Non-Literary Unit of Study

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module Two Wiki

ConceptTBC
Global issueTBC
Area of Explorationreaders, writers and texts TBC
time and space TBC
intertextuality TBC
Assessment ObjectivesTBC
Non-Literary textsTBC

Created by: Ahmed, Acton, and Olivia. Published at: INSERT LINK Submitted to: IB PD website on 21st JUNE 2021 TBC

Overview & ProcedureText typesLinks to resourcesHow to develop activities / expansion ideas / Links to TOKthings to consider
TBC

Link to oral exam: YES/NO.
Video 

Social media source

News feed

Article

magazine piece

Speech

Transcript
An introduction






Reflection/ wrap up
Discuss the connection between:

Discuss the relationship between:

Compare the differences between:
audience

diction

mode

genre

register

rhetoric

purpose

linguistic relativity

stereotypes

receptive

interactive

Review examples (1) (2) (3) (4)

Syllabus construction

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module Two Syllabus Construction – A checklist for language and literacy

See Guide, pages 20-21. Use: Prescribed Reading List.

HIGHER LEVEL (6 works)
STANDARD LEVEL (4 works)
conceptsplace* (3 / 2)period*
(3 / 2)
literary form*
(3 / 2)
Areas of Exploration
PRL (English) 1: William ShakespearerepresentationEngland/ Europe16th/17th centuryliterary text: poetryreaders, writers & texts
PRL (English) 2:
Nurrudin Farah
perspectiveSomalia20th/21st centuryliterary text: prose fiction / dramatime & space
PRL (translated) 1: Persepolis & Persepolis II (Marjane Satrapi)Cultures & identity: How does a text bridge a cultural boundary and create an insight? How do we approach texts from different times and cultures to that of our students?Iran
/France
/Austria
21st centuryliterary text: graphic novelsconnecting texts
PRL (translated) 2: Hanqing Guan / The Ballad of Mulan, anonymous / Njal’s saga, Óþekktur höfundurcommunication: How can texts offer multiple perspectives of a single issue, topic or theme?China/
Iceland
13th century; 4th century onwards; 12th-14th centuryliterary text: drama / poetry / prose fictionreaders, writers & texts
Free choice 1: The Levellerscreativity: how does the listener understand the meaning of a song and its lyrics; How are we affected by texts in varied ways?UK/ Europe20th/21st centuryliterary text: music lyricstime & space
Free choice 2: Tash Awwhy & how do we study language and literature?Malaysia21st centuryliterary text: prose fiction/novel
variousallglobal21st centurynon-literary text: websitesreaders, writers & texts; times & space; connecting texts
variousallglobalvariousnon-literary text: opinion columnsreaders, writers & texts; times & space; connecting texts
variousallglobal20th/21st centurynon-literary text: magazine and newspaper coversreaders, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: public information texts readers, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: propaganda pamphlets readers, writers & texts; times & space; connecting texts
variousallglobalpre-21st century; 20th centurynon-literary text: advertisementsreaders, writers & texts; times & space; connecting texts
variousallglobal21st centurynon-literary text: blogsreaders, writers & texts; times & space; connecting texts
variousallglobal20th/21st centurynon-literary text: self-help guidesreaders, writers & texts; times & space; connecting texts
variousallglobalvariousnon-literary text: photographyreaders, writers & texts; times & space; connecting texts
various (some translated)allglobalvariousnon-literary text: speechesreaders, writers & texts; times & space; connecting texts
various (some translated)allglobalvariousnon-literary text: quotationsreaders, writers & texts; times & space; connecting texts

The Levellers were chosen for their breadth and depth of lyrics. I absolutely agree that I would be focusing on an exploration of the lyrics (as a form of poetry) more than any other aspect. The subculture of music videos, album art, posters, and instruments representing voices would supplement a non-literary body of work.

“Your daddy, well he died in the Falklands; Fighting for another man’s cause; And your brother he was killed in the last war; Now your mother’s, well she’s lying home alone” – Another Man’s Cause, The Levellers

There are songs within their 12 (or so) album catalogue that cover topics like human rights (food roof family), refugees (The Shame), peace (Exodus), anti-war (The Recruiting Sergeant), the 1917 Étaples Mutiny (Mutiny), homelessness (Cardboard Box City), identity (England My Home), nuclear trouble (Belaruse), being human (Julie), inequality (Dirty Davey), class and humanity (This Garden), a dived world (Generation Fear) and huge range of emotions, personalities and periods of time. There are many songs that mark a journey and an exploration of the individual. Some are simple. Some are deep.

“My father when I was younger; Took me up on to the hill; That looked down on the city smog; Above the factory spill” – One Way, The Levellers

The indie folk rock genre that The Levellers have inhabited for over three decades. They formed their own festival in opposition to the increasing numbers of festivals of a highly commercial nature. At first I was thinking about bands that are highly accessible like Coldplay and U2, but then I thought why not go off the beaten track?!

“The year is 1991, it seems that freedom’s dead and gone; The power of the rich is held by few; Keep the young ones paralysed, educated by your lies” – Sell Out, The Levellers

The Levellers were formed in the 1990s and were not afraid to speak and sing the truth. They’ve been on a musical revolution for over three decades. They edged on the fringes of pop in their early days but have found their home more across genres than any other British band. They have likely influenced more musicians disillusioned by the commercial and closed state of the music industry. Their lyrics have been heard by musicians, writers and poets. The alternative scene to as establishment has a voice that can echo far. This is a band named after a political movement during the 17th century, formed in the years of the late William Shakespeare’s growing influence (on the English language).

“They’re sending in the elite, complete with guns; To advertise the way to go; Faxing through the fax to make it clear; That they’re the ones who know” – Liberty Song, The Levellers\

Module II: Theory of Knowledge &

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module Two Theory of Knowledge

Canon meaning (1): a general law, rule, principle, or criterion by which something is judged. Or meaning (2): the writings or other works that are generally agreed to be good, important, and worth studying. (Meanings interpreted from the Collins, Cambridge and Oxford dictionaries)

Module 2 mission:

I: theory of knowledge debate about the canon, the prescribed book list, and international-mindedness. Before building the course: What do you believe? Note: conceptual/flexible/international-mindedness core values (IB mission; allows freedom and exploration). Must be a connection between course of TOK and Language & Literacy.

Questions that spring to mind are:

Is there a difference to gaining knowledge from literacy, language or other methods of learning?

What do we actually learn through the study of text?

Is there a scientific method to language and literacy study?

What is the purpose of non-literary text and why is it often compared to fuller literary text types? How is it best to interpret these different forms? Any clinical ways to explore them?

Who understands and comprehends a text best?

Do clashes exist in interpretive strategies? How can you review such diverse viewpoints?

The word canon brings to mind William Shakespeare, Charles Dickens, T.S. Eliot, or Mark Twain. Homer, Geoffrey Chaucer, Samuel Beckett, Seamus Heaney and many others make up a largely male list. Jane Austen, the Brontë family, Virginia Woolf and Elizabeth Gaskell often make the list to offer a feminine perspective. Gwendolyn Brooks is the only writer of a different racial group that I recall reading in secondary school. That was because Mr Mack, my year 9 English teacher, loved poetry and wanted us as students to understand the world beyond England.

Western writers always appear elevated over often-so-called new world, African, Asian or other regional writers. I have found myself in China, reading translated pieces by Kǒng Fūzǐ (孔夫子) or as he is known globally, Confucius and trying to follow Sūnzǐ (孫子) or Sun Tzu, so I can relate to Chinese students trying to master Shakespeare or other works set and written in a different world! For me, text without Confucius and Sun Tzu needs to be accompanied by the interpretation of other writers. Canon writers are predominantly the popular and classical writers that A-Levels and GCSEs have covered. Those modelled courses and their American and Australian equivalents have travelled through international schools to far flung places and huge populations like India and China. It surprised me on arriving here in Dongguan, China to see Jack London’s Call of The Wild and O. Henry’s The Gift of Magi. The latter is on my reading list but struggling to find its way off it. I found it odd that English classics had more perspective than translated versions of domestic Chinese literature. Surely, writing an essay on such relatable matters would boost comprehension of western writing interpretation?

IB curriculum schools open doors to places around the globe lesser known. I wandered into a class earlier this year themed around Persepolis. Inspired by this choice in MYP, I found a transcript of writer Marjane Satrapi’s Chicken with Plums translated from French to English. I introduced the lesser graphic edit to my PYP Grade 4 students. Later, one of the students advised they had seen the movie and didn’t know there was a book! We were there and then led to Follow the Rabbit-Proof Fence (Doris Pilkington AKA Nugi Garimara), and Khaled Hosseini’s The Kite Runner – under slight edits to remove scenes unsuitable for ten year old students! A unit of inquiry about migration, refugees and where we are in place and time had been connected, all because of one literature piece’s indirect influence.

I’m a firm believer in diversity and multicultural integration. I’ve seen first-hand the horrors of divide, but also the beauty and magic of inclusion and togetherness. Access and exposure to literacy and language has the power to close divide and bring people closer. It can open discussion and encourage dialogue or understanding. Remake a Shakespeare play as a movie or live action theatre by all means, but make sure those watching know their stories and the stories that are relevant today.

