Secondary English January 5 th 2021 John Keenan

Secondary English January 5 th 2021 John Keenan john. keenan@newman. ac. uk

Happy New Year 2

Notices School closure – 6 weeks Exams cancelled (probably) Placements Questions

What are you doing? • PGCE • QTS

QTS Evidence against the QTS Standards – in e-portfolio

PGCE Pass two assignments at Level 6 or Level 7 1. Professional 2. Evidence-based

How are you doing? https: //jobs. theguardian. com/article/the-topten-interview-questions-and-how-to-answer -them/

The Practice Lesson 1 introducing (structuring) topics or activities clearly 2 explaining clearly with examples and illustrative materials 3 systematic and business-like organisation of lessons 4 variety of teaching materials and methods 5 use of questions, especially higher-order questions 6 use of praise and other reinforcement (verbal and nonverbal) 7 encouraging learner participation 8 making use of learners' ideas, clarifying and developing them further 9 warmth, rapport and enthusiasm, mainly shown nonverbally Rosenshine (1971)

A new year’s personal resolution A new year’s professional resolution 9

One thing you are good at One thing you are not so good at 10

You’re good at A … but not so good at B So let’s work on B

You’re good at A. . but not so good at B So let’s work on A

Ways forward • Deficit repair model – fixes weaknesses https: //www. tandfonline. com/doi/abs/10. 1080/14703297. 2013. 796719 • Appreciative model – builds on strengths

Next Four Weeks Monday: Professional Studies Tuesday: QTS Wednesday: essay time Thursday: subject knowledge (on Moodle)/workshops/group tutorials/lesson presentation/essay time Friday: SGP 709

This Week Monday: Professional Studies Tuesday: Teaching Poetry Wednesday: essay time Thursday: essay time/subject knowledge/group tutorials – links sent tomorrow Friday: SGP 709

Blog

How are you feeling this morning?

Poetry

Yesterday in the park

I don’t like poetry https: //youtu. be/u. KTos. W 22 Ke. M 7 19 1. 09 1. 27

I work all day, and get half-drunk at night. Waking at four to soundless dark, I stare. In time the curtain-edges will grow light. Till then I see what’s really always there: Unresting death, a whole day nearer now, Making all thought impossible but how And where and when I shall myself die. Arid interrogation: yet the dread Of dying, and being dead, Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse —The good not done, the love not given, time Torn off unused—nor wretchedly because An only life can take so long to climb Clear of its wrong beginnings, and may never; But at the total emptiness for ever, The sure extinction that we travel to And shall be lost in always. Not to be here, Not to be anywhere, And soon; nothing more terrible, nothing more true.

This is a special way of being afraid No trick dispels. Religion used to try, That vast moth-eaten musical brocade Created to pretend we never die, And specious stuff that says No rational being Can fear a thing it will not feel, not seeing That this is what we fear—no sight, no sound, No touch or taste or smell, nothing to think with, Nothing to love or link with, The anaesthetic from which none come round.

And so it stays just on the edge of vision, A small unfocused blur, a standing chill That slows each impulse down to indecision. Most things may never happen: this one will, And realisation of it rages out In furnace-fear when we are caught without People or drink. Courage is no good: It means not scaring others. Being brave Lets no one off the grave. Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape. It stands plain as a wardrobe, what we know, Have always known, know that we can’t escape, Yet can’t accept. One side will have to go. Meanwhile telephones crouch, getting ready to ring In locked-up offices, and all the uncaring Intricate rented world begins to rouse. The sky is white as clay, with no sun. Work has to be done. Postmen like doctors go from house to house.

