in Excellence and is variable described as a club or a family by those who are fully engaged! Broadly, in its own words

The PiXL Club is a collaboration of school leaders, headed by Sir John Rowling, this is a club that some have said to be “the best thing they have seen in education”.

The PiXL Club is about sharing new ideas with school leaders; it is a partnership of focused, determined and dedicated professional practitioners. It is a not for profit organisation that focuses on supporting and developing the GCSE results of thousands of students in many schools across London, the South East, West and the North.

Their own website is here and no doubt describes them better than me.

Up until yesterday, my only real knowledge of PiXL was that the plan to dual enter Year 11 into UK GCSE and iGCSE had derived from them. A plan that I actually disagreed with vigorously for the majority of my students: the iGCSE is only valid with a Literature grade, and, for historic reasons, we have a large cohort of C/D students not taking Literature.

So I was a bit of a cynic.

For a national club starting a conference in London at 0930 “prompt” also militated against them: I had to get up at 5am to get there! And still couldn’t physically be on time.

The conference location was spectacular: disembarking at Waterloo, I ambled past The London Eye, wove between tourists over Westminster Bridge, jogged past the Houses of Parliament and veered right by Westminster Abbey to reach Westminster Hall. The sun was shining, birds tweeting, Big Ben chiming, traffic grumbling (mainly at me as I’d abandoned the pavements to tourists and was scuttling along in the road itself).
.

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Being a tad late, the conference had begun and I was bereft of the customary small talk with strangers (not a huge loss) and coffee (a keenly felt loss!). And the hall atmosphere was… Odd. The closest analogy was to a Billy Graham rally I went to as an impressionable youngster… a rapt audience applauding loudly, a passionate speaker with a clear zeal, a very definite message about the right way to do things.

Inspirational for many I’m sure; over-zealous, pushing towards evangelical for me.

And being a mite perverse, I balked a little. The temptation was to sit there, arms folded, cynical sneer on the face…

However, there was a good deal of sense being delivered – yes, delivered, not discussed – there was no time for discussion points or questions: it was very preachy.

But some excellent practical advice in there: it’s still not too late to do additional Speaking and Listening; manage the exam day sensitively and carefully; provide spare equipment, water and cereal bars rather than relying on teenagers to bring their own; continue to focus on intervention.

There really was a strong ‘can do‘ attitude.

Although the ‘you can do staying at school until 8 in the evening‘ attitude did not chime well with me!

Lots of acronyms were thrown around DTT and D3 and L5 which I think I got a handle on eventually – good example for the effect of jargon in a future language lesson? – and there really was a sense of a homogenised and perhaps formulaic PiXL way of doing things. And an implicit suggestion that you were missing something if you did it differently. There are only so many times you can listen to “why reinvent the wheel” before you start hearing “thou shalt”.

However, overall, despite some concerns over philosophy and language, there was much said that was sound and despite my natural cynicism and the 5 am start it was somewhat energising.

I’m now also able to access the cloud-based resource sharing on a platform named Huddle too – again somewhat put off by the name that brings to mind repressed memories of rugby games and sweaty male bodies…

I do have one gripe though. And I know it will come across as extraordinarily petty and small minded…. but then I never pretended to be otherwise. Food. Beef cobbler. Hot food. On a plate. With nowhere to sit, perch or lean on. I ended up with a plate in one hand and a glass in the other – because I didn’t trust the flimsy wobbly glass holder clipped to the side of the plate! – and nowhere to eat it! And the beef was really gristly!

 

Compare the emotions portrayed in Mrs Lazarus and Answer by Carol Anne Duffy.

Have you included:

1.       Overview

Both poems interweave ideas of love and death;

Both poems are personal and from a first person point of view – although Mrs Lazarus is narrative whereas Answer is a dramatic monologue;

The love in Answer is immutable, eternal and defeats death; the love in Mrs Lazarus changes and wanes on the death of her husband.

2.       Sensuality Both women display a high degree of sensuality in their language. Duffy shows women to be sensual and sexual in their relationships with men.

Answer:

  • Within the formality and rigidity of the structure, Duffy refers to the sensual pleasures of love:
    “kiss… tongue… heart… arms… mouth…”

Mrs Lazarus

  • The dead husband is reduced throughout the poem to “the shrunk size of a snapshot”, until “His scent” vacated the home. The husband’s presence reduced to a mere sense-perception, suggesting the warmth of the love they had shared
  • The sensuality of her shock on touching “a man’s strength”

 3.       Passion Both women are passionate in their loving

Answer:

  • The imagery of fire and “hissing flame” and the “small coal glowing” suggests passion
  • The choice of verbs suggests passion: “roaring, foaming… spinning… waves torn from my breath”
  • A high calibre student may make links from here also to Anne Hathaway as another example of a powerfully passionate and sensual character, particularly in the interplay of language and sensuality.