Increasingly there is an element of pick and mix to reading texts. Newspapers, online media, word of mouth, social media and movie adaptations are highlighting international writers, giving readers chance to develop international mindedness. With that young learners are blessed to have education bodies and influencers that can modernise and expand Prescribed Reading Lists. Context that can easily get lost to the wrong audience should not be overlooked or ignored. It should be connected and explained.

English A: Language and literature (Cat.1): Module Two Learning Engagement

“What are the three things you want to make sure you do when you design your own course?”

Having reviewed the concepts that underpin the syllabus content, I began to unpack the course syllabus. Below is a work in progress. I am creating my tailored course outline to reflect the flexible nature of IB teaching and learning. Through freedom of design and under continual improvement, I hope to have a course outline ready for use and continued modification to enhance my learners and their learning experiences. I want to ensure that students can connect through their own identities, cultures and find a suitable perspective. The students must be offered a place to display their creative talents and all texts must represent both popular and obscure examples. In short, trio of design demands must engage, inform and educate in a natural flow.

CONCEPTS (underpin syllabus content)
1identityReading a text, for a student, or by a student, will see them make their own narrative and perspective. They may imagine the voices and characters, each in differing ways. They may imagine a deeper backstory or be influenced by movie or television adaptations. They may connect the characters to previously explored texts. This is normal. The writer and the reader each place part of their identity within the story. Sometimes the author doesn’t make reading easy to follow or understand. Their identity can bend, shift, change and be quite complicated. This complexity can make an understanding difficult to follow. Reading across texts may even deepen that mystery – or paint a clearer picture. Reading texts by James Herriot or Colin Dann gives a reasonable interpretation and insight into the writer’s background. The World War II fighter pilot, Roald Dahl, may be clear in some of his closer autobiographical books, but his children’s texts are far further from his life experiences. Or, are they not? Readers will have their own interpretation and it’s important to know that diverse responses to perspectives are possible.
2cultureJRR Tolkien penned the epic ‘The Hobbit’ and ‘The Lord of The Rings’ books. These works and his other compendium of titles reflected his life story in some shape and form. He was born in an independent nation the Orange Free State (now part of South Africa). The landscape of the African continent was complex and difficult. Family circumstance saw his widowed mother move to England. Place names from his upbringing, a spider bite, the tragedy of World War I and countless other stages of his life influenced his writings. Here was a man propelled into his first job at the Oxford English Dictionary and fell in love with language. His translation of ‘Beowulf’ showed considerable international mindedness, a theme that slips in and out of his Middle Earth adventures. Beliefs, values and attitudes shape a writer. They target an audience willing to lift open the pages. Quite often the writing follows a similar style to that read in the years before it. A connection between the familiar and the new is important for a reader. Does text reflect where it was formed and when? The place and time of a text can often be acknowledged from the feel of the text.
3creativityImagination is key. Creating something and engaging it has to be in reach of the reader. The writer’s role within a text is to paint a canvas vividly enough to make the words leap from the page. The often written cliche about transporting the reader to another place is important. Interpretations can take multiple forms and transcend that of a simple text. The writer and the text will be heavily original in ideas, shapes and forms. Originality will make a work stand out.
4communicationBoth non-literary and literary text have the problem of getting their message across loud and clear. Does the writing aim to convey a message to the reader? How can the writer know that the reader will see the message? The audience must be assumed to be in on the writer’s previous works, or of a particular kind that can easily access the text. Some readers may struggle to follow the messages hidden or directly thrown at them from the text. Some may ignore the bias of a message and value their own views more highly. Cooperative readers may follow more closely, but even so, text meaning is not always definitive.
5perspectiveAuthors can also write in ways that do not follow their views in any shape or form. They may take the role of devil’s advocate just to sell more books, or open a debate. This is one example of literacy devices available to writers that readers may or may not be aware is being used on their perception of a text. The reader may or may not bring their own complete perception which clashes with the views in the text. Before you know it, there’s critical thinking, attention and a discussion as the reader tries to interpret the text. What will the end result be? Will it influence the reader or not?
6transformationIntertextuality: the connection and relationship across texts, especially that of literary ones. One text can lead to a heavy influence on the next text. Sometimes it is the creation of new ideas from one text to another. Some texts may follow one another, across authors, or not. Some may be reimagining or taking elements of a story into their own works. C.S Lewis penned ‘Perelandra’ which is often cited to be a reworking of John Milton’s ‘Paradise Lost’ and the biblical ‘Book of Genesis’. Some texts will influence a reader changing their perception of reality. Reading Michael Crichton’s ‘Congo’ as a teenager opened my mind drastically to interspecies communication and in later years whilst volunteering at a zoo, I found myself communicating with an orangutan, like you do. Potentially, personal interpretations can be hugely transformative.
7representationSome texts are abstract. Some are relatable to reality. Some are every step between. Accurate reflections of reality, potential futures, to artistic imaginings are central to a reader connecting the text to meaning. The form and structure of the story must connect between both the author and the reader. The largely popular space soap opera epic ‘Star Wars’ started out under the pen of George Lucas. His dog, an Alaskan breed would find itself as a relatable humanoid representation in that of the character, Chewbacca. Throughout his writing he represented characters using human touches.

With the above in mind, the course can be further dissected and placed in the required syllabus areas of explorations. They can be supplemented by the Prescribed Reading List.

AREA OF EXPLORATIONS
1readers, writers text#0.1 Why do we study language and literature?
#0.2 How do we study language and literature?
#0.3 How does text affect us? [Use real world examples]
#0.4 How does text affect us? [Use variety]
#0.5 Meaning: constructed, negotiated, expressed and interpreting
#0.6 language use variation: text types/form/genre
#0.7 Building confidence through structure
#0.8 Non-literary and literary differences
#0.9 Language & literature: an introduction.
#1 Breaking down the complex
#1.1 Text type: style & structure – the affect on meaning
#2 Investigate texts, the various forms & types – pay close attention
#3 What choices do writers make to communicate meaning? (e.g. images, sounds and words)
#3.1 Texts: an insight? Form a response
#3.2 Texts: a challenge?
#3.3 Personal vs. academic responses
#3.3. expand your response
#3.4 metacognitive awareness
#4 What role do readers make to understand meaning? (e.g. images, sounds and words)
#5 The role of creative language.
#6 How does creative language relate through literature?
#7 The power of texts/perspectives
#8 Linguistic and literary messages: what are the authors communicating?
2time and space#A social capacity: connect to community, culture & history (advertisements, poems, etc)
#B variety of cultural contexts (places, cultures, times; insights?)
#C Do texts reflect or refract our world? (Is there a social or political agenda? How do we approach older texts? Still relevant or obsolete?)
#D How do cultural conditions affect language? (Any representation of social, political and cultural concerns? Do meanings and impacts change over time?)
#E How are cultural conditions a product of language? (Bound by societal framework and the implications? Do they represent cultural practices?)
#F How is identity and culture influential to how text is received?
#G Explore cultural and historical perspectives (Open, plural or cosmopolitan?)
#H The role of text to oneself, local and global connections (Does it provoke influence of raise questions?)
#I Is a text complex or dynamic? (Is there a hidden story of reality?)
#J An exploration of the author’s background (historical events, narratives in terms of critical reception; is it important?)
#K Who is the author’s audience? Obvious or unapparent?
#L The intricacies of relatable places and times across generations and boundaries (Is a society or identity represented reflected in language use?)
3intertextualityRelate: past to present.
Engage: literary & linguistic traditions.
#i Connections between text and audience (ideas and traditions in respect of diversity; is a classic text still valid?)
#ii Making a comparative (deeper appreciation; how can different perspectives highlight an issue, topic ore theme? Can a comparative and an interpretation be transformative?)
#iii Unique characteristics and complex systems as a connection (Similarities & differences? Can diverse texts share points of similarity?)
#iv How to and when to openly discuss your interpretations (create a critical lens; expand on a meaning; question it; what’s your view? How does a system of reference evolve over time?)
#v Mode & genre of text, literary form, chronological development, topic or concept, debate or theoretical perspective. Do texts deviate from literary forms and genre? Why? How?

“What two principles of course design spoke to you personally, why, and how will you use that to design your syllabus?”

Integration and variety will enhance interest. I believe as a teacher our heaviest influence sits in these two areas. Students are mostly familiar with autonomy and accountability. These should be well-trod paths across IB subject areas.

COURSE DESIGN PRINCIPLES
1varietyStudents can connect, compare and contrast across multiple texts. This can include translated texts and those in an original target language. The traditional canon and the voices of emerging voices can strike a balance to form a varifocal view of the world at large. The bigger the lens, the deeper the understanding? The text students are exposed to should reflect global society, local society and multiple cultures. The protection and preservation of texts should be side by side with literary forms, places times and most importantly voices. Is less more? Or, is in terms of literary form more diversity essential for diverse understanding? Linguistic and language evolution is ongoing, and tied to literary developments. Students must understand that they are the master of their own exploration. Their individual selection of texts will open new doors for others within the classroom cohort. “Variety is the spice of life” – William Cowper, British poet.
2integrationA learner profile needs more than reflection. How can a student look at each current and previous text to form a connection? Do students need to form spider webs and mind maps to draw and illustrate connections? Will as Minecraft-style virtual map help relate and show their connections? Lines can be drawn across areas of exploration and through the seven concepts. Organisation skills will be needed throughout.