We read poetry to know we are not alone

https: //youtu. be/QSVyyyka. EOo

Europe is lost, America lost, London lost Still we are clamouring victory All that is meaningless rules We have learned nothing from history The people are dead in their lifetimes Dazed in the shine of the streets But look how the traffic's still moving System’s too slick to stop working Business is good, and there’s bands every night in the pubs And there’s two for one drinks in the clubs And we scrubbed up well Washed off the work and the stress And now all we want’s some excess Better yet; a night to remember that we’ll soon forget All of the blood that was bled for these cities to grow All of the bodies that fell The roots that were dug from the earth So these games could be played I see it tonight in the stains on my hands The buildings are screaming I can't ask for help though, nobody knows me Hostile, worried, lonely We move in our packs and these are the rights we were born to Working and working so we can be all that we want Then dancing the drudgery off But even the drugs have got boring Well, sex is still good when you get it

I feel the cost of it pushing my body Like I push my hands into pockets, and softly I walk and I see it, this is all we deserve The wrongs of our past have resurfaced Despite all we did to vanquish the traces My very language is tainted With all that we stole to replace it with this I am quiet, feeling the onset of riot Riots are tiny though, systems are huge Traffic keeps moving, proving there’s nothing to do 'Cause it’s big business, baby, and its smile is hideous Top down violence, a structural viciousness Your kids are dosed up on medical sedatives But don’t worry bout that, man, worry 'bout terrorists The water level's rising! The animals, the elephants, the polar bears are dying! Stop crying, start buying, but what about the oil spill? Shh, no one likes a party pooping spoil sport Massacres, massacres/new shoes Ghettoised children murdered in broad daylight By those employed to protect them Live porn streamed to your pre-teen's bedrooms Glass ceiling, no headroom Half a generation live beneath the breadline Oh, but it's happy hour on the high street Friday night at last lads, my treat! the land where nobody gives a fuck

All went fine till that kid got glassed in the last bar Place went nuts, you can ask our Lou It was madness, road ran red, pure claret And about them immigrants? I can't stand them Mostly, I mind my own business They’re only coming over here to get rich, it’s a sickness England! Patriotism! And you wonder why kids want to die for religion? It goes, work all your life for a pittance you’ll make it to manager, pray for a raise Cross the beige days off on your beach babe calendar The anarchists are desperate for something to smash Scandalous pictures of fashionable rappers In glamorous magazines, who’s dating who? Politico cash in an envelope Caught sniffing lines off a prostitutes prosthetic tits Now it's back to the house of lords with slapped wrists They abduct kids and fuck the heads of dead pigs But him in a hoodie with a couple of spliffs Jail him, he’s the criminal It's the Bored. Of. It. All generation The product of product placement and manipulation Shoot 'em up, brutal, duty of care Come on, new shoes, beautiful hair, bullshit! Saccharine ballads and selfies, and selfies And here’s me outside the palace of ME! Construct a self and psychosis Meanwhile the people were dead in their droves And, nobody noticed; well, some of them noticed You could tell by the emoji they posted

We are lost, we are lost And still nothing, will stop, nothing pauses We have ambitions and friendships and courtships to think of Divorces to drink off the thought of The money, the oil The planet is shaking and spoiled And life is a plaything A garment to soil The toil, the toil I can't see an ending at all Only the end How is this something to cherish? When the tribesmen are dead in their deserts To make room for alien structures Develop, develop And kill what you find if it threatens you No trace of love in the hunt for the bigger buck

Talking in bed ought to be easiest, Lying togethere goes back so far, An emblem of two people being honest. Yet more and more time passes silently. Outside, the wind's incomplete unrest Builds and disperses clouds in the sky, And dark towns heap up on the horizon. None of this cares for us. Nothing shows why At this unique distance from isolation It becomes still more difficult to find Words at once true and kind, Or not untrue and not unkind.

