Getting creative with SEN

Today my Year 9 low ability / SEN class made this:

Collage created by Year 9 at Copleston High School
Collage created by Year 9 at Copleston High School

It was the result of a lesson that started by analysing current adverts for their message. We then went on to look at the story of Kitty Eckersley and why her husband joined the Army.

Next, we brainstormed (properly – in fours and in silence, then sharing!) why men might volunteer to fight. With a little help, we came up with four ways that the government might try to persuade people to ‘join up’:

– Patriotism
– Anti-German messages
– Heroism
– Shame

Students then looked at six posters from WWI and identified one of the four elements within them, choosing specific parts and not whole posters.

As an extended plenary, students used the free form capture tool on the whiteboard to cut out the areas for their theme and designed new posters using the bits they had selected. We were able to save it as an image and print it out.

For homework, the students are comparing the posters they created to the Kitty Eckersley story and identirying which of the four methods most influenced her husband.

What was really good to see was students making informed choices and debating whether certain sections could be included under two headings. By allowing the creative task to come to the forefront of the lesson we unlocked a new set of thinking: students were thinking about the interplay of images and text, as well as how to create an overall effect. They got an end product and were willing to invest time in making it look good. Also, they wanted it to work.

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Planning GCSE with a smile

GCSE is a bit like going to the dentist for a check-up: you know that it is good for you in the long-run, but it leaves such a horrible taste in your mouth. Every so often it is worth going back to basics and designing a course from scratch. In this way you can ensure that it is enjoyable and contains learning that has real worth. The TEEP cycle can offer assistance when trying to achieve this not just for lessons, but in planning a whole scheme. Outlined below are six easy steps for creating a scheme of work that challenges students and makes GCSE much more rigorous:

 

1.       Prepare for Learning

The Big Picture is essential – both for teachers and students. Without it, the learning becomes a series of virtually independent chunks that bare no relation to each other. Planning without the big picture tends to produce a scheme that is heavy on content and light on memorable learning. From the perspective of the students, there is little to hang on to.

Firstly, a big idea or question is needed that will guide students through the work and offer them a line to pin their new learning on. Questions work well, because they encourage an answer and this in turn leads to better engagement. A unit on Crime might be approached with the following question:

 

Is Britain more violent and crime ridden than it has ever been?

 

The first lessons in the scheme – your way of grabbing them and getting them to think as soon as they came through the door – might focus on creating a debate or dilemma. For example, cutting out reports from newspapers about crime and creating a class montage helps to establish how the topic is viewed by the Media. This can then be analysed for dominate themes, e.g. crime is violent, on the increase, involving more children, more sexual in nature, etc. Offering an alternative viewpoint to this forces students to think about the following content and filter it through the debate. They will need to ask questions of and engage with the materials you provide.

When students see Steven Pinker providing an argument that the world is less violent than it has ever been and saying he can prove it, the reaction is always one of shock (see the film at http://www.ted.com/talks/lang/eng/steven_pinker_on_the_myth_of_violence.html). This approach establishes a real problem that students will want to spend the unit investigating.

 The students will now be thinking about the topic and actually caring about its contents – for a moment they might actually forget it is a GCSE exam unit.

  

2.       Agree Learning Outcomes

The next step should be to establish how the question is going to be tackled. In lessons teachers discuss the content, process and benefits, and extending this to a whole scheme helps to increase understanding. The content is easy, you have a Big Question and the specifications state the boundaries. The process might take a little longer, but agreeing on a logical framework in order to answer the question is needed to assist understanding. Equally vital is identifying the skills needed and tools at hand. Now for the benefits. Exam preparation is a clear one, but then unpicking other benefits can lead to greater motivation among students. This is substantially easier if the big question is rooted in a real and genuine problem.

 

 3.       Present New Information

Before launching into the content proper, overview activities encourage students to make links and tease out the key words and ideas in the topic. This process allows students time to familiarise themselves with the topic before they begin. It is a chance to embed the main ideas of the unit. It could essentially be seen as an early revision opportunity.

 ‘Chunked up’ learning and creating mini-enquiries, each with a question and a relevance to the main enquiry will also help to aid understanding and maintain interest. Tackling the smaller parts makes it more manageable for students and allows for regular review of the Big Question. These reviews can be linked to exam question practice that will allow staff the track and monitor performance.

 

4.       Construct Understanding

Content should be delivered through a range of activities that engage students with problems to solve and hypotheses to test.

For example, mystery activities can not only deliver new information, but provide dilemmas that engage students in the process of analysis. This Billy the Kid Pardon Activity gets students working on a real life dilemma from 2007.

 

5.       Apply to Demonstrate

Each section of the course can be concluded with activities to extend thinking and help students piece together information to answer the Big Question. One strategy for this is model making. The models can physically represent the information in a way that was easy to remember. It could be as simple as making a hat for each part of the course, where the inside, outside and brim all represent something different. Another strategy is to use concept maps and get students to make links between the key facts within the section. Links help with memory and develop understanding.

 

6.       Review

Starting the year with a blank display board and gradually added work, evidence and models under the Big Question is a great way to keep track of learning and develop a clear approach. Reviews in each lesson should be easy to plan as teachers can refer back to the Big Question and discuss whether an answer is anywhere near being established. Answers can be unpicked to see how students have come to their conclusions. The strategies they used can be recorded for future use, creating a kind of GCSE toolkit for them to refer to and use.

