VISUAL ARTS STAGE 5 ELECTIVE COURSE
YEAR 9


GUIDE QUESTION There are so many Forms of Expression

UNIT TITLE: ARTISTIC BODY

~Profile & Silhouette
“Skirts” by Yasumasa Morimura

LENGTH OF UNIT: Semester


FORMS : 3D and 4D – ICT ,DVD & Video Cameras Assemblage & collage drawing


CONTENT:
The Conceptual Framework: Artist Artwork, World
Frames : Subjective, Structural
Practice : Art making, Critical and Historical Practice




AIM : To enable the student to Develop and Enjoy Practical and Conceptual Autonomy in their Abilities to Represent Ideas and Interests in a Range of Contemporary Visual Art Forms.
To Understand and Value the Different Beliefs that affect Interpretation, Meaning and Significance in a Range of Contemporary Visual Art Forms.



OBJECTIVES : Students will Develop knowledge Understanding and Skills to:
To Create Installations, Wearable Arts, Performance Art, DVD and Video Documentation informed by their Understanding of Practice, The Conceptual Framework and The Frames.
To Critically and Historically interpret Artworks informed by their Understanding of Practice, The conceptual Framework and the Frames.
STUDENTS WILL VALUE AND APPRECIATE BY:
Their engagement in the Practice of the Visual Arts.
Understand How The Visual Arts , as a Field of Practice and Interpretations, contains many possible Forms of Expression, all Subject to Different Interpretations..




UNIT OVERVIEW : Through investigation of the Different Forms of Expression students will be introduced to 3D and4D Art making Skills and the Role they play in Contemporary Art Life. The Four Frames are the Focus.




PRACTICE
ART MAKING CRITICAL & HISTORICAL STUDIES. ARTISTIC BODY ~ Profile & Silhouette.

A Subjective Structural, Cultural investigation of the Post-Modern Conventions of Representation and Manipulation of the Artistic Body Through Installations, Wearable Arts WAVE and Performance Art in order to Communicate Ideas and Interests about the World such as Spirituality, Identity, The Environment, Artworks from the Past and other Cultures. A Study of Contemporary Designers and Design Practice and Post-Modern Artists using Recontextualisation To Create New Meanings in Contemporary Artworks.






ICT.: Students will use DVD, Video Cameras and Computers







FRAMES



Subjective


Structural


Cultural


Post-modern


CONCEPTUAL FRAME WORK


Artist


Artist


Audience


World





KEY : Fashion Design Art, Critical, Traditional, Cultural, Costume, Performance, WAVE Designs, Installation Assemblage,Collage.



ARTIST & ARTWORK EXAMPLES of :.Yasumasa Morimura ,Isabel Davies Cindy Sherman, Mambo, Fruits Exhibition Contemporary Japanese Counter Culture Fashion, Traditional Cultural Costumes, Chinese, Japanese, European, Pacifica, Youth Magazines, Orian, Contemporary Fashion Photography, Annie Leibovitz, Mariko Mori, Ahxian, Mathew Barney.







Outcomes

A student:
5.1 Practice develops range and autonomy in selecting and applying visual arts conventions and procedures to make artworks

5.2 Conceptual framework makes artworks informed by their understanding of the function of and relationships between artist – artwork – world – audience

5.3 Frames makes artworks informed by an understanding of how the frames affect meaning

5.4 Representation investigates the world as a source of ideas, concepts and subject matter in the visual arts

5.5 Conceptual strength and meaning makes informed choices to develop and extend concepts and different meanings in their artworks

5.6 Resolution demonstrates developing technical accomplishment and refinement in making artworks


Outcomes

A student:
5.7 Practice applies their understanding of aspects of practice to critical and historical interpretations of art

5.8 Conceptual framework uses their understanding of the function of and relationships between artist – artwork – world – audience in critical and historical interpretations of art

5.9 Frames demonstrates how the frames provide different interpretations of art

5.10 Representation demonstrates how art criticism and art history construct meanings



ASSESSMENT SCHEDULE
TASK WEIGHTING MARK DATE DUE
CONTAINERS & VESSELS
Assemblage 20% 20 Week 5
GROUP STUDY
Wearable & Performance Art. 50% 50 Week 10
A VIDEO DOCUMENTATION.
20% 20 Week 10
VISUAL ARTS PROCESS DIARY.
Case Study Task. Four (4) Questions
Visual Arts Process Diary. VAPD 10% 10 Week 8.

OUTCOME DESCRIPTORS FOR REPORT
OUTCOMES COMMENT
4.1 Uses a range of strategies to explore different Art Making Procedures to make Art works. (Sculpture and Assemblage)
4.5 Investigates ways to Write and Document Meaning in their Artworks.
Visual Arts Process Diary.
4.6 Investigate Different Materials and Techniques to Make their Art works
(Art Making Tasks)
4.7 Explore Aspects of Practice in Critical and Historical Interpretation of Art
Containers & Vessels Task.
4.9 Begins to Recognise that Art can be Interpreted from Different Points of View. (Video DVD Documentation)

CONTENT OVERVIEW

Outcomes Specific content focus for this unit
A student:
5.1 Develops range and autonomy in selecting and applying visual arts conventions and procedures to make artworks
5.2 makes art works informed by their understanding of the function of and relationships between the artist – artwork – world – audience
5.3 makes artworks informed by an understanding of how the frames affect meaning.
5.4 investigates the world as a source of ideas, concepts and subject matter in the visual arts
5.5 makes informed choices to develop and extend concepts and different meaning in their art works.
5.6 demonstrates developing technical accomplishment and refinement in making art works.
5.7 applies their understanding of aspects of practice to critical and historical interpretations of art aspects of practice in critical and historical interpretations of art
5.8 uses their understanding of the function of and relationships between artist – artwork – world – audience in critical and historical interpretations of art.
5.9 demonstrates how the frames provide different interpretations of art.
5.10 demonstrates how art criticism and art history construct meanings Students learn about:
• the field of visual arts and design as comprising conventions, activities, traditions and customs shaped by different values and beliefs about the individual, social structures, the art world and power Students learn to:
• investigate and apply selected conventions, activities, traditions and customs of the field of visual arts, and design to make art where meaning is shaped by values and beliefs about the individual, social structures, the art world and power.
• the pleasure and enjoyment in making artworks • build their research, approaches to experimentation, procedures, skills and strategies and develop judgement in the practical action of using diaries and making of art works.
• Artists who make works shaped by subjective, structural, cultural and post-modern values and beliefs • Develop subjective, structural, cultural and post-modern approaches to making art works.
• . Art works using an extended range of materials and techniques and various investigations of the world • make art works that build a body of work using an extended range of materials and techniques and various investigations of the world
• belief, value and meaning in art making in the frames • Consider concepts of art as a systems of expression, of symbolic communication, of social identity, through which particular forms of aesthetic information are transmitted in the construction and layering of meaning in art works..
• How the frames offer alternative ways to think about the purposes of practice including those of the artist, critic and historian. • Consider how practices can be interpreted from different points of view.
The world as a source of ideas and concepts Consideration should be given to:
− contemporary artists and modern artists
− artists from different times and cultures
− Aboriginal and Indigenous artists
− female and male artists
− those who use conventional and/or more contemporary technologies • develop research and investigative skills using their diary.
• how artists develop their intentions relative to their artworks, the audience and the world and recognise some of the constraints they work within
• how different kinds of artists work individually and collaboratively in different contexts eg. Multi media projects , film community projects
• how the conceptual framework can be applied to understanding the practices of artists, critics and historians and the art world language. • Recognise beliefs about the individual, social structures, the art world and power when critically interpreting art..