https: //youtu. be/No. Azpa 1 x 7 j. U

You really got me this time And the hardest part is knowing I’ll survive I’ve come to listen to the sound Of the trucks as they roll by And pretend that it’s the ocean Coming down to wash me clean https: //youtu. be/Klh 7 s. Av 9 hu 4

https: //www. poets. org/poetsorg/poem/ho wl-parts-i-ii 46

somewhere i have never travelled, gladly beyond any experience, your eyes have their silence: in your most frail gesture are things which enclose me, or which i cannot touch because they are too near your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens (touching skilfully, mysteriously)her first rose or if your wish be to close me, i and my life will shut very beautifully, suddenly, as when the heart of this flower imagines the snow carefully everywhere descending; nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the colour of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses) 48 nobody, not even the rain, has such small hands

Poetry/song face-off In groups of 5 tell your best poem or sentence or song lyric or song and choose one to tell the rest of the group.

Writing Poetry This sonnet will have 22 lines In his bath staring at his inky voids http: //www. edutopia. org/blog/poetry-teaching-tips-new-teachers-lisa-dabbs

Let the pupils find you one • http: //www. poetryarchive. org/

Take them on a trip • https: //www. heacademy. ac. uk/sites/default/f iles/resources/poetry_and_sustainability. pdf • The Trip Coogan • https: //youtu. be/0 SMnnd. WDjh 0

Get the pupils to research http: //www. scottishcorpus. ac. uk http: //www. blakearchive. org/blake/

Write your own • Wordpress. com https: //docs. google. com/document/d/18 Y 8 Wk Nn_bss_my. Joo. Zv. UILv. FXo 8 m. QQH 7 X 2 Cft. UPm. BLk /edit? usp=sharing

Go to a performance • https: //www. facebook. com/howlspokenword

Invite a poet in • http: //poetrysociety. org. uk/education/poetsin-schools/

A thousand ideas • https: //poetrysociety. org. uk/young-poets/

Make it Better • Go to the Blog. Find your poem and the accompanying Power. Point lesson. Improve the lesson so it stimulates and work on other aspects of the lesson - differentiation, pace etc.

Motivation – Writing or Getting the Buggers to Write

Levels of the written code Grapho-phonemic Morphological Lexical Syntactic Subtextual – blocks paragraphs, scenes Textual – whole texts Contextual R Andrews, Tecahing and Learning English, London: Continuum, p 61

‘I must write, I must write at all costs. For writing is more than living, it is being conscious of living’ Anne Morrow Lindbergh, cited in Mc. Cormick Calkins, 1989: 3

What has worked for you in motivating to write?

1 Remove the stress Remove the blocks

2 Give them a reason to write Show writing is relevant Show writing is important

To understand ‘We write because we want to understand our lives’ Mc. Cormick Calkins, 1989: 3

Creation ‘Writing is but a line which creeps across the page, exposing as it goes all the writer does not know. . . writing puts us on the line and we don’t want to be there’ Shaughnessy, 1977: 7 cited in Mc. Cormick Calkins, 1989: 106

Expression Sometimes when I’ve had a really tough day and nothing seems to be going right, I think, ‘nothing is mine. ’ Well, my writing is. I can write is any way I want to. You know how your mother can tell you, ‘Go up to your bed right now. ’ Nobody can tell you how to write your piece. You’re the mother of your story Cited in Mc. Cormick Calkins, 1989: 6

Express passions Teaching writing begins with recognition that each individual comes to the writing workshop with concerns, ideas, memories, and feelings. Our job as teachers is to listen and to help them listen. “What are things you know and care about? ” I ask writers Mc. Cormick Calkins, 1989: 5

It is not my piece of writing. It belongs to someone else Mc. Cormick Calkins, 1989: 120

3 Create the right atmosphere Ensure correct behaviour

4 Group tasks in writing

Peer conferences Writer reads aloud Listeners respond perhaps with questions The group asks and helps with what happens next Mc. Cormick Calkins, 1989: 129 -132

ENCOURAGE MULTILITERACY

Multiliteracy Pedagogy 1. Pupil is intelligent, imaginative, linguistically talented 2. Acknowledges (celebrates) linguistic capital 3. Identity texts – sharing of the literacies that form their identity