Everything should connect. Compartmentalisation has little value to complimenting the study of multiple texts. Inherent, context-related and comparative text studies should be integrated to demonstrate to students that references from outside of the classroom cohort’s own research are relevant and supplementary to their development.

Why is integration important? Oral assessment / Paper 2 – meaning elaboration required.

“Integration happens when all your parts of your being are in harmony.” Amy Leigh Mercree, author.
3autonomyStudents must be empowered. They’re the keepers of their destiny. They prepare their likely routes of study individually. They work towards assessment, formative (self-assessment and peer-assessment will encourage evaluation skills) and summative. They must make decisions with care. They will need pushing through positive encouragement. A variety of materials and access to research tools, the right syllabus components, how an assessment is made, and full scaffolding support (in the case of students new to the IB or international schooling). A teacher’s role is to guide and ensure texts are appropriate to the short-term and long-term study at hand. Is the text connected to the concept or issue? “I want to sing like the birds sing, not worrying about who hears or what they think.” – Rumi, Persian poet
4accountabilityAcademic honesty.
Whole class awareness of the course requirements.
A plan of action that is clear and achievable: the pathway to assessments.
Individual assessment components must be used on a sole occasion, keeping it fresh and balanced.
“Simplify, slow down, be kind. And don’t forget to have art in your life – music, paintings, theater, dance, and sunsets.” – Eric Carle, author and illustrator

“What one question do you still have about the philosophy or the practicalities of designing a course syllabus?”

I want to think mainly in terms of reflection:

Is my course fit for purpose? Are all the outcomes specific, attainable and measurable? Does the content and method match the outcome? How well can students achieve the necessary outcome? How can I make the course a better fit for the differentiated learner? Are my course syllabus learning outcomes reasonable in relation to the contextual issues? Are all the outcomes going to be theory-based or will it be possible to draw on transdisciplinary skills to highlight skill-based outcomes?

I should hope any student on the course has a level of English that’s appropriate but I’m willing (as is the school) to intervene and develop that level. The level of interest is something I half-worry about. Parent power in China is strong. Some students may feel pushed into the more traditional areas of education and lose sight of their personal interest. A student studying English, here in Dongguan (China), is often a source of pride to family and face. Developing and maintaining an interest in era heavily flooded with video game, social networking and other distractions takes time and patience. As a teacher we must adapt and evolve with the times. Discouraging a student will only create a barrier. How can we integrate their other interests to reinforce interests in literature and language?

How did your thoughts about what you might teach change based on the TOK debate?” The understanding that knowledge is a reconstructed or constructed representation as opposed to a perfectly symmetrical mirror image of life and reality.

What are you most excited about teaching and why?” Engaging students in their time and place and uncovering their viewpoints. Watching as they evolve confidence in understanding the viewpoints of others. I’m excited to help our learners at TWIS develop inquiry and critical thinking skills alongside literature and language. I hope that they can recognise the value of reflection, transferring their skills into other disciplines. Explorations should be shared. Are we told by the author to read their text in a certain way? Can we choose to interpret their work in terms of our own cultural assumptions? How do communities of students, academics, teachers or other groups view a text? The same? Differently? Constructing knowledge around text will be enjoyable. Meanings shared are often enlightening.

As a teacher the challenge is monumental. Explaining things sometimes lost in translation will be challenging. Exploring how a text may have been written for a completely different audience (ethnicity, location, time etc) will determine how open-minded a learner can be. Perhaps, there will be absence of an international viewpoint that can be explored. Charlie Hebdo,a French publication known for satire have experienced extreme examples of how an approach to place and time could be considered divisive and unhelpful in international outlooks and mindfulness. Poets, bloggers, cartoonists, and journalists must all take careful approaches. The learner too. They are each subject to their interpretation techniques.

To I.B., or not to I.B.? [Wrap up]

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Module One reflection

Is the learner profile relevant?

help teachers build rapportdeepen a teacher’s professional relationship with their learner(s)connect support levels and buddy peersallow informed planningallow a teacher to observe a student’s perspective more closely
allow for suitable timetablingallow teachers the chance to create a relevant scaffolding of learningdetermine classroom layoutdevelop tutoring support through differentiationallow group and class participation
Information is not static. It moves. The student’s profile is a record and guidance for new teachers.Pertinent information such as interests can be aligned to teaching.Highlight strengths and needsAllows supply and cover teachers a fairer insight into the individualpersonalisation
it can be a document, a portfolio, a combination of digital and traditional formsTHISISABOUTINDIVIDUALS
Formal or informalCan contain conversations, questionnaires, video interviews etcA place for their aspirations & passionsRecommendationsTo inform discussions between teaching staff, parents and guardians
Insert things they dislike and wish to avoidDocument life experiences, people, pets, moments of inspiration or importanceHighlight what they do when help is neededExamplesExemplars selected from other sources that guide the student
Select appropriate curriculum material/supportHelp develop maximum engagementProvide assessment dataExplore the profile’s purposeReview snd evaluate the profile format
Two-way process between the teacher & the learnerUnderstandingA chance to show inclusion of all in the learning journeyHow does the individual adapt?What tools and/or techiniques and/or technologies do they favour?
A chance to express themselvesAddress assumptionsSkill setsHave their own saySupport transition

To I.B., or not to I.B.?

There are numerous forms of education systems and curricula out there. The University Admissions Officers Report 2017 may argue that A-Levels are in-depth looks at specific avenues. Many will have you look at US, Australian, or British curricula. The International Primary Curriculum is reportedly the fastest growing primary school system on Earth. So, as a teacher, a parent or a potential student, it pays to do your homework in the form of research. Which methods best fit you? Differentiation in learning is also about knowing when a system of study will or will not suit your learning style or method. Cost, demand, class size, location, and a plethora of other factors need to be taken into account. If a student or parent aspires to have holistic, rounded, international minds after primary, middle years and diploma years, then IB is the way to go. A range of skills as opposed to the ability to answer exams may help.

Native and foreign languages are encouraged with IB formats. Whereas, a language must be chosen separately in the AS- or A-Level formats. Students usually opt for 3 to 4 A-levels, but can take more. Obviously more subjects will equate to more homework and class time. That could also create more clashes in a timetable. The base AS-Level can serve as a foundation, paving the way for the A-2 Level which give the final result and grade. Their grading ranges from A* down to E.

The IB system is comprised of six subjects. There are academic cores (TOK: Theory of Knowledge), Extended Essay (EE) and Creativity, Action & Service (CAS). Optional subjects are plentiful and the opportunity to attempt Higher Level study is available. Points win prizes and diplomas are issued based on overall points gained. University entry, e.g. UCAS (The Universities and Colleges Admissions Service) in the U.K. requires a number of points earned. Overall, feedback via independent websites and student reviews indicates that students feel they’re better equipped at university. One student’s experience of course differs to another student’s feel. Perspective is key.

Close language analysis: what’s the point?

Words matter. Phrases matter. How you teach it and convey the comprehension of all text matters. Writers convey and highlight messages in their text. How your comprehension interprets this message matters. Figures of speech, idioms, sentence structures, tone of voice, choice of words and other techniques need to be clear. Literacy and language need good communication to avoid messages losing meaning or creating problems! We, as analytical thinkers, must decode and reconstruct the meaning. We must be able to say what it is about and the possible effects of the text.

Optional challenge: Further analysis

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Further textual analysis of two I.B. documents

IB Theory of Knowledge Guide Module 1Parent Pack FAQs About The PYP
purpose of textTo make all students and teachers aware that interpretation of knowledge is important. It is fundamental to ideological thinking. It is key to understanding bias, valid or not. It offers the chance to retain, revise or reject bias. Critical reflection is encouraged. Knowledge and knowing are there to be questioned and explored. With knowledge and exploration, it allows students a chance to apply it to real-world scenarios. The whole subject must be passed. Without it, then no certificate of diploma can be awarded.An introduction to the curriculum/framework of primary (those 3-12 years old) years programmes within the I.B. schooling systems.
dominant vs oppositional readingmostly dominanthighly dominant first page spread; second page is dominant also, with a slightly toned-down aggression
tone created/reasoningTOK (Theory of Knowledge) is assessed through an essay (1600 words) & by an oral presentation. It’s a broad spectrum reflection on what knowledge is, how it happens and why we know is what we know. It must argue how we know what we state to know. It’s a mandatory test within the I.B. Diploma Programme (D.P.) central core. As a student, you will need a broader mind. Arguments are presented to teachers. Question and answer style format. Adopted the role of interviewer and interviewee. Some bullet points and linked sources included to break down the monotony of paragraphed answers. Highlights I.B.’s interweaving style of teaching and emphasis
words or phrases have a highly charged connotation/ the effect on the reader“Theory of knowledge guide
intended to guide the planning, teaching and assessment of the International Baccalaureate (IB) Diploma Programme (DP) Theory of knowledge (TOK) course.”
curiosity, creativity, ability to reflect, stimulating, challenging, nurture, foster a lifelong love of learning (also smooth alliteration), transdisciplinary, investigating big ideas, gifted, special,
words or phrases demonstrate the ideological perspective of this text“Theory of knowledge guide
TOK teachers are the primary audience, although it is expected that teachers will also use the information in this guide to inform students and parents about the subject.”
Aimed at parents and guardians.
Other notesBertrand Russell (1926) invented the term Theory of Knowledge. The 8 areas of knowledge are mathematics, natural sciences, human sciences, arts, history, ethics, religious knowledge systems, and indigenous knowledge systems.N/A

Close textual analysis of the I.B.