• How the frames offer alternative ways to think about relationships between the artist art work, world, audience. • Interpret and explain relationships between artists, art works, the world, audiences.
• Concepts of art as the aesthetic expression, identity, symbolic communication, intertextual and as a way of recontextualising other art.. • Identify, seek to explain and account for the frame orientations to art..


SESSION
WEEK 1 FOCUS OUTCOMES 5-9, 5-10 , 5-1
LIFE SKILLS OUTCOMES LS 3, LS 4
TEACHING / LEARNING & ACTIVITIES ASSESSMENT
EVIDENCE OF LEARNING
AREAS OF INTERACTION
RESOURSES

ART MAKING CRITICAL & HISTORICAL STUDIES


2 VAPD Students start
Collage of ideas creative note taking. by Writing Sticking photos, text colours strips examples of works
• 1 Introduction to the Guiding Question. Students are asked to consider There are so many Forms of Expression .
• Class discussion of the Role of the Guide Question and what are the implications for this Unit. Students gain an understanding of the role of a Guiding Question within their own learning.

• 3 The teacher outlines the tasks for this unit, requirements & schedules

• 4 Students view a variety of Post-Modern Artworks selected because of their Wide use of Non traditional Materials, and Discuss the effect on the Concepts, Ideas through their Material Elements. Teachers Lead Discussion on Images through The Structural Frame.

• 5 Students employ Critical Thinking skills in the analysis of works through the Structural and Cultural Frames
• Students Learn that The Post-Modern Frame enables further Understanding of differing points of view.

• 6 Students engage in discussion and analysis of Contemporary Artists and their Ideas . Students engage in personal thoughts of their own experiences of selected art works & artists..

• 7 Further to the Guiding Question Will be Why are Contemporary art Making Materials so Diverse is it because Contemporary Art works champion the Ordinary , the Every Day and the Kitsch.
• Students may be given home work task on the Frames Students demonstrate their understanding of the role of the guiding question & tasks requirements during class discussion & notes in VAPD
( 1,2 3 ),
Students thinking and analytical skills are evident in Class discussions of designers and design works
Through their understanding of the frames students orally demonstrate their skills of analysis & evaluation.
(, 4, 5,6, 7)
TEACHER FEEDBACK

• Teacher & Peer Feedback, during the explaining of task requirements helping each other to understand.
• Oral feedback during discussions & viewing of designers works
Key note A :Arange of Post-Modern Artworks Joseph Beuys “ Felt Suit” 1970. Claes Oldenburg “Shoe String Potatoes” Christo & Jeanne –Claude “wrapped Vestibille”. Ricky Swallo “ Killing Time”. Ahxian “Group Of Bust”. Callum Morton “Gas”. Jeff Koons’Rabbit”. Mike Parr “Common Sense”. Hany Armanions “the Displays”. Peter Atkins “I am my own God”. A series of Cakes –Art and Design. Unversity of Mrlbourne. Nam June Paik “Family of Robot”. Simryn Gill “ Road Kill”. Mee Ping Leung “memorise the Future”. Shona Wilson “Seapelt I and “ Damien Hirst “Some Comforts gained from the Acceptance of the inherent Lies in Everything”. Kevin Scharpfe “Extraveganza Televisione” 1984. Patricia Black “The luminious Bardo” Dina Knapp “Sea it like a Native. History Kimino.


SESSION 2-3
WEEK FOCUS OUTCOMES 5-1, 5-2, 5-3, 5-4, 5-9 5-10
LIFE SKILLS OUTCOMES LS 2, LS 6, LS 8
TEACHING / LEARNING & ACTIVITIES ASSESSMENT
EVIDENCE OF LEARNING
AREAS OF INTERACTION
RESOURSES
ART
MAKING CRITICAL & HISTORICAL STUDIES



2 Students given Art Making Task:1 “Containers & Vessels”
due Week 5






5 Students gather Pictorial Examples for VAPD

• 1 the teacher discusses home work & recaps frames from session 1

• 3 Students given their Tasks/Assignments on Containers & Vessels Study Task . Specific Directives Teacher lead Explanation of the Task Requirements
• Create an object could be a container or Vessel or Assemblage for a Specific purpose ie. Thoughts, for Good or Bad, For your most Precious Possessions, For your Dreams or Fears, Favourite Food, For your Favourite Movie, For the most Important thing in your life

• 4 The students view selected artists & Art works Students are encourage to make comparisons between the Examples using the Frames Students engage in Critical Thinking skills in the Analysis of Works through the Frames. (notes in VAPD

• 6 Isabel Davies “Anaruka Specimens” Case Study on Isabel Davies using the Frames and introduce Students to Critical Writing through ArtWise 1-2 and Art Magazine Reviews.
• Students given historical & critical writing task home work

• 7 The teacher allows times for students to Discuss and Brainstorm ,Mind Map Ideas and Ask Questions for points of Clarification about their tasks . The teacher & Students engage in Personal discussion of their own Experiences & ideas for Art works. The class collectively evaluates each others ideas & employ problem solving & organisational skills in the gathering of information & art work ideas


Students creative note taking, sketches ,drawings & oral responses demonstrates their understanding of the process Diary as a collector/ record of ideas, process & information .a scaffold for developing interests & ideas for tasks .
( 2,3 5,4 , ,)
Students oral responses, questions & answers demonstrate their developing understanding of the frames.
(,1 , 4 )
Students demonstrate collaborative, organising, gathering and analysing of information skills during group & class work.
(4,6,7,.)
TEACHER FEEDBACK