The death of the author Graphemic –phonemic conversion Vocabulary Sign Schemata Encoding-decoding theory

Aims The overarching aim for English in the national curriculum is to promote high standards of language and literacy by equipping pupils with a strong command of the spoken and written language, and to develop their love of literature through widespreading for enjoyment. The national curriculum for English aims to ensure that all pupils: • read easily, fluently and with good understanding • develop the habit of reading widely and often, for both pleasure and information • acquire a wide vocabulary, an understanding of grammar and knowledge of linguistic conventions for reading, writing and spoken language • appreciate our rich and varied literary heritage • write clearly, accurately and coherently, adapting their language and style in and for a range of contexts, purposes and audiences • use discussion in order to learn; they should be able to elaborate and explain clearly their understanding and ideas • are competent in the arts of speaking and listening, making formal presentations, demonstrating to others and participating in debate

National Curriculum 2013 “The overarching aim for English in the National Curriculum is to promote high standards of literacy by equipping pupils with a strong command of the written and spoken word, and to develop their love of literature through widespreading for enjoyment ” (Department for Children, Schools and Families, 2013, p. 4) Reference Department for Education (2013) The National Curriculum: statutory requirements for Key Stages 1 and 2. London: Department for Children, Schools and Families and Qualifications and Curriculum Authority.

National Curriculum 2013 “The overarching aim for English in the National Curriculum is to promote high standards of literacy by equipping pupils with a strong command of the written and spoken word, and to develop their love of literature through widespreading for enjoyment ” (Department for Children, Schools and Families, 2013, p. 4) Reference Department for Education (2013) The National Curriculum: statutory requirements for Key Stages 1 and 2. London: Department for Children, Schools and Families and Qualifications and Curriculum Authority.

‘Teaching kids to read and write should be an artistic event. Indeed, many teachers transform these experiences into a technical event, into something without emotions, without creativity – but with repetition. Many teachers work bureaucratically when they should work artistically’ Freire 1985, p. 79 in Dymoke 154 81

Reading ‘Reading is a highly creative act’ Dymoke 2009, p. 148 82

‘Creativity now is as important in education as literacy, and we should treat it with the same status’ Robinson 2006 quoted in Dymoke 2009, p. 146 83

Creativity is the essence of learning itself…creative imagination is not a byproduct of our interactions with the world but the basis of them ‘ Smith et al, 1984, p. 151 84

Creativity…consists of re-arranging what we know in order to find out what we do not know ‘ George Knellar 1965 85

Creativity is essentially a form of problemsolving – one that involves problems for which there are no easy answers: that is, problems for which popular or conventional responses do not work. Creativity involves adaptability and flexibility of thought ‘ James Morgan 1988 86

Innovate, make choices, affect changes…think beyond subject definition ‘ Sue Dymoke 87

It should come as no surprise that the pilot inspections placed such a high value on questioning, imagining, connection-making and reflecting. The Ofsted survey on Creative Learning, published in January 2010, underlined the value, since proven elsewhere , of approaches that place creativity at the heart of the educative process. It stressed the benefits to pupils where ‘Teachers were seen to promote creative learning most purposefully and effectively when encouraging pupils to question and challenge, make connections and see relationships, speculate, keep options open while pursuing a line of enquiry, and reflect critically on ideas, actions and results’ and that ‘there is not a conflict between. . . national standards in core subjects and creative approaches to learning’. ‘Allowing pupils to explore ideas through a creative process of trial, error and revision generally proved more (beneficial). . . than firmly teacher-directed activities’. This same report was keen to stress the value of ‘overcoming teachers lack of confidence in working creatively’ through professional development, the ‘more effective promotion of creative learning’ by senior management through local training and continued ‘in-school support’. One of the report’s key findings was that ‘we’ must ‘support and sustain partnerships’ that have the expertise to develop creative learning. 6 7 88