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): Close textual analysis of the I.B.

I.B. Mission Statement:

“The International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through intercultural understanding and respect. To this end the organization works with schools, governments and international organizations to develop challenging programmes of international education and rigorous assessment. These programmes encourage students across the world to become active, compassionate and lifelong learners who understand that other people, with their differences, can also be right.” (Source: https://ibo.org/ accessed June 2021)

#1 What ideological biases exist in the IB mission statement and how do you know this as a reader?

Is education equally accessible to all? Do the elite get independent and private teaching with more ease? How many governments support IB teaching? Do regional governments back the IB system and methods? Is the IB system open to all, or to the few?

The notion that the target market is those classified as young. There is an assumption that people want to make peace. Some cultures and societies do not want other teaching methods placed to their population. The statement refers to international organisations, notably governments and schools. It implies that other systems of assessment and international education are less challenging, however, it acknowledges that other ways of life and education may also be right. These other methods of learning are other ways and means to continue life-long learning. The statement that it ‘encourages students across the world…’ is bold and clearly implies the IB backs its words up with statistical analysis. Social, intellectual and cultural bias could be implied from the first and third sentences of the statement. Similar to some countries not wanting an external influence on domestic education, it could be said that tolerance or understanding may also be subject to different perspectives. Marginalised and threatened social groups may not be treated equally within one kingdom. The paragraph on the whole highlights that nations and continents are connected, and more than ever, we as a race of people need to communicate and get along. Yes, there are many ideals, but aspiring to be better for everyone is a very human trait.

Cognitive verbs form the first half before the latter becomes less preachy, more clinical. The persuasion blends into intrigue and overlooks nationalism in favour of internationalism. The standing of populism, separatism and divide from internationalism shows this debate has plenty of room for the IB system. Isn’t together as a species for the preservation of the planet a better way to be than selfish ways?

Preferred (or Dominant) ReadingNegotiated ReadingOppositional Reading
An audience follows the direction of the media or writing in a way that was pre-calculated by the writer.The viewer or reader must make their own decision, be it in whole or partial agreement to the message of the writer. It is quite often a partial agreement.The audience are not expected to swing their views in favour of the writer or the message of the produced text/material.
Complete disagreement is expected.
e.g. An advertisement in a magazine triggers the reader to use a discount voucher or follow social media channelsA documentary, TV programme or show, or a movie.A political broadcast aimed at one party’s members but not the opposition following.

#2 What is the dominant reading of this text and what might be an oppositional reading of the IB learner profile?

Looking objectively through eyes that imagine that I have never encountered the IB system, I can see a few cases against IB learning. An oppositional reading may be one whereby a student or parent has been sold A.P., IGCSE, Cambridge Pre-U, or the BTEC National Schemes. The traditional AS- and A-Levels of the U.K. may be favoured due to their longevity and global usage. Advanced Apprenticeships, NVQs and T-Levels are other such alternatives. The world is fluid and these days, more than ever, with global uncertainty in the shadow of COVID-19 and political disagreements, mean that IB faces a challenge, like all education methods. Online teaching, isolation, illness and worry are barriers that prevent smooth collaboration and transition without dedication and focus. Education attitudes change and idealising every problem is far from, erm, ideal. And, as the semester crack on, there are stories of IB students weighed down by too many essays, from too many subjects. Are students reflecting too often and in too much detail on too many common sense matters? Should students and parents ultimately share their perspective of the IB system and its benefits, rather than the IB itself?

Dominant wording such as ‘integrity’, ‘honesty’, ’empathy’, and ‘compassion’ are qualities that many people aspire towards. These hard-selling words sit alongside people’s curiosity. We’re a species that asks questions, over and over again. And when we get answers, we seek more questions. For many questions start to fade, but there’s always a group of people asking more and more questions, continuing through their lives. We develop. We grow. We exercise our minds. We expand our knowledge. We express ourselves. We think about how the world works. We explore who we are and where we are in space and time. Consciousness gives us appreciation and we use it in empathic ways. The IB school appears to be a garden and source of higher learning. It shows a student who is an ideal: the champion of learning. A student who is hungry to excel, has drive and uses resilience to battle through studies. The IB method can’t create a ‘Super Student’ in a red cape with a blue suit, but it can stand students in the right position to know which tools to use, and when. Each will then be capable to use their best qualities and maintain their learning efforts throughout life.

#3 “What is the tone created in the aims and assessment objectives, how does the author create it, and why?”

Aims are presented clearly. They’re fed to the reader as a list. The assessment objectives are clear and again placed in a bullet-point list to allow clarity when reading. It has a dynamic shift using active words. Engage. Develop. Communicate. Foster. Collaborate. It screams of hands-on learning. Key skills are set out, and with that the scaffolding of the student’s eventual endgame assessments. Target acquired? Lock on and engage.

For a young learner it allows imagination and gives meaningful descriptive words to appeal to those who likely have at least one of the 10 IB learner profiles, even before they’ve encountered such things. There’s an emphasis on motivating a keen student, that shows at some stage they must ‘analyse and evaluate’ their own studies. Great responsibility awaits the learner seeking independence. A student can develop their own journey of learning.

#4 What words or phrases have a highly charged connotation and what is the effect on the reader?

All throughout you can celebrate learning. Who doesn’t like a celebration?! Did somebody mention learning? This key word appears in phrases throughout the text. Learning celebrates meaning. Learning means an open and inclusive classroom. Learning is for life. Learning processes are cyclic. Learning is a doctrine to develop purpose, culture and the environment of the classroom. These paraphrases give various simultaneous overtones and undertones, e.g. that of lifelong learning/It brings people together/be part of it.

The word democratic empowers people and perhaps those in more closed systems may be sold on the idea of governing themselves or bringing revolution to learning. It also implies that the teacher is not the be all, end all autocrat of traditional classroom environments. It says to the reader that they can command their own seas, and a voyage is possible (on the way to a pre-guided syllabus assessment). The student, however, will feel empowered.

#5 What words or phrases demonstrate the ideological perspective of this text?

The phrases allow creative minds to wander and focus. There’s an emphasis on connecting whilst taking responsibility. They allow outside the box thinking to dream of situations beyond the walls of a learner’s classroom or school. They encourage community, caring and service to others in active ways. It is an open invitation to think bigger than a page in a writing book. Inevitably there will often be students who carry causes or concerns to the classroom. The word empowers returns again. It gives them a chance to think of a way to rectify or influence change, even if it’s simply drawing attention to a concern that is lesser talked about. The examples serve to inspire and tap into the emotional level of a reader. It introduces projects as being possible and plausible. Contextualising opportunities gives ample opportunity for educational analysis, in a way that students participate. How can the learner create a more superior world? Can they start that process in their early days of the IB?

ATL (Approaches to Teaching & Learning)

Parent page: IB Learner Profile

English A: Language and literature (Cat.1): ATL (Approaches to Teaching)

“Your mission, should you choose to accept it…” Find pages 60-66. Read them, digest them and share them in a way that has meaning. “What is your criterion behind some having a higher or lower priority?

The below positions can be interchangeable dependent on a student’s needs. It’s important to differentiate and tailor tasks to a student’s needs. A student will be better equipped for inquiry work, if supported by peers and collaboration. This will iron out any doubt in a student’s mind. Inquiry can lead to putting those questions into a context (locally, regionally and globally) through real examples and exemplars. From that a conceptual understanding can form. Finally assessment should follow, whether formative or summative. All areas of approaches to teaching and learning are essential but to knock down any barriers to learning is a sounder starting point. Remove the barrier and forward progress can be made. Leave the barrier and growth will not come.

1Teaching designed to remove barriers to learning.
2 Teaching based on effective teamwork and collaboration.
3Teaching based on inquiry.
4Teaching developed in local and global contexts.
5Teaching focused on conceptual understanding.
6Teaching informed by assessment.

Further thoughts: The weight of importance in all six aspects are near equal, but in reality little is equal. So, I believe they are better thought of the form of a mode continuum (Gibbons 2003). This popular profiling can help us to show the understanding and needs of students, with respect to their development and targeted progression.

Additional thoughts: Following my own look and thoughts of this challenge, I found that other students on the course had similar ideas but also preferences on their own take of the ATL positioning. Perhaps a central title with arms spread equally and outwardly like a starfish is more appropriate. There’s a bigger picture at play in context, conceptual understanding and assessment. However, the removal of barriers, creation of teamwork and direction of assessment need to be in place for the latter three aspects.

English A: Language and literature (Cat.1): ATL (Approaches to Learning)

1Communication skills
2 Social skills
3Self-management skills
4Thinking skills
5Research Skills

What is your order of importance for the approaches to learning?

From the beginning of any course, students may or may not be new to one another. Communication is key to a smooth study. They must be able to talk with, e-mail or write to one another, or their teachers. Ineffective communication may lack social skills. The two are very closely related. Likewise, self-management links to thinking and research. Can all truly be prioritised over others? Not really, due to the fact they’re interactive and they’re dynamic. Essential agreements between students mean that they set their boundaries and regulations for study. Without that there would be an unclear pathway of communication. Social skills allow good communication, but good communication takes social skills. Holistic learning systems are like a dessert jelly. They shift and wobble to the needs of the learner. Self-management requires prior learning and knowledge. Not every student comes from the same background. The social and communication skills of a class allow self-management to filter through. With this skill in place, then thinking and research has a firm base to take part. Basic thinking is a natural skill, to take it further it needs inquiry and research. Research, like in real world scenarios (e.g. vaccine makers and pandemic preventers) takes the thinking of others and combination of all of the above skills.