• Teacher & peer assisted learning, Oral feedback during class discussions & mind mapping activities..
• . Observation and oral feed back of group work & home work. Artists and Artworks. Joesph Cornell ”Barraque D’ Dull odde”.Vivienne Binns “Mothers, Memories, Other Memories”. Jan Fabra “Flemish Warrior”. Yukinori Yanagi “asia Pacific “Ant Farm” . Cake Designs “Faculty of Art & Design Monash University”. Kenny Scharfe “Extravaganza Televisione”. Linda Kaye- Moses “Older than Thou”. Various Chairs From “Chairs Up” Exhibition1992. Klompe, Raynor,Priscilla …S “Chameleon Suitcase” 1984.
Isabel Davies “Anaruka Specimens”


SESSION
WEEK 4-5 FOCUS OUTCOMES 5-10, 5-9, 5-5, 5-3, 5-1
LIFE SKILLS OUTCOMES LS 5, LS 6, LS 9
TEACHING / LEARNING & ACTIVITIES ASSESSMENT EVIDENCE OF LEARNING
AREAS OF INTERACTION. RESOURSES

ART MAKING CRITICAL & HISTORICAL STUDIES
5 Students use VAPD to Plan their Objects, Assemblage
7 Introduction
of Concepts
Students engage in creative Art Making Tasks.






Containers & Vessels Due Week 5


• 1 The teacher discusses home work & now takes the students further by providing Students with Specific Questions for Case Study Describe the Tactile Qualities of the Objects in Davies Memory Box. What smells, scents and Perfumes would you associate with the Objects?
• 2 Students are provided with Reviews of Davies Work. The Observer. New Art Two.Craft Arts
Womens Art Register Bulletin.

• 3 This is a focus for the Frames. Teacher lead Discussion on Critical Writing Practice, Students read and answer A structural Frame Question Analysis of Work. Students answer specific Frame Question Interpretation.Students Answer Post-Modern Frame Question Judgement...

• 4 Students Critically Analysis Artists Practice as a Reflection of their World. The teacher may use this exercise as an activity to assist with planning eg .a fun mind map of meanings .
• 6 students to Plan their Objects, Assemblage .Task the teacher guides the introduction of Concepts
• Structural Utilitarian, Functional, Aesthetic, Rhythm, Symmetry, Balance, Decoration, Colour, space, texture,
• Subjective Keep sakes, Preciousness, Special meaning, Precious Thoughts.
• Cultural Totems, Shrines, Kitch, Icons.
• Post-Modern Referencing Famous Art Works, Art Making using Unusual, Contrasting, or Unexpected materials, Use of Humour, Wit, Irony, Parody.

Students demonstrate an understanding of the Frames.& requirements for written task by their oral responses in class discussions & their developing ability to critical analyse, interpret & judge is evident.
(1,2,3, 4,)
Students demonstrate an understanding of Practice through the understanding of the Frames and demonstrate this understanding in their Art making processes..
(5, 6 7 )
Students demonstrate understanding of art
making process, using their VAPD (4,5,7 )

TEACHER FEEDBACK

• Oral & written feedback during recap & Homework discussions
• Observation & Oral feed back during Class


http://www.womensartregister.org/star-DAVIES.htm


Note for teacher.
Media room required for session 7 – 8



SESSION
WEEK 6- 7 FOCUS OUTCOMES 5-10, 5-9. 5-8, 5-6,
LIFE SKILLS OUTCOMES LS 1, LS 2, LS 9
TEACHING / LEARNING & ACTIVITIES ASSESSMENT
EVIDENCE OF LEARNING
AREAS OF INTERACTION
RESOURSES

ART MAKING CRITICAL & HISTORICAL STUDIES


3 Task 2 WAVE Wearable & Performance All Decisions and Process information, Research must be Documented.





5 Students Given Video Task 3 Create A 4D Version of a VAPD Entry. Specific Requirements Not To exceed 3 mins. Content “My Art Making Practice”.





Students are introduced to the Basic Operations of a Video . DVD Camera,

Documenting process VAPD • 1 Teacher & students evaluate task 1 Containers & vessels & are given self & peer assessment questions to consider when viewing. Each student presents assemblage &. Process to the class the teacher encourages, reflection, analysis, interpretation & judgement.

• 2 The Production of an Art work Consider : Use of Materials, Ideas, Feelings & Experiences, Invention &Innovation .My Interests and intentions and how they inform my approach to Art Making. Interest in Technologies. Use of personal Symbols and Signs. What is the relationship of my Art Work to the Audience.

• 4 Students are provided with Critical Reviews of various Selected Artists and their Art Practices. as guides to their own art work Teacher Lead Activity Analysing The Concept of Art Making Practice. Discuss and Critically Analyse Artists Practice as a Reflection of their World. Students Apply Thinking Skills to enable Differing aspects of Art Making to be Understood.

• 6 Students employ organisational & creative team skills in Group Art Making. The teacher & students engage in discussion, analysis, planning of the Video Task. Brainstorm, Mind Map. Possible approaches and solutions to

• Media equipment & room required for Session 7 ,

• 7 Students engage in Skills Task. Operating inserting Tape disc, Turning off, on, Zooming, Planning, Handling Play back Footage Maintenance and Attaching Tripod and Lens etc, Safety Issues. Caring and Storage of Camera & Images.Students are introduced to the Basic Operations of a Video DVD Camera, Camera Angles, shots, and Movement, Composition of Shots and the use of the Tripod
Students connect their understanding of the Tasks and demonstrate their developing ability to Articulate and convey meaning of Visual Arts during presentation of Task 1 Class work and VAPD
( 1,2, 3, )
Students demonstrate understanding of the Role of the Artist, as full of intention, Meaning, Purpose, Technical Resolution and Conceptual Strength. In their Oral responses to Art works. & Art practice.
(4,5,)
Students embrace & demonstrate understanding using their developing ICT skills & use of new materials in their Video DVD Task.
(5, 6, 7,
TEACHER FEEDBACK

• Teacher & peer oral feed back during presentation & mind map activity.
• Teacher & peer assisted learning during ICT skill development.
• Written & oral feed back for critical writing task.
Media Room & teacher may be required for session 7 & 8

Cindy Sherman, Mambo
Traditional Cultural Costumes, Chinese, Japanese, European, Pacifica,





SESSION
WEEK 8- 9 FOCUS OUTCOMES 5-8 , 5-2 , 5-6, 5-7
LIFE SKILLS OUTCOMES LS1, LS 4, LS 5
TEACHING / LEARNING & ACTIVITIES ASSESSMENT EVIDENCE OF LEARNING
AREAS OF INTERACTION
RESOURSES
ART MAKING CRITICAL & HISTORICAL STUDIES
3 Task 2 :Create A Wearable Art Piece for Recycle Section WAVE. Section 1
Specific requiremen: Garment must be Wearable. Must be Safe to Wear. Is to be made out of Recycled Material.