A unit can seem like a long time, but sandwiched together it is only about twenty four hours (of teaching). However, leaving students with an activity that is creative and exciting will help with positive feelins aout the work. The tendency can be to assess at the end of the unit, but this does not always provide students with an opportunity to look at a unit in its entirety and make sense of it. Neither does it provide a natural high with which you would want them have. No actor would want to go through weeks of rehearsals only to find they were writing the programme notes. It doesn’t have to be grand, just fun and cover the whole unit. Making a song about the topic set to an appropriate tune would be simple and not very time consuming, but it would also be memorable. 

The process of learning at GCSE should engage students and focus them in a way we expect from Key Stage 3. They must feel part of the learning and care about the final outcome.

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Create meaningful and relevant stories with a difference

Add stories, photos and sounds to map
Create living maps with sound, stories and images

One way of creating meaning and relevance behind stories is to use illustrations and photos of various kinds. An even more powerful way is to add sound to a story to really capture a particular moment or event. Imagine including all of these features and add them to the exact location on a map. This is what MapSkip offers its users: create stories around a particular place.

After registering with the website find a location you wish to write about, for example the Normany landings in 1944 or example of coastal erosion on the North Norfolk coast, add a ‘marker’ in the shape of a hand and a small box with a form will appear and you can give the place a name. Now you can also upload a photo or drawing, and why not include an MP3 file which captures the fierce fighting during D-Day landings? Another good idea could be to create longer investigations with a class and keep adding to the map as you work through a unit, for example as they discover more about an individual’s journey, they can create a very detailed, meaningful and relevant story about this person.What about producing sound-trails or interviews from your locality and add them to your map like a local study?

Imagination is everything with this tool and students tend to think of 100s of ideas about how they can demonstrate their understanding of a topic or unit. This is a superb educational tool and one worth exploring further.

Green Cross Learning (Stop, Look and Listen)

I have been working on a scheme of work for the past few weeks. I am quite proud of it actually – it contains some activities that I have never used before and has lots of variety. I think it works on several levels and challenges the way that students usually view and interact with the subject matter (the Great War).

Sitting back and looking at my creation, I was wondering whether the students in my classes would like it. I am sure that they will enjoy certain elements, but the truth is that I do not know.

I will soon though. I now make it a policy to try out new schemes of work with one class before inflicting it on the rest of the community. I get them to give me regular feedback on their opinions and work with a small group of students to tweek and sometimes transform lessons. I have even invited students from other groups to come and observe my lessons and have an input.

The point of all this is that the students have very clear ideas about what might and what does work. They know their stuff and when consulted, they can have some great ideas.

Don’t get me wrong. I am not going to let students write a scheme of work for themselves – they are not the trained professionals in the room! – but I am going to let them say what they like and don’t like and I am not going to get offended.

Student Voice in lessons is no different to a Mobile Phone company responded to the needs of its customers and altering their service plan. Students are on the receiving end and may perceive your intentions differently to how you imagined (there is a whole theory on this – Oppositional Reading).

Look what can happen if you let students loose on a topic:

http://tinyurl.com/o9apla

Student Voice is the basis for any creative solution in teaching. You need to have a good idea about what students in a group like and don’t like, how they prefer to learn and what they find acceptable. Armed with this information you can create a fantastic scheme or series of lessons. The beauty is that it is so simple to set up – teach a lesson and then ask students to write down on a post-it their favourite and least favourite part of the lesson.

It’s a start…

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Don’t allow Devil’s Advocates.

Wikipedia defines Devil’s Advocate as:

“…someone who takes a position he or she disagrees with for the sake of argument. This process can be used to test the quality of the original argument and identify weaknesses in its structure.”

This is of course an essential part of any successful collaboration and the process of innovation. However, if you “test the quality of the original argument and identify weaknesses in its structure” before having explored the idea fully and to its natural end, you run the risk of destroying a remarkable opportunity and a potentially innovative idea in a flash of a second. How can this happened one might wonder? You have heard the words before: “Do you mind if I play Devil’s Advocate for a second?’. This phrase does three things well: it will give the ‘Advocate’ in question the possibility of thinking in a non-productive fashion; take no responsibility for their words as they have taken on this new persona; and stop the creative process.

If you work in a successful team that brainstorms often and effectively you will notice that ideas, the good ideas, appear after lots of suggestions, tweaking and discussion. New ideas will also appear which can be listed and explored at a later date. When we write together or prepare for workshop sessions, we always start with a blank canvas and then thrash out thoughts and ideas on the page. After a few hours of serious ‘mapping’ we eventually begin to see something concrete, worthwhile and interesting. If one of us started playing the dreaded ‘Devil’s Advocate’ then we would never have come up with the books, websites and workshops like we have today.

Also, let’s not forget that a successful mapping/brainstorming session ends with a good idea which has been created by the team not the person. You have probably heard someone utter those words “That was my idea”. This completely undermines the whole creative process of collaboration and brainstorming. The idea of course appeared as a consequence of a lot of hard work and interesting/not-so-interesting ideas.

We are not saying that the birth of an innovative idea should not be followed up with critique. We believe that evaluation of ideas and critiquing projects are essential ingredients for the success of the collaboration/product or idea. However, one must allow the creative proccess to happen and for it to flow and not shoot down an idea before it has had a chance to flourish. Think about how many brilliant ideas that have been ruined or inventions that could have made a difference because of the Devil’s Advocate?

We say: encourage creativity and constructive, thoughtful and solution-focused discussion.

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