On reading other student’s works and their ideas, I really liked Amy Bosnich’s Adobe Spark presentation.
Feedback“Thanks, Acton. As we proceed in the workshop, you’ll come to appreciate how fundamental visual literacy is to our course. Your choice to incorporate a visual interpretation when you respond is a good model for others — and will be a valuable practice in your teaching. Students are invariably familiar with the maxim “a picture is worth a thousand words”, but that’s a very superficial starting point to the broader examination of the interplay of image and text, how one can complement the other, or offer a nuanced interpretation of a single point etc. The authorial / creative choices behind the creation of an image is something we’ll explore often with our students (in photos, ads, documentaries, films, tv shows etc).” – Marie Baird, IB Diploma Teacher

Learner Portfolio.

English A: Language and literature (Cat.1): Portfolio task

Module One (2/6-8/6)
The Learner Profile
Notes
Analytical writing
Formative Approaches to teaching and learning (ATL)

Close textual analysis of the I.B.
Five questions:
I.B. Mission Statement; I.B. Learner Profile; Course Aims and Assessment Objectives; Standards & Practices; Creativity, activity and service.
Summative

Populating as we go.

C
r
e
a
t
i
v
e
writing
HERE IT WILL BE, WHEN IT IS HERE

Talk to me.

Feedback“Thanks John. I like the idea of using this as an icebreaker early on … something you might share with students at the end of Week 1 or 2, after you’ve gone over various components of the course. It’s a good way for students to focus in on areas where there still may be uncertainty, questions outstanding, etc. Also a good prompt to have students consider ‘why did Mr Acton use this (or that) particular symbol or icon here?’ (discussions pertaining to authorial choices are always fundamental to our study of any text).” – Marie Baird

You need to be yourself.

Projects &/or alternative assessmentsAlso important.

Voices.

ReflectionIt’s important.
1.     Begin by writing a bit about yourself: where do you teach? What’s unique about your IB situation? Let others get to know you. Write whatever you want others to know about you.I joined the I.B. candidacy school of TWIS in Dongguan, against the run of traffic. As I sat in quarantine, having returned to China (on the last possible day before a border closure in March 2020), I figured my job interview was not going to happen. It was due three weeks prior and there had been no response, because everyone had bigger things to worry about. So, I dropped one last e-mail & WeChat message to the principal of TWIS. Video interviews followed. The ball was rolling again. I was excited because the opportunity allowed for holistic teaching methods.

After transfer from my previous school, I realised that I was in a school facing the candidacy process and with many teachers stranded in other countries. Immediately, online meetings and collaborations allowed us as a team to perform effectively and deliver a clear near-uninterrupted school year of teaching. We’re less worried by a nearby outbreak in the city of Guangzhou and Shenzhen, because we know we can adapt and perform during this new norm.
2.     What is the most pressing question you have about the Language A: language and literature course?Actually, two matters arise that I wish to address:

How has this course managed to remain in touch with technology and changing social attitudes to literature and language?

How can the course better support those who require an English intervention programme to better enrich their comprehension and vocabulary skills?
3.     How can you develop positive online professional relationships for the workshop and beyond?We’re each more linked than ever through LinkedIn/Facebook/Weibo/Twitter and so on. Many channels like Xoom allows video calls. E-mails are simple enough. They’re the hassle-free electronic pen pal of the world right now. Meeting teachers at seminars face-to-face and via online courses can be invaluable. I remain in contact with university friends, first aid class companions, teaching colleagues and my door is firmly open. I read somewhere that teachers teach teachers. I couldn’t agree more.
4.     What does a successful outcome look like for you after this workshop? List three things you want to achieve.Diverse literature syllabus.
Balanced literature and language course formation (creative v analytical.
Enhanced teaching method strategies, specific to this course.

English A: Language and literature (Cat.1): Portfolio worksheets

Introduction worksheet for student learner portfolio. Features spaces with prompts and areas to trigger investigation or prior knowledge mind-maps of different text types; Electronic information space (as the portfolio will be analogue); gently stresses that learning is a journey and the portfolio is a pathway to the outcome. Can be used as a classroom ice-breaker early on. Customisable.
Feedback“Thanks John. There’s lots going on here, and at first it felt a little confusing, but when viewed in tandem with your “learner portfolio template” it all makes good sense. I’ve not seen a blog suggested before as an LP format, and I’m not sure if it would be the most appropriate of platforms for the demands of the Learner Portfolio (given the need to offer substantial organisational capabilities for 2 years). But in other respects the blog format accomplishes a great deal, particularly in terms of introducing students to their teacher as an individual, and as a means to demonstrate how organic our thinking and learning can be.” – Marie Baird, IB Diploma teacher

“Thanks John. I like the idea of using this as an icebreaker early on … something you might share with students at the end of Week 1 or 2, after you’ve gone over various components of the course. It’s a good way for students to focus in on areas where there still may be uncertainty, questions outstanding, etc. Also a good prompt to have students consider ‘why did Mr Acton use this (or that) particular symbol or icon here?’ (discussions pertaining to authorial choices are always fundamental to our study of any text).” – Marie Baird, IB Diploma teacher

Anything else goes below here:

English A: Language and literature (Cat.1): General notes

The course is available for students at both standard and higher levels. The higher level is a study of 6 works and lasts about 240 class hours. The standard is 90 hours and two works less in length. The material works must be broad in spectrum, representing literary forms, time periods and places.

What are your key expectations for this workshop?” Language changes. Literature evolves in meaning and interpretation. It keeps us on our toes, thinking and learning. I expect to enhance my personal critical thinking; collaborate and develop my personal appreciation of literature (and the surrounding language). I expect to encounter a variety of aesthetic or stylistic forms. I expect to find ways to unlock cultural differences to help deliver a deeper appreciation to young learners in the near future.

To support study on this course, students will encounter non-literary text. These bodies of work will include a wide variation in format. Students are to be enabled to deep think, use higher order thinking skills to give an analysis that is critical, shows understanding of culture and context. They must determine a meaning. What is the purpose of the text to the audience? The students will take their assessments through formal examinations, oral and written coursework and other spoken activities. Two essay papers will be taken: A comparative response to two previously studied texts; and then one analysis of a previously unseen, and unto that point, unknown text. Transferring those study techniques will come into action at that stage. Practice to performance. The inevitable coursework for higher level students features a 1200-1500 word essay on a previously studied text.

“How familiar are you with the subject of this workshop?” Language covers all forms of expression that allow communication. It can be written or verbal. Literature is the written form of language. It’s the words to painting in an art gallery. If a song has lyrics and they’re written down, then it sits alongside poetry. Unlike language, literature is always written.

Students are attending this online course from as far afield as Russia, Canada, the U.K., the U.S.A. and China. That’s one heck of a lot of land surface, and a fair old electronic journey. All connected students. Each together on a journey. The COVID-19 pandemic allows opportunity. We can’t stand still. We each must remain engaged, involved and collaborate from offices, school and apartments. At this moment I’m typing in a tent. A Friday night wander into Dalingshan Forest Park (Dongguan, China) seemed like a wise move.

How would you describe yourself as a learner? What helps you to learn best? I like to read, survey varied sources, research using a selection of articles and books before hitting the interweb for accountable sources and also gap-fillers.

To allow storage and to manage this I.B. exploration via a home page, I have a link for Announcements and one for the Resource Library. There’s an interactive forum too. Tomorrow, I’ll print off the Language A: Language and Literature Guide, first exams 2021. Blue, purple and yellow highlighters at the ready. Then, I’ll swing by the downloadable samples and have a gander at them. I am just reading THE ROADMAP for a more clear pathway to complete and collaborate my way to the end of June. Any questions, I can drop here at Burning Questions. Where else?!

I watched a video by Tim Pruzinsky and followed his designed workshop first steps. The take home being that I am a student and I need to create exemplars. Time to test my approaches to teaching and learning (ATL).

the key study chapters are as per below:

Module One (2/6-8/6)
The Learner Profile
Notesapproaches to teaching and learning (ATL)

Greater sense of confidence in class?

Module Two (9/6-15/6)

Learner Portfolio Educator

“Space of development”

“Formative”

“Autonomy”

“Authentic journey”
Exploration (make connections between texts?; reflect on their own responses; practice; preparation area; early introduction; increases in importance; evidence – think academic integrity; reports; experimentation; with creative writing; form, media and technology; insights; record of responses; create guiding questions)

Notepads, art books, post-it notes on a small board, reading logs, web based e.g. Padlet (2), OneNote 2, Moodle, PowerSchool Digital, Adobe Spark, blogs, other such ways.
Transdisciplinary learning (beyond the classroom investigation); diverse; monitored; created independently; students can use digital or old-fashioned paper (choice); orally: link global issues, representation of different or similar perspectives; Portfolio allows self-assessment of skills that lack confidence; keeps a running record; which text types will be a challenge? Monitor progression of Paper One/Two attempts. Reflect on challenges posed by essay writing.