5 Task3 Digital DVD Video Students are to record all process & planning




7 Case Study VAPD Questions Due


• 1 Students Discuss The Difference between “Fancy Dress & Wearable Art Students introduction of Concepts of High Art & Low Art.. They discuss Strategies Meanings and interpretations in Art Making.
• 2 The Post-Modern practice of Layers of meaning, The Relationship between Art Work and The Audience, through Appropriation and Recontextualisation.

• 4 .Students divide into groups for WAVE Wearable / Performance Students demonstrate their awareness of Material Properties through their selection of Art Making Materials. Problem Solving Skills employed to improve Development. Created through input from Group Members. All Decisions and Process information must be clearly Documented using VAPD Process.

• 6 Student employ ICT Skills & demonstrate their understanding of Art Making Process through their Video Documentation.


Students demonstrate their understanding and ability to embrace the task through their discussion of Ideas
( 1,3 4,5 )
The teacher observes students displaying analytical & problem solving skills during group work.
.(4, 5, 6 )
The oral responses of students demonstrates their understanding of the relationship of Artist Art work, World & Audience
.(2 5 ,6)

TEACHER FEEDBACK

• Teacher observation & feedback during art making tasks

• Teacher and peer feed back during class discussions & group activities.. WAVE
Inspirational Expression. Techno Junk Neon, Waste Urban rubbish, Production cast offs Electronic Throw aways, Chip Boards, Negatives, Shiny Bits, Disposable Bling, Industral Space, dust “under the Bed Dust Catches”, Wardrobes, Disco, Rave, About this years Section 1.
Fruits Exhibition Contemporary Japanese Counter Culture Fashion,





SESSION
WEEK 10 FOCUS OUTCOMES 5-1, 5-3, 5-6, 5-8 , 5-4
LIFE SKILLS OUTCOMES LS 3, LS 4, LS 7
TEACHING / LEARNING & ACTIVITIES ASSESSMENT
EVIDENCE OF LEARNING
AREAS OF INTERACTION
RESOURSES
ART MAKING CRITICAL & HISTORICAL STUDIES
1 Students Present Art Works.

Student Presentation as part of School Exhibition


A copy of Tasks Recorded to CD. As part of each Students VAPD.


• 2 The teacher & students engage in self & peer assessment of art works .the teacher asks the students engage in Critical and Reflective thinking and writing.. Students complete Peer and Self Assessments. Students to view each other’s Process & solutions
• 3 In Understanding of How the many Forms of
• expression and the Wide Range and use of materials are part of the Strategies and Intentions of Contemporary Artists.
• 4 Reflection on how the Diverse Range of Forms and way wide use of ordinary Materials are connected to Artist intentions.

• 5 Teacher lead Discussion Analysing What is Art ? Students respond through Group Solutions.

• 6 The teacher asks the students during the Presentation and Viewing of completed Video, assume the Role of Critic for both WAVE Wearable –performance piece and Video Documentation..

• 7 Students are guided by the teacher in Reflection on the Guide Question There are so many Forms of Expression!


Students presentation, of written & oral, tasks demonstrate their evaluation & understanding of the complexity & challenging nature of Visual Art Making.
(1,2,3,4 5,)

Students art Making & Planning indicates their understanding of different material, techniques & their ability to develop & synthesise ideas into artworks
( 1, 6, 7, )

TEACHER FEEDBACK

• The teacher in dividual and class work encourages & supports the design process with oral feedback & assistance.. Peer & self assessment sheets

generation y

1 provide challenging work that matters.
2 balance clearly delegate assignments with the freedom & flexibility to produce results in their own way.
3 provide ongoing training and learning oportunities.
4 establish mentoring relationships
5 create a comfortable low stress work environment.
6 allow some flexible scheduling



9 Be personable and joke around with the staff, while still getting the job done
10 balance the role of the boss with a team player.
11 treat colleges , not as interns, assistants or teenagers.
12 be respectful and call forth respect in return.
13 consistently provide constructive feedback.
14 let them know when theyt have done a good job.


Occasionally in history massive demographic change combines with relentless technological change and within a generation society altogether changes.

Today we are living in such an era.

Today's students- Generations Y & Z are not only growing up in very different times, but they have different characteristics, values, and priorities. Based on the latest research McCrindle Research provide educators and trainers with a better understanding of these 21 st Century learners, and give a glimpse into their future. By gaining insights into the motivations and learning modalities of today's students, educators can more effectively communicate with them.

Key issues:

Strategies to communicate & engage with the emerging generations.
Multimodal communication: reaching the 3 learning channels.
Maximising retention: dealing with declining attention spans.
Motivating & involving today's learners.
Flexible delivery: integrating new technology with these new students.
Meeting the workplace needs & expectations of the Generation Y
Click to download a PDF summary of a session on Understanding & Engaging with Today's Students

the jigsaw strategy

! establish six menber groups.
2 allocate a common task that students read and became ffamiliar with.
3 each students in each group is given a topic (either by the teacher or group withi a coomon task on which to become an expert.
4 after some time gathering information experts with similar topics from each group meet to study further their assigned topic.
5 these expert students then return to their groups to to share what they have learned.

education & Policy

why is it on the plate now, oh its an election year! Should we all be excited about the prospect of education and Australian goverments being involved in education.or should cringe at the idea of let another attempt of raising the posts with high ideals and retric
The weekend AustralianMarch 3-4 inquirer

Task 10-2-07.

Classroom Management

Most pastoral care happens in good classrooms with good lessons (if there is a massive detention system then perhaps the classrooms/lessons are not up to scratch)

One technique: The JIGSAW model see: http://jigsaw.org/

1. Form into small groups (six is a good size) - breaking up normal grouping (eg by numbering 1,2,3... and then getting all '1's together etc

2. Allocate a common (meaningful) task to the whole class (eg 'what is a good lesson')

3. Each student in each group is given a task/topic

(eg task1: Gagne's events of instruction, task2: Merrill's first principles of instruction, task3: Specifying intentions for a lesson - Ausubel, task4: Taxonomies - Bloom, SOLO, task5: Objectives using Gronlund's approach, task6: Catering for diversity - Gardner)

4. Each student does their own research - gathers information for 20 - 30 minutes (or a week - topic dependent)

5. 'Experts' (now) on each task/topic meet to discuss and study the topic further - each person becomes an expert.