Mrs Lazarus

  • The passion of her grief is extreme in her passionate choice of verbs: “ripped… howled, shrieked, clawed”
  • The alliteration of “Gone home. Gutted the place” echoes the description of her passionately having “retched” his name. almost onomatopoeic.
  • A high calibre student may gon on and comment on the echoes here of Havisham but a pain from which Mrs Lazarus escapes whereas Mrs Havisham does not.

4.       The Partner

Answer:

  • The image of her lover’s kiss as a “fossil” suggests that even if his love were long dead (literally or emotionally) her love for him would endure
  • The image of the partner being “sealed up” or “locked” in ice suggests a form of death or absence;
  • The image of the partner’s body as “only breeze against my dress” suggests again an absence.
  • Notice how the speaker’s love remains as emphatic as ever in the repeated “yes yes” even if unrequited

Mrs Lazarus

  • His “dwindling” from husband to
  • “snapshot”, to
  • a “name” which no longer worked as a “spell” to conjure up the image of his “face”,
  • the eventual loss of the final physical evidence of his existence as the “last hair on his head / floated out from a book” and his scent was lost,
  • to just the “zero” of the wedding ring – notice the use of the physical shape of the ring to symbolising not the eternity of love as is traditional but the death of love and its reduction to nothing,
  • to “legend, language” and eventually
  • “memory”, devoid of emotion and allowing her to move on.
  • Notice that the process is one allowing her to become “healed” not of abandoning her husband
  • Notice the “horror” she feels when she finds him resurrected: “rotting shroud, moist and dishevelled”
  • Not simply a visceral horror of the reanimated rotting corpse (more zombie than resurrection) but also the emotional horror of facing the man she has moved on from, rendering him a mere “cuckold”

 5.       Conclusion

Which version of love seems most realistic or healthy?

A love that continues despite the death or absence or withdrawal of the lover sounds romantic, but can become obsessive, self-defeating and ultimately a form of “death” itself.

A passionate love that feels desolation and grief but allows the surviving partner to heal seems much more healthy.

A more challenging comparison this time, perhaps? Mrs Lazarus and Answer.

Mrs Lazarus

I had grieved. I had wept for a night and a day
over my loss, ripped the cloth I was married in
from my breasts, howled, shrieked, clawed
at the burial stones until my hands bled, retched
his name over and over again, dead, dead.

Gone home. Gutted the place. Slept in a single cot,
widow, one empty glove, white femur
in the dust, half. Stuffed dark suits
into black bags, shuffled in a dead man’s shoes,
noosed the double knot of a tie around my bare neck,

gaunt nun in the mirror, touching herself. I learnt
the Stations of Bereavement, the icon of my face
in each bleak frame; but all those months
he was going away from me, dwindling
to the shrunk size of a snapshot, going,

going. Till his name was no longer a certain spell
for his face. The last hair on his head
floated out from a book. His scent went from the house.
The will was read. See, he was vanishing
to the small zero held by the gold of my ring.

Then he was gone. Then he was legend, language;
my arm on the arm of the schoolteacher-the shock
of a man’s strength under the sleeve of his coat-
along the hedgerows. But I was faithful
for as long as it took. Until he was memory.

So I could stand that evening in the field
in a shawl of fine air, healed, able
to watch the edge of the moon occur to the sky
and a hare thump from a hedge; then notice
the village men running towards me, shouting,

behind them the women and children, barking dogs,
and I knew. I knew by the sly light
on the blacksmith’s face, the shrill eyes
of the barmaid, the sudden hands bearing me
into the hot tang of the crowd parting before me.

He lived. I saw the horror on his face.
I heard his mother’s crazy song. I breathed
his stench; my bridegroom in his rotting shroud,
moist and dishevelled from the grave’s slack chew,
croaking his cuckold name, disinherited, out of his time.

Answer

If you were made of stone,
your kiss a fossil sealed up in your lips,
your eyes a sightless marble to my touch,
your grey hands pooling raindrops for the birds,
your long legs cold as rivers locked in ice,
if you were stone, if you were made of stone, yes, yes.

If you were made of fire,
your head a wild Medusa hissing flame,
your tongue a red-hot poker in your throat,
your heart a small coal glowing in your chest,
your fingers burning pungent brands on flesh,
if you were fire, if you were made of fire, yes, yes.

If you were made of water,
your voice a roaring, foaming waterfall,
your arms a whirlpool spinning me around,
your breast a deep, dark lake nursing the drowned,
your mouth an ocean, waves torn from your breath,
if you were water, if you were made of water, yes, yes.

If you were made of air,
your face empty and infinite as sky,
your words a wind with litter for its nouns,
your movements sudden gusts among the clouds,
your body only breeze against my dress,
if you were air, if you were made of air, yes, yes.

If you were made of air, if you were air,
if you were made of water, if you were water,
if you were made of fire, if you were fire,
if you were made of stone, if you were stone,
or if you were none of these, but really death,
the answer is yes, yes.