Grouping of common themes; explore similarities and/or differences (build an awareness of the multiplicity); any significance; record references and quotations. Which works match the questions they may face?

How to tackle a beast

Module Three (16/6-22/6)
Approaches to teaching & learning
Notes

Looking closer

Module Four (23/6-30/6)
Close textual analysis of the IB
Notes

Greater sense of confidence in class?

AssessmentPaper OnePaper TwoProjects
Higher Level (6 works/240 hours)
What are the seven guiding concepts of the course?
Differentiation

Feedback

ReflectionSelf-assessment (self checking your own progress)

Module one reflection.
Peer (suitable audio recordings)

Pool and identify ideas.
Teacher (personal valued feedback; challenges overcome; challenges to overcome)Feedback & Evaluation (critical analysis – exploring possible meanings)

A little extra:

Optional ChallengeModule One challengeAlternative
<object class="wp-block-file__embed" data="https://acton28.files.wordpress.com/2021/06/ib-guide_language-and-literature_may2021update.pdf&quot; type="application/pdf" style="width:100%;height:600px" aria-label="Embed of Language A: language and literature guide
Language A: language and literature guide
Download

The Last Broadcast

How do! / 你好 (nĭ hăo) / Namaste / Welcome!

“So here we are; At the last broadcast; Here we are; Our last broadcast” – The Last BroadcastDoves

To the students, parents, colleagues, the principal, the parent/teacher association, the board of directors, and those concerned:

I write to say the deepest thank you to all of the above. I thank you for a sincere and wonderful experience at St Lorraine Anglo-Chinese Primary School. The experience was an excellent one and one that has helped our class take many more steps forwards than sideways. The classroom life may be drawn to a close this week, but we all leave here with unforgettable memories, a new port of calling for everlasting friendships and a sincere view of both Western and Chinese cultures. This will only serve to inspire and give us ample opportunity to gather smiles from our warm memories.

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Each year has seen new challenges and requirements. The advantages of enjoying such festivals of Children’s Day or Mid-Autumn Festival helps bring balance to the routine of the teacher’s daily life. We must be open and honest by evaluating our progress. What could we have done better? What could I have worked harder on? How can teamwork improve each and every single one of us? Take some time to review the matters that matter and invest energy and time into conquering obstacles.

Three school years is a long time to a child. It hasn’t felt so long to me. I haven’t met a single foreign teacher who has stayed with students for longer than two years. And at times, it has seemed like madness. Many students develop a familiarity that can mean that they now, what they can get away with. They know the limits of a teacher very soon. They know your blind spots of vision. Thankfully, 3F have been mostly wonderful. The days of Billy climbing me like a tree come to an end. There will be no Tony calling me “disgusting” at every opportunity. Marline’s daydreams and assortment of wonderful questions have come to an end. The quiet star Kitty can take her big voice to the next teacher. Marcus can talk about Lego and Aaron about travels with their next teachers. Roselle’s great artwork; Candy’s enthusiasm; Angela’s endless questions; Jimmy’s brilliant curiosity; Tyler’s reading passion; Leon’s sporting skills; Allen’s desire to lead every team; Alice’s requests for a new pet hamster; Evan’s lack of fear to pick up challenging reading materials; Kim’s conversations about her mammoth sleeping habits; Kristy’s great descriptive capabilities; Natalie’s cheerful drive for dancing; and Sabrina’s sense of humour. They will all be missed. These three years have been a privilege.

In the beginning there were lots of students, and through various reasons (change of location, new school choices), we’ve been reduced from 27 students to presently just 19 (although 2 have been unable to return this semester due to COVID-19). We had three fixed classrooms with temporary residence in one other classroom whilst mosquito guards were fitted. Everywhere we have been, we have tried as a class to decorate and leave a touch of our own warmth and creation there. From the original white walls, we made colossal suns, song words, signs, and warnings. There has been a blend of east and west, with lanterns, vases and hexagonal bee collages. Idioms have been learnt through curiosity and stacks of books lifted-up and put back down again.

When I first stepped into room 110 of St Lorraine Primary School, I was faced by a group of parents and colleagues. It was quite a friendly atmosphere and any nerves subsided soon enough. I was introduced to everyone by the principal, Mr Lam, and my co-worker Miss Zeng. Miss Zeng, or Cici as she is sometimes called would go on to be my co-worker for two years. Cici’s hobbies are sleeping and eating. Cake pillows are her dream. Throughout the initial year Cici really helped me communicate my ideas with the parents and create a pleasant feel for the class. Those foundation months were critical to where we are at now. Parents have been receptive and encouraging throughout my time with our class, our team and our journey. Many parents would be familiar faces throughout my three years with class 1F, 2F and ultimately 3F. I hope we all remain in contact. Miss Li has accompanied us throughout this third year of school. I wish them all the very best in the future.

Footballs have been humped around the field, kicked with passion and passed to friends. Rugby balls have looped over heads and basketballs dribbled through legs. There have been hours of games, laughter and creativity in action. Students have become teachers to me. English, like Chinese, is a wonderful and beautifully crafted language – and foreign teachers usually feel most welcome in learning your native tongue, whilst giving our all to give the students our command of English. The students enjoyed laughing at or teaching me one or two words throughout our time together.

Like I tell students, I advise them, “Don’t believe everything you hear and see.” In fact, believe nothing of what you hear, for until you see or hear, how do you absolutely know it to be true? A good environment needs a positive feel and respect, whether through reward or simple acknowledgment. All classes need classmates to be balanced in their manners and respectful. Don’t accept everything as it is. Look for ways to enhance and improve the working practices, without wasting time and passions. Encouragement is a valuable tool for students and teachers alike. Teachers such as Miss Huang (Minna), and Miss Cheng (Paris), amongst many can take their energy and give it to those they teach and work with. Over the years I have been lucky enough to meet many great people.

Life doesn’t get better by chance. It gets better by change. We adapt and we are flexible. Proper planning prevents poor performances, but that doesn’t always mean circumstances can be suited each time. Planning just makes us better prepared. Free time to do the things we love helps us come into school refreshed and ready to be effective. Holidays give us time to see family and planning such trips can be irritating and difficult. Uncertainty and discomfort can be avoided. That should be what a good teacher should always do. Avoid overworking and stay fresh for school. After all, that is something which we encourage our students.

Now, nobody’s saying the international class at St. Lorraine is the Garden of Eden, but it’s been a good home to us, to me, John Acton – and my students, who I’m proud of! Because every single one of them reminds me a little of… me. They can all think for themselves! Which they’ve their parents to thank for. Allen, who’s a bit loud! Aaron who is a lot like his sister, which is handy because she’s quiet and polite. Alice who bounces around like a ballet dancer. Our Billy, the little bucket of questions. Angela and her big smile. Candy, a model student until you take her pen away. Evan! The biggest trip hazard for a hundred kilogram plus-size teacher. Jimmy, a face of innocence with a head full of wit and humour. Kim and Marcus, fantastic neighbours for other students – until they open their mouths… and never close them! Kristy, who seems hellbent on making me bench press her bodyweight with, “Pick me up!” every other day. Marline, she’s gonna be a star, when she focuses. Natalie, skipping and hopping around with a big smile day after day. Roselle, she’s the student every teacher wants but only ever gets one of them. Sabrina, so curious and such a total angle. You’ve to check your desk but she’ll go miles out of her way to do you a favour. Tony and Tyler, full of energy, smiles and oddity. All of them, to a man, know first and foremost the most vital necessity in the classroom, is they know how to be part of a team. Let’s party! SCATTER!

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Turn off the subtitles, finetune your hearing and pick up those English newspapers, magazines and books. It’s always time to challenge yourself and push on for the next day of hard work. We can, little by little, make improvements. That’s why I’m saying thank you. You’ve improved me. Don’t stop learning. Don’t stop teaching. Look for those brighter and better days. The world’s future is calling you – and you must be ready for it. Anything is possible. A simple thank you is not enough. From the bottom of my heart to each and every one of you.

So, what now?

Yours in teaching; yours is passion for learning; yours truly and faithfully,

Mr John

Teaching with Chopsticks CONTINUED

RECOVERED FROM THE DEMISE OF HUBHAO.COM

Some things are essential to leaving the classroom, feeling not only like you did a good job but that you made a difference is key for me.  You have to be a realist and know that best laid plans will come unstuck every now and then.  To be prepared is to be ready, and ready for action you must be.

In full focus.  Some days are hot, some days are stickier than a bun factory’s spillage of extra-gummy jam, some days it don’t come easy… some days it doesn’t come at all.  Meat Loaf lyrics aside, you need focus.  Buckets of concentration melted together with motivation to perform.  You cannot walk into any class half-heartedly.  Finding the on switch is relatively easy.  A smile, a blast of some good music, a stroll around the school grounds, anything to clear you mind and feel fresh.  In the domain of teaching, insufficient time is afforded to that best buddy of the educator:  relaxation.  Daydreaming and doodling have been linked with high intelligence levels and creativity.  I like to think all my best ideas have stemmed from drawing fictitious maps and brainstorms resembling that of a biro-inscribed cyclone.  Move around the classroom, get many eyes following you!