6. Experts now return to their original groups and teach the other members about the Topic they have studied.

Giving responsibility to each member to go back and teach the team - the student does not want to look foolish, and will be trying hard to do a good job.
It would be good to use Technology so that all the information can be captured for the group.
Each group set up a new blog and put all the information they have gathered onto it.

(for us - use tech to capture the information - create a new blog, make all members authors of the blog.)

Merrill's Five Principles of Instruction

The five principles of instruction

Merrill's first and central principle of instruction is task-centered learning. Task centered learning is not problem-based learning, although it shares some features.

The task / problem

A task is a problem that represents a problem that may be encountered in a real-world situation. Learning objectives or samples of the types of problems learners will be able to solve at the end of the learning sequence may also substitute for a problem. A progression through problems of increasing difficulty are used to scaffold the learning process into manageable tiers of difficulty.
Does the courseware relate to real world problems?

1. ... show learners the task or the problem they will be able to do/solve ?
2. are students engaged at problem or task level not just operation or action levels?
3. ... involve a progression of problems rather than a single problem?

This progressive teaching approach is also related to Merriënboer's 4C/ID model.

The five principles of instruction (Merrill, 2006)

• The demonstration principle: Learning is promoted when learners observe a demonstration
• The application principle: Learning is promoted when learners apply the new knowledge
• The activation principle: Learning is promoted when learners activate prior knowledge or experience
• The integration principle: Learning is promoted when learners integrate their new knowledge into their everyday world
• The task-centered principle: Learning is promoted when learners engage in a task-centered instructional strategy

Phases / Components of Merrill's First Principles of Instruction

The task (or problem) is center stage. Here is a summary of the four remaining components

1. Activation of relevant previous experience promotes learning by allowing them to build upon what they already know and giving the instructor information on how to best direct learners. Providing an experience when learners previous experience is inadequate or lacking to create mental models upon which the new learning can build. Activities that stimulate useful mental models that are analoguous in structure to the content being taught can also help learners build appropriate schemas to incorporate the new content.
   Does the courseware activate prior knowledge or experience?
   1. do learners have to recall, relate, describe, or apply knowledge from past experience (as a foundation for new knowledge) ?
   2. does the same apply to the present courseware ?
   3. is there an opportunity to demonstrate previously acquired knowledge or skill ?
2. Demonstration through simulations, visualizations, modelling, etc. that exemplify what is being taught are favoured. Demonstration includes guiding learners through different representations of the same phenomena through extensive use of a media, pointing out variations and providing key information.
   Does the courseware demonstrate what is to be learned ?
   1. Are examples consistent with the content being taught? E.g. examples and non-examples for concepts, demonstrations for procedures, visualizations for processes, modeling for behavior?
   2. Are learner guidance techniques employed? (1) Learners are directed to relevant information?, (2) Multiple representations are used for the demonstrations?, (3) Multiple demonstrations are explicitly compared?
   3. Is media relevant to the content and used to enhance learning?
3. Application requires that learners use their knew knowledge in a problem-solving task, using multiple yet distinctive types of practice Merrill categorizes as information-about, parts-of, kinds-of, and how-to practice that should be used depending upon the kind of skill and knowledge identified. The application phase should be accompanied by feedback and guidance that is gradually withdrawn as the learners' capacities increase and performance improves.
   Can learners practice and apply acquired knowledge or skill?
   1. Are the application (practice) and the post test consistent with the stated or implied objectives? (1) Information-about practice requires learners to recall or recognize information. (2) Parts-of practice requires the learners to locate, name, and/or describe each part. (3) Kinds-of practice requires learners to identify new examples of each kind. (4) How-to practice requires learners to do the procedure. (5) What-happens practice requires learners to predict a consequence of a process given conditions, or to find faulted conditions given an unexpected consequence.
   2. Does the courseware require learners to use new knowledge or skill to solve a varied sequence of problems and do learners receive corrective feedback on their performance?
   3. In most application or practice activities, are learners able to access context sensitive help or guidance when having difficulty with the instructional materials? Is this coaching gradually diminished as the instruction progresses?
4. Integration in effective instruction occurs when learners are given the opportunity to demostrate, adapt, modify and transform new knowledge to suit the needs of new contexts and situations. Reflection through discussion and sharing is important to making new knowledge part of a learner's personal store and giving the learner a sense of progress. Collaborative work and a community of learners can provide a context for this stage.
   Are learners encouraged to integrate (transfer) the new knowledge or skill into their everyday life?
   1. Is there an opportunity to publicly demonstrate their new knowledge or skill?
   2. Is there an opportunity to reflect-on, discuss, and defend new knowledge or skill?
   3. Is there an opportunity to create, invent, or explore new and personal ways to use new knowledge or skill?

[edit]

Gagne's Events of instruction

Gagne's Nine Events of Instruction

Gagne's book, The Conditions of Learning, first published in 1965, identified the mental conditions for learning. These were based on the information processing model of the mental events that occur when adults are presented with various stimuli. Gagne created a nine-step process called the events of instruction, which correlate to and address the conditions of learning. The figure below shows these instructional events in the left column and the associated mental processes in the right column.

Instructional Event	Internal Mental Process
1. Gain attention	Stimuli activates receptors
2. Inform learners of objectives	Creates level of expectation for learning
3. Stimulate recall of prior learning	Retrieval and activation of short-term memory
4. Present the content	Selective perception of content
5. Provide "learning guidance"	Semantic encoding for storage long-term memory
6. Elicit performance (practice)	Responds to questions to enhance encoding and verification
7. Provide feedback	Reinforcement and assessment of correct performance
8. Assess performance	Retrieval and reinforcement of content as final evaluation
9. Enhance retention and transfer to the job	Retrieval and generalization of learned skill to new situation

1. Gain attention

In order for any learning to take place, you must first capture the attention of the student. A multimedia program that begins with an animated title screen sequence accompanied by sound effects or music startles the senses with auditory or visual stimuli. An even better way to capture students' attention is to start each lesson with a thought-provoking question or interesting fact. Curiosity motivates students to learn.

2. Inform learners of objectives

Early in each lesson students should encounter a list of learning objectives. This initiates the internal process of expectancy and helps motivate the learner to complete the lesson. These objectives should form the basis for assessment and possible certification as well. Typically, learning objectives are presented in the form of "Upon completing this lesson you will be able to. . . ." The phrasing of the objectives themselves will be covered under Robert Mager's contributions later in this chapter.