Made from concentrate.  I hate being ignored.  I detest it when I lose one or two students to boredom, tiredness or the pressures of stacked homework lay before them.  I despise concentration being sapped by distractions.  That said, I can understand.  Empathy and sympathy are your allies.  Your movements and actions will deliver your crowd.  Think slapstick or stand-up comedy over standing up straight.

Realistic goals.  This goes for both students and teachers, because ultimately why aim to high and totally miss your targets?  The level of English in various schools or even within one grade can differ drastically.  You can’t leave behind any stragglers and similarly you cannot abandon the child geniuses.  The fine balance between testing and arduous should sit just above competence and challenging.  With experience you can find that titrated line.  If 80% of the class is at a level higher than the balance, you can over one semester encourage the inexperienced students onwards with more one-on-one assistance and praise.  Their confidence might just need your backing and reassurance.

Lesson planning.  I love to do something.  I hate to plan.  That said, a great plan gives fantastic guidance and helps you avoid stumbling into a ravine without a paddle for the creek below.  Finding a lesson plan is easy.  Then it must be tailored.  The end product needs to suit you, and you alone.  For my lesson plans I slice them into ten key components.  (1)  Do you have a clear and outlined method?  (2)  The lesson should be segmented into presentation, practice and production areas.  (3)  How big will activities be?  Teamwork versus pair work or smaller groups of four?  (4) Push for student talking time, over teacher talking time – where oral English is key.  (5)  Plainly outline the target phraseology and vocabulary.  Avoid clutter.  (6)  Handouts, activities and supporting materials need to be noted clearly.  (7)  Is an example of board work necessary?  (8)  Minimise non-essential skills such as reading or writing when pushing for oral English practice.  (9)  Ensure the students practice what you have taught them and define how you can check this.  (10)  Ensure the task pours, surges and flows as required by bringing the matter to life with a great review…

Reviews.  Perhaps, the only way you’ll ever develop as a teacher is by assessing the level of response from students in a review.  If the games or activities are dull, a poker-face laden class will stare emptily until the class bell.  If the final undertaking is too difficult, confusion and ignorance will call by for a bite to eat:  you’re on the menu!  Engaging review games can catch attention.  They will reveal how much has been learnt or bolstered.  Using characters from popular culture like those of Super Mario Brothers, the latest boybands, or famous sport stars will engage your crowd.  If it is obscure, you’ll lose the crowd.  That said, a personal touch reflecting you and your life can fascinate the gazing eyes.  Add life, add personality and add some spirit.  I have a class that have nicknamed me Tofu.  Since then an entire Powerpoint presentation was based around a dialogue revolving around the food, a fictional superhero called Fantastic Tofu and the new game Super Tofu Brothers.  If a particular class embraces something, you can play off it – it may be tedious to you, but dive in with full passion and join me in a method I like to call Teaching with Tofu!

And with those words of wisdom, I end on a quote by The Hold Steady, “We gotta stay positive”.

For further reading:

Lesson plan maker – Retrieved 2015/04/19.

Lesson plan guidance – Retrieved 2015/04/19.


RECOVERED FROM THE DEMISE OF HUBHAO.COM

Introductions are meant to be swift and to the point.  That’s my introduction over with.

Try to know your students and their knowledge.  In a more technical way I could call this heading, “Acquire relevant knowledge about students”.  Students will have their own cultural and generational backgrounds.  They will have been influenced by their parenting; their friendships; mass media and so on and so on… If you mention Japan in many classes, some closed responses shall follow, but increasingly you may find good arguments or great positivity to Japanese culture.  The beauty of using a controversial or current affairs topic is that it can help develop descriptive terminology.  Similarly, a student with a history of poor discipline can be enticed by different approaches.  What they have learned, whether correct or totally erroneous can shape how they learn new topics.  There isn’t a simple way to note how much every student or a group of students know, but having an idea is a fine way to start your preparations!  Your course design for pacing, examples and format – even the objective depends entirely on knowing your students and their ability.  With this you can flush away misconceptions and draw up clear guidance routes.

 

Teamwork.  Let’s be fair, teamwork is something we all love when it goes well.  When it doesn’t it is hard, but then you find how to develop the strengths within the ranks of a team.  Weaknesses become stronger through assistance and collaboration.  All major road cycling races have a winner, but the team that gets the winner there, does most of the work.  Be they mechanics, support staff or the cycling squad.  In a team, all are accountable.  Responsibility and pride force the hand of those trying to shirk away.  The teamwork is far more social and can heighten understanding.  Essentially students have a jigsaw and through their own methods, they can assist each other.  I’m a massive believer in questions and answers.  For every question a student asks you, try to reply clearly – before launching your own questions.  The beauty of the modern world is you’re never more than one metre from a gameshow.  Turn “Who Wants To Be A Millionaire?” into a classroom activity.

 

Varied learning techniques.  Variety is the spice of life.  Fact.  Monotony creates boredom.  Monotony creates boredom.  If students are forced to sit and listen, expect a disaster of biblical proportions.  What I mean is Old Testament, real wrath of God type stuff.  Fire and brimstone coming down from the skies! Rivers and seas boiling!  Human sacrifice, dogs and cats living together… mass hysteria!  The students must talk.  Through talking they can connect.  They can apply the words by relating it to their experience.  Their learning will become their life and through each oral English lesson they will gain further invaluable experience.  I often devise undertakings to promote the key language skills in naturalised forms, e.g. if we’re discussing transport, why not perform a role-play based on travelling to the Sudirman Cup final (or something topical).

 

Timekeeping skills.  Class begins at 11am.  You have 40 minutes.  Remember to segment the class structure.  Tailor all to the students’ needs.  From experience energy will be highest early on.  Throw in a warm up activity then go straight into an introduction.  Now stop and review.  Slide in some more content, stop, practice and deliver.   Time for a final review?  Class is over.  Be realistic with timeframes.  Nothing great comes from too much review time, and likewise, nothing fantastic can emerge from too much introductory timing.  Only yawns.  Use timers on Powerpoint presentations, stopwatches, clocks and set clear limits for tasks.

 

Excellent!  Well done!  I recommend that you do your homework before the students even receive any homework from you.  Grab yourself a thesaurus.  Try to introduce new vocabulary, be it single words like fantastic or tremendous – or simple sentences of praise and encouragement.  “Try harder next time” can flip to “An admirable effort, but I know you can do better.”  Whether the work or task was first-rate, outstanding, exceptional, superb or poor, words are powerful tools to motivate and provide curiosity.  The students mind may ignore the praise, they may investigate it further, or they may learn an expression and fire it off at peers in the future.  That seed can fast become a network of positivity branching out in the tree of life.  Feedback should be seen as a chance to reflect on what you have asked – and not a motivator for incorrect learning.  Wisely must the force you use be.  Liam, a teacher, I know uses fist bumps, high fives and many other praising moves learnt from the ghettos of Weymouth (U.K.).  Try to vary your praising methods.  Introduce more internationally noted cultural nods of approval.


RECOVERED FROM THE DEMISE OF HUBHAO.COM

Teachers are hugely important in a community.  Education and development of youth pushes the next generation onwards.  During these impressionable years children will be imparted with facts, figures and fart jokes.  These will stay with them forever.  With their new knowledge the student can go on and be responsible, productive and a valuable member of society.  And they’ll probably still tell fart jokes.

 

Diversify.  Theory and practice are two different things.  Flitting between each method is a good way to engage all.  In the novel Jurassic Park, penned by Michael Crichton, a character Dr. Grant talks about two kinds of people, “There are those that want to be astronomers, and those that want to be astronauts.”  The former studies from a point of absolute safety, the other is more like the explorer.  To make a class as hands-on as possible, sometimes lessons need to be outside the box.  For beyond the territories of old-fashioned teaching gives students ways to learn and develop their talents in ways more fitting to showing it off.  Varying assignments, exercises and even the location of teaching can certainly arouse the senses.

 

Build rapport.  So many times I have seen new teachers come and expect instant enthusiasm.  It is insulting to think you’ll be respected and learnt from within the first few classes.  There will always be curiosity but once that wanes, what remains?  Beyond the classroom, keep your office door open; tell students they are welcome to talk more outside of classes; join in with activities beyond your paid time; help the quieter students feel included; take on the tough kids and distractors, find out more about them; and always be approachable.  Wear a smile.  Be professional.  If it is for a moment raining in your heart, bring sunshine to those indoors.  Students will embrace you not just as a teacher, but someone to look up to and learn from as a community member.  Teaching isn’t about being a friend or popular, it is about commanding a respect to encourage your students to learn.

 

Aim higher than the stars.  Previously I penned the importance of realistic goals.  That’s for the students.  For you, as a teacher, should be looking at something far greater: the unreachable wall of perfection.  Don’t just copy and paste last year’s work.  Think how it can be improved.  Is there a different method of review you can use?  Could I modernise or make the images more relevant to the student audience?  How can I encourage more oral English opportunities?  Your expectations can always be heightened.  To quote Nelson Mandela, “after climbing a great hill, one only finds that there are many more hills to climb.”  Do this, and you’ll feel more satisfied.  Depend on older material and you’ll soon become fatigued.

 

There is no Plan B?  Of course there is a plan B.  I personally opt for plans C, D, E and F.  We’re in a subtropical region, with high humidity and build ups of saline detritus on projectors or even power-cuts may ruin a well-prepared powerpoint.  What’s more is that the humidity has rendered a box of chalk into a useless pulp of mush.  The dry wipe white board is not to be used as a previous teacher used a permanent marker and the word comparative has remained on that board for two years.  Unlike the other classrooms the board isn’t magnetised and sticky backed plastic can’t be utilised due to an invasive mouse population in your stationery draw.  Your computer has gave up the ghost too.  Prepare for the worst, hope for the best.  Games and flashcards sat in folders, pre-printed materials, pairwork activities, turning the classroom into an arena… every possibility; nothing’s left to chance.  Think on your toes.

 

Clear boundaries.  If there are two pathways, one is shorter than the other and involves little effort.  You’ll feel happy but relaxed afterwards.  The other pathway is steep, challenging and you will learn as much about yourself as the matter.  You will feel like you have worked hard on this latter path.  Which pathway do you take?  You must articulate to your students, what is acceptable in the learning process.  Recently in Wuhan, drones were used to curb cheating for the National College Entrance Exam.  Of course you want collaboration in teamwork, but in testing an individual, you need their purest response.  You don’t want answers from Professor Google and Dr. Baidu.  I’ve seen hand-written answers copied from Wikipedia complete with coloured hyperlinks and lines beneath them.  Even the red spellchecker error lines appeared.  I tend to highlight my rules early on, and address any breaches as and when with a three strikes and you’re out warning.  Plagiarism and replication of other student’s complete work can turn into a detective job at times.

 

 

 

For further reading:

“Implementing the Seven Principles: Technology as Lever” by Chickering and Ehrmann – Retrieved 2015/06/15.

Clear Learning Objectives” – Retrieved 2015/06/15.


RECOVERED FROM THE DEMISE OF HUBHAO.COM

Making money.  I dislike money, I never seem to have enough or more appropriately, I’m totally irresponsible with my hard-earned dosh.  I earn my bread and then redistribute it on a combination of soft drink addictions and the need to add bits to my bicycle having shredded one part or the other.  I’m told you can save money easier by taking on extra jobs.  “Where can I find more work?”  I’m glad you have asked.  There’s the internet with forums like Dave’s ESL Café (www.eslcafe.com), there’s more regional classified adverts (like on Hubhao), social media like QQ, Facebook and WeChat groups.  Placing an advert in a bar or public place generally gets you spotted quickly.  Beyond the school gates in amongst the masses of parents is a good place to hand out your number and simple advertisement [Disclaimer:  check with your school first, and your teaching contract if this is okay].  Asking senior teachers if they know of anybody looking for private tuition will find you work.  In sunny Houjie, I have had a dozen requests each month and I usually delegate them to my immediate colleagues or friends.  Some of us like free time too much!

 

Forward thinking.  Ever had an idea during a class?  A bright spark followed by that lightbulb moment?  Yes, we all do.  Note it down for later.  During my summer vacation I plan to tailor images, bring props, bring some real things from home, kidnap my parents and force them to move to China… and so on.  There are gaps that can be brought to life in every topic.  I just need to get a life size replica of the Eiffel Tower into China… oh, wait, that’s already been done!!!  I plan this summer to collect magnetic board games including a giant Jenga; some English story books; more things to do with Manchester and the U.K. in general; prizes for games and competitions; seashells from the U.K. and many, many new holiday photos with friends and family.  I am a guest in China, and I want my students to be guests in my life and happenings.

 

Notes.  Notes, not of the musical variety, although that does help occasionally…  “Old MacDonald had a farm… A-E-I-O-U.”  I mean notes, as in minutes, records, transcripts or observations are important.  I average an A4 sized notepad every quarter of a year for a reason.  I rarely write anything beyond words, short sentences and abbreviated squiggles.  This is my idea factory.  Some ideas never bear fruit or even blossom.  Others get filling, direction and fill Powerpoints, games, review tasks, ideas to brighten the school walls up, become performances, songs, poems etc.  Notes, to me, are the foundation blocks of teaching.  Plus, every now and then, I look back at my notes from years gone by and find a piece of gold dust that gives rise to something big and wonderful (like posters about European nations and their culture etc).  Creativity can be born from one note.  La, la, la, laaaaaa.

 

Instructions and examples.  Before travelling somewhere unfamiliar for an interview or appointment, I look at the mode of transport, costs, timings, practicalities, possible weather and climate, etc.  The same applies to teaching instructions.  My sets of instructions have to be clear, broken down into steps, with the relevant introduction and content.  Without this, I am asking for anarchy and pandemonium to visit our classroom.  Alongside the clear instructions, support must be provided and clear examples given.  From knowing my classes I select the best students (and not always the same ones each time, to keep it fair overall) to assist me with demonstrating what we must do.  On the projection wall will sit a further example too.  I will enter the arena and probe around the classroom looking to see demonstrations being practiced before calling forward students to review their collective effort.

 

Don’t jump to conclusions.  Guess what?  As a teacher, you’re not a student.  You’re a teaching expert.  Reading between the lines, filling in gaps, and applying our own comprehension is instinctive.  Sometimes we must switch from autopilot mode into something more appropriate.  We can’t cycle from Chengdu to Paris, without the adequate preparation.  Students need to avoid confusion.  We must prevent them connecting two dots to form a line that is so wonky, one dot may fall off and land in a pile of previously failed dots.  Breaking up duties ensures that each instruction is followed step-by-step along the floor, then up some stairs and high above into the mountains before flight is encouraged.  Take nothing for granted, share how you think as an expert.  The parrot copies human voices for a reason and then applies the skill with precise action.  Your students can do anything with clear, concise instructions.

 


RECOVERED FROM THE DEMISE OF HUBHAO.COM

Don’t flood the market.  Rome wasn’t built in a day.  Nor was a complete understanding of the English language or uses of said philological skills.  There are professors and scholars always trying to further this language of ours.  Don’t worry about everything.  Narrow it down to just a little by little approach.  If you blanket a subject, you’ll swamp it into a boggy, murky, twisted mess and scare the students away!  Don’t do too much in a short space of time.  We must know what to include and what to eject.  Your favourite subjects of contents, e.g. football and cycling may not be apt for the syllabus.  The semester or year needs clear division into units.  Each unit must have a focus and target language.  The students’ experiences, background and class numbers need to be accounted into the material.  I have often split a* unit* into multiple classes to get a sounder understanding of more difficult subjects.  Simply prioritising and setting purposes helps.

 

Questions and answers.  I find that just a simple question with a simple answer isn’t enough to keep a conversation flowing.  Closed questions, the kind where, yes, no and maybe arise can kill a conversation.  More open questions can lead a conversation to more questions and details.  I try to encourage my students to work in pairs and have one student as the question master and the other as questioned.  This is a great technique for reviewing a subject and also makes the students think harder about the level of detail in their answer.  If the task is limited to one minute then the student can respond strongly to prevent further questions.  If the questioned student is too simplistic with their answers the question master can launch many questions.  This makes for a good spectator competition, but use it sparingly – as too many rounds will make you question using this challenge again.

 

Are you the challenger?  Don’t agree with everything.  You can be much more than someone who nods their head and says, “Yes” or “Okay.”  We can be a commentator like of Match of the Day; we can be a challenger like in a public debate; we can be more moderate like a news presenter; or we orchestrate an argument to develop deeper conversation.  Through these characters we can guide students, change behaviours, and promote thinking critically.  It goes without saying about avoiding religious and political debate but subjects such as wildlife conservation and attitudes to animal care make for interesting discussion.  Perhaps give students roles, like a hunter, a conservation worker, a wildlife guard, the family of the hunter, the medicine maker, the police and anyone else connected directly to illegal rhino horn poaching.  You’ll maybe see and hear defences, objectiveness and bias.  Flip the roles between students and see if they can understand one another’s arguments.  Challenge each student with simple questions.  Who?  When?  What?  Why?  How?  Which?  Where?

 

Handouts.  “Save the world”, “save trees”, “recycle”, are a few cried heard all over the world.  If you pass the photocopying room at my school, close to exam time, you’ll hear a different kind of whimper.  As the photocopiers go all lifeless and silent or they spew out worthless misprints the copy staff go postal.  Handouts in classes are essential for homework.  For a class task, it is worth asking two to six students to share one sheet of A4 or A3 paper.  A shared task and prompt sheet is more likely to drive the behaviours needed for good team etiquette.  And you’ve just saved the Amazon rainforest!

 

Evaluate and evolve.  Teachers have basic principles but over the years our methods have become more and more chameleonic.  The successful teacher adapts to new technologies and new methods.  They seek new ideas and embrace them.  They also refine the tried and tested methods to a finite degree of near perfection.  There’s no resting on their laurels (or Sweet Bay leaves).  If something that did work, no longer works, changes must be made.  A variety of incidents may change your teaching methods.  A class size change from 16 to 60 certainly will make you uneasy.  The old rules may be redundant.  There may be a drive for more advanced media orientated or business connected vocabularies.  You must know what to do, usually by understanding your previous workings, exams, evaluations and student knowledge.  You may need to prepare extra base work or go off subject to bring about further knowledge teaching.  You may need a library, online resource, ask somebody for help or forum to seek new ideas or guidance.  From here we can construct content with objectives, structure, adjust and format a new range of materials.  Not everything comes from experience.  Keeping it as simple as possible will make it much more management.

 

For further reading:

*Is it an unit or a unit?  See this debate.