3. Stimulate recall of prior learning

Associating new information with prior knowledge can facilitate the learning process. It is easier for learners to encode and store information in long-term memory when there are links to personal experience and knowledge. A simple way to stimulate recall is to ask questions about previous experiences, an understanding of previous concepts, or a body of content.

4. Present the content

This event of instruction is where the new content is actually presented to the learner. Content should be chunked and organized meaningfully, and typically is explained and then demonstrated. To appeal to different learning modalities, a variety of media should be used if possible, including text, graphics, audio narration, and video.

5. Provide "learning guidance"

To help learners encode information for long-term storage, additional guidance should be provided along with the presentation of new content. Guidance strategies include the use of examples, non-examples, case studies, graphical representations, mnemonics, and analogies.

6. Elicit performance (practice)

In this event of instruction, the learner is required to practice the new skill or behavior. Eliciting performance provides an opportunity for learners to confirm their correct understanding, and the repetition further increases the likelihood of retention.

7. Provide feedback

As learners practice new behavior it is important to provide specific and immediate feedback of their performance. Unlike questions in a post-test, exercises within tutorials should be used for comprehension and encoding purposes, not for formal scoring. Additional guidance and answers provided at this stage are called formative feedback.

8. Assess performance

Upon completing instructional modules, students should be given the opportunity to take (or be required to take) a post-test or final assessment. This assessment should be completed without the ability to receive additional coaching, feedback, or hints. Mastery of material, or certification, is typically granted after achieving a certain score or percent correct. A commonly accepted level of mastery is 80% to 90% correct.

9. Enhance retention and transfer to the job

Determining whether or not the skills learned from a training program are ever applied back on the job often remains a mystery to training managers - and a source of consternation for senior executives. Effective training programs have a "performance" focus, incorporating design and media that facilitate retention and transfer to the job. The repetition of learned concepts is a tried and true means of aiding retention, although often disliked by students. (There was a reason for writing spelling words ten times as grade school student.) Creating electronic or online job-aids, references, templates, and wizards are other ways of aiding performance.

Applying Gagne's nine-step model to any training program is the single best way to ensure an effective learning program. A multimedia program that is filled with glitz or that provides unlimited access to Web-based documents is no substitute for sound instructional design. While those types of programs might entertain or be valuable as references, they will not maximize the effectiveness of information processing - and learning will not occur.

How to Apply Gagne's Events of Instruction in e-Learning

As an example of how to apply Gagne's events of instruction to an actual training program, let's look at a high-level treatment for a fictitious software training program. We'll assume that we need to develop a CD-ROM tutorial to teach sales representatives how to use a new lead-tracking system called STAR, which runs on their laptop computers.

1. Gain attention

The program starts with an engaging opening sequence. A space theme is used to play off the new software product's name, STAR. Inspirational music accompanies the opening sequence, which might consist of a shooting star or animated logo. When students access the first lesson, the vice president of sales appears on the screen in a video clip and introduces the course. She explains how important it is to stay on the cutting edge of technology and how the training program will teach them to use the new STAR system. She also emphasizes the benefits of the STAR system, which include reducing the amount of time representatives need to spend on paperwork.

2. Inform learners of objectives

The VP of sales presents students with the following learning objectives immediately after the introduction.

Upon completing this lesson you will be able to:

• List the benefits of the new STAR system.

• Start and exit the program.

• Generate lead-tracking reports by date, geography, and source.

• Print paper copies of all reports.

3. Stimulate recall of prior learning

Students are called upon to use their prior knowledge of other software applications to understand the basic functionality of the STAR system. They are asked to think about how they start, close, and print from other programs such as their word processor, and it is explained that the STAR system works similarly. Representatives are asked to reflect on the process of the old lead-tracking system and compare it to the process of the new electronic one.

4. Present the content

Using screen images captured from the live application software and audio narration, the training program describes the basic features of the STAR system. After the description, a simple demonstration is performed.

5. Provide "learning guidance"

With each STAR feature, students are shown a variety of ways to access it - using short-cut keys on the keyboard, drop-down menus, and button bars. Complex sequences are chunked into short, step-by-step lists for easier storage in long-term memory.

6. Elicit performance (practice)

After each function is demonstrated, students are asked to practice with realistic, controlled simulations. For example, students might be asked to "Generate a report that shows all active leads in the state of New Jersey." Students are required to use the mouse to click on the correct on-screen buttons and options to generate the report.

7. Provide feedback

During the simulations, students are given guidance as needed. If they are performing operations correctly, the simulated STAR system behaves just as the live application would. If the student makes a mistake, the tutorial immediately responds with an audible cue, and a pop-up window explains and reinforces the correct operation.

8. Assess performance

After all lessons are completed, students are required to take a post-test. Mastery is achieved with an 80% or better score, and once obtained, the training program displays a completion certificate, which can be printed. The assessment questions are directly tied to the learning objectives displayed in the lessons.

9. Enhance retention and transfer to the job

While the STAR system is relatively easy to use, additional steps are taken to ensure successful implementation and widespread use among the sales force. These features include online help and "wizards", which are step-by-step instructions on completing complex tasks. Additionally, the training program is equipped with a content map, an index of topics, and a search function. These enable students to use the training as a just-in-time support tool in the future. Finally, a one-page, laminated quick reference card is packaged with the training CD-ROM for further reinforcement of the learning session.

Jigsaw Strategy

Jigsaw Cooperative Groups

JIGSAW GROUPS FOSTER UNDERSTANDING among students from a variety of racial, ethnic, and educational backgrounds. This learning method enables teachers to effectively respond to a diverse student population by promoting academic achievement and cross-cultural understanding. Jigsaw groups facilitate learning because each student is responsible for a particular piece of a task and then is responsible to contribute his/her portion of the task to bring about mutual interdependence.

The Set Up

To create five groups of four students, have each student sit in his/her regular seat and number off each student one through five. Next, call all students that were given the number one to sit at a table together, then the twos, threes, etc. The groups should be diverse in terms of gender, ethnicity, race, and ability.

Student and Group Roles

Divide the task into four segments. For example, in a project about the California Gold Rush, you may divide the lesson into the following topics: 1) Businesses that began as a result of the Gold Rush, 2) How they panned for gold, 3) Who were the gold seekers who moved to California, and 4) Where were the successful gold mines.

Assign each student in each group one of the four segments. Students who are assigned the same segment may meet to form an "expert group." The members of each expert group work together to learn the topic, making sure each member understands the information. During this time, the experts construct a plan to teach their topic to the members of their jigsaw cooperative group.

Final Outcome

Students then return to their jigsaw cooperative group. Each student teaches his or her topic to the members of the group. There is a sense of positive interdependence among the members of the groups. To demonstrate knowledge, each jigsaw group may present a summary of their understanding to the whole class.

University of Notre Dame

University of Notre Dame.
Dates to Remember


sat 10-02-07
Sat 03-03-07
Sat 24-03-07
Sat 05-05-07
Sat 26-05-07
Sat 16-06-07
Sat 28-07-07
Sat 25-08-07
Sat 15-09-07
Sat 27-10-07
Sat 10-11-07
Sat 24-11-07

Education is not just " Feeding through the tube"

It needs life, Creativity and Activity to truly sustain a living Life.

OBE with Honour

Eddie Mabo
OUTCOMES BASED EDUCATION
Education, Beliefs and Values

Adelaide Declaration Preamble

Goals


The Adelaide Declaration on National Goals for Schooling in the Twenty-first Century

The State, Territory and Commonwealth Ministers of Education met as the 10th Ministerial Council on Education, Employment, Training and Youth Affairs (MCEETYA) in Adelaide, 22-23 April 1999, chaired by the Minister for Education, Children’s Services and Training in South Australia, the Hon Malcolm Buckby MP. Conscious that the schooling of Australia’s children is the foundation on which to build our future as a nation, Council agreed to act jointly to assist Australian schools in meeting the challenges of our times. In reaching agreement to address the following areas of common concern, the State, Territory and Commonwealth Ministers of Education made an historic commitment to improving Australian Schooling within a framework of national collaboration.

Preamble

Australia’s future depends upon each citizen having the necessary knowledge, understanding, skills and values for a productive and rewarding life in an educated, just and open society. High quality schooling is central to achieving this vision

This statement of national goals for schooling provides broad directions to guide schools and education authorities in securing these outcomes for students.

It acknowledges the capacity of all young people to learn, and the role of schooling in developing that capacity. It also acknowledges the role of parents as the first educators of their children and the central role of teachers in the learning process.

Schooling provides a foundation for young Australians’ intellectual, physical, social, moral, spiritual and aesthetic development. By providing a supportive and nurturing environment, schooling contributes to the development of students’ sense of self-worth, enthusiasm for learning and optimism for the future.

Governments set the public policies that foster the pursuit of excellence enable a diverse range of educational choices and aspirations, safeguard the entitlement of all young people to high quality schooling, promote the economic use of public resources, and uphold the contribution of schooling to a socially cohesive and culturally rich society.

Common and agreed goals for schooling establish a foundation for action among State and Territory governments with their constitutional responsibility for schooling, the Commonwealth, non-government school authorities and all those who seek the best possible educational outcomes for young Australians, to improve the quality of schooling nationally.

The achievement of these common and agreed national goals entails a commitment to collaboration for the purposes of:

further strengthening schools as learning communities where teachers, students and their families work in partnership with business, industry and the wider community
enhancing the status and quality of the teaching profession
continuing to develop curriculum and related systems of assessment, accreditation and credentialling that promote quality and are nationally recognised and valued
increasing public confidence in school education through explicit and defensible standards that guide improvements in and students' levels of educational achievement and through and through which the
These national goals provide a basis for investment in schooling to enable all young people to engage effectively with an increasingly complex world. This world will be characterised by advances in information and communication technologies, population diversity arising from international mobility and migration, and complex environmental and social challenges.

The achievement of the national goals for schooling will assist young people to contribute to Australia’s social, cultural and economic development in local and global contexts. Their achievement will also assist young people to develop a disposition towards learning throughout their lives so that they can exercise their rights and responsibilities as citizens of Australia.



Goals

Schooling should develop fully the talents and capacities of all students. In particular, when students leave school they should:

• 1.1 have the capacity for, and skills in, analysis and problem solving and the ability to communicate ideas and information, to plan and organise activities and to collaborate with others

• 1.2 have qualities of self-confidence, optimism, high self-esteem, and a commitment to personal excellence as a basis for their potential life roles as family, community and workforce members

• 1.3 have the capacity to exercise judgement and responsibility in matters of morality, ethics and social justice, and the capacity to make sense of their world, to think about how things got to be the way they are, to make rational and informed decisions about their own lives and to accept responsibility for their own actions

• 1.4 be active and informed citizens with an understanding and appreciation of Australia’s system of government and civic life

• 1.5 have employment related skills and an understanding of the work environment, career options and pathways as a foundation for, and positive attitudes towards,

• 1.6 vocational education and training, further education, employment and life-long learning

• 1.7 be confident, creative and productive users of new technologies, particularly information and communication technologies, and understand the impact of those technologies on society

• 1.8 have an understanding of, and concern for, stewardship of the natural environment, and the knowledge and skills to contribute to ecologically sustainable development

• 1.9 have the knowledge, skills and attitudes necessary to establish and maintain a healthy lifestyle, and for the creative and satisfying use of leisure time.

In terms of curriculum, students should have:
attained high standards of knowledge, skills and understanding through a comprehensive and balanced curriculum in the compulsory years of schooling encompassing the agreed eight key learning areas:
the arts;
English;
health and physical education;
languages other than English
mathematics;
science;
studies of society and environment;
technology;
and the interrelationships between them.
attained the skills of numeracy and English literacy; such that, every student should be numerate, able to read, write, spell and communicate at an appropriate level
participated in programs of vocational learning during the compulsory years and have had access to vocational education and training programs as part of their senior secondary studies.
participated in programs and activities which foster and develop enterprise skills, including those skills which will allow them maximum flexibility and adaptability in the future


Schooling should be socially just, so that:
students’ outcomes from schooling are free from the effects of negative forms of discrimination based on sex, language, culture and ethnicity, religion or disability; and of differences arising from students’ socio-economic background or geographic location
the learning outcomes of educationally disadvantaged students improve and, over time, match those of other students
Aboriginal and Torres Strait Islander students have equitable access to, and opportunities in, schooling so that their learning outcomes improve and, over time, match those of other students
all students understand and acknowledge the value of Aboriginal and Torres Strait Islander cultures to Australian society and possess the knowledge, skills and understanding to contribute to and benefit from, reconciliation between Indigenous and non-Indigenous Australians
all students understand and acknowledge the value of cultural and linguistic diversity, and possess the knowledge, skills and understanding to contribute to and benefit from, such diversity in the Australian community and internationally
all students have access to the high quality education necessary to enable the completion of school education to Year 12 or its vocational equivalent and that provides clear and recognised pathways to employment and further education and training.





This page has been produced by the Schools Registration Board. Its content has been authorised by the Registrar (Schools Registration Board). Questions concerning its content may be directed by email to Janine.Romaszko@education.tas.gov.au. This page was last modified on Thursday, 05 May 2005. The URL for this page is http://www.srb.tas.gov.au/materials/adelaidedec.htm. You are directed to the disclaimer and copyright notice and a Personal Information Protection statement governing the information provided.
For other Tasmanian Government information, please visit the Service Tasmania website.

Board of Studies

SCOPE & SEQUENCE.
what we want to achieve as teachers, in the time frame and process.
6 Aim

The Entertainment Industry Curriculum Framework is designed to enable students to acquire a range of technical, practical, personal and organisational skills valued both within and beyond the workplace. They will also acquire underpinning skills and knowledge related to work, employment and further training within the entertainment industry sector. Through study of this subject, students will gain experiences that can be applied to a range of contexts, including work, study and leisure and which can assist them in making informed career choices.

TEACHING PROGRAMME.

Programmes that emhance the Curriculum, are delivered in Creative Active ways, embrace the values of the school community, in our case Steiner. Programmes with understanding of the theorists, like H Gardner's Multiple intelliengces, Blooms Vygotsky.

. 8 Course Structures

8.1 Courses within the Entertainment Industry Curriculum Framework

An industry curriculum framework describes the units of competency that have been identified as being suitable for the purposes of the Higher School Certificate. Units of competency in the Entertainment Industry Curriculum Framework are detailed in Sections
8.3 and 8.4.

Each course in a framework describes how the available units of competency can be grouped to gain units of credit towards the Higher School Certificate.

The Entertainment Industry Curriculum Framework includes the following courses:
• Entertainment Industry (120 indicative hours)
• Entertainment Industry (240 indicative hours).

The maximum number of Preliminary and/or HSC units available from this framework is four units. That is, courses can total up to 240 hours. In addition to courses within the framework students may undertake locally designed Board Endorsed VET courses drawing from the Entertainment Training Package (CUE03). Such courses may provide additional HSC credit for part-time school-based trainees.

Compulsory units of competency are those that all students must attempt in their study of the HSC course (refer to Tables 1 and 2). Core units of competency are those required by the national Training Package in order to be eligible for the vocational qualification (refer to Section 15).

The selection of units of competency within course structures should provide the opportunity for students to be eligible for a qualification. Section 15 provides the qualification packaging rules for each qualification available within the Entertainment Industry Curriculum Framework. This information is reproduced from the Training Package and should be consulted when selecting units of competency.

As a number of units of competency from the Entertainment Training Package have been imported from other national Training Packages it is important that teachers are aware of all VET courses students are studying to ensure that they do not complete the same unit of competency in another VET course (refer to Section 13.3). The other Training Packages include Business Services (BSB01), General Construction (BCG03), Film, Television, Radio and Multimedia (CUF01), Music (CUS01), Metal and Engineering Industry (MEM98), Hospitality (THH02) and Retail (WRR02).

It is important to adopt an integrated or holistic approach to course delivery. Examples of integrated approaches to programming and assessment strategies, as well as advice on curriculum materials that may be used to support the delivery of courses within the Entertainment Industry Curriculum Framework, is contained in the Entertainment Industry Support Document and Resource List (www.boardofstudies.nsw.edu.au). This information is provided as a guide to RTOs delivering HSC courses within the curriculum framework. The use of the resources listed is not mandatory.

8.3 Entertainment Industry (120 indicative hours)

Purpose
The purpose of this course is to provide students with an opportunity to develop basic knowledge and skills for live production, theatre and events industries.

Course structure


120 indicative hour courses are accredited for a total of two units at the Preliminary and/or HSC level.

Course requirements
Students must undertake ALL compulsory units of competency plus a selection of elective units of competency from the 240 indicative hour course which have not already been undertaken to a minimum value of 50 indicative hours.

Students must complete a minimum of 35 hours of mandatory work placement.

Table 1 Entertainment Industry (120 indicative hours)
COMPULSORY Attempt ALL units
Unit code Unit title HSC indicative hours of credit
BSBCMN203A Communicate in the workplace 15
CUECOR02B Work with others 15
CUEIND01B Source and apply entertainment industry knowledge 25
CUFSAF01B Follow health, safety and security procedures 10
CUSGEN02B Work in a culturally diverse environment 5




ASSESSMENT.
Is the watching and evaluating of the individual, and the class.
Having clear Assessment Rubric
Making sure all students Achieve and the Z P D is Achieved.

9 Outcomes and Content

9.1 Units of competency

Details about individual units of competency included in the Entertainment Industry Curriculum Framework for the Higher School Certificate are contained in Part B of this syllabus. Part B details unit of competency content and HSC requirements and advice.

The text for each unit of competency in the Entertainment Industry Curriculum Framework is reproduced directly from the Entertainment Training Package (CUE03). Units of competency consist of:
➢ elements of competency
➢ performance criteria
➢ range statement
➢ evidence guide, including:
➢ underpinning skills and knowledge
➢ linkages to other units
➢ critical aspects of evidence
➢ method and context of assessment
➢ resource requirements
➢ key competencies in this unit.

11 Assessment Requirements and Advice

Assessment is the process of gathering information and making judgements about student achievement for a variety of purposes. In the Higher School Certificate, those purposes include:
• assisting student learning
• evaluating and improving teaching and learning programs
• certifying satisfactory achievement and completion of courses
• reporting achievement in the Higher School Certificate.

For VET courses, they also include assessment for the purpose of achieving AQF Certificates and Statements of Attainment.

The information in this section relates to the Board of Studies’ requirements for assessing and reporting achievement in the Higher School Certificate. In this context, assessing refers to competency-based assessment and to external examinations. Reporting refers to the documents used by the Board of Studies NSW and RTOs to report both measures of achievement.


11.1 Competency-based assessment

The courses within the Entertainment Industry Curriculum Framework are competency-based courses. The AQTF requires that a competency-based approach to assessment be used and that a record be held by the RTO of the competencies achieved.

In a competency-based course, assessment of competencies is standards-referenced. This means that a participant’s performance is judged against a prescribed standard contained in each unit of competency, not against the performance of other participants.

The purpose of assessment is to judge competence on the basis of performance against the performance criteria set out under each element of competency. A participant is judged either ‘competent’ or ‘not yet competent’. This judgement is made on the basis of a range of evidence, which may be in a variety of forms.

Competency-based assessment is based on the requirements of the workplace. Competence incorporates all aspects of work performance, including problem-solving and the capacity to apply skills and knowledge in both familiar and new situations. Assessment of competence involves the assessment of skills and knowledge combined.

It is not necessary, nor is it desirable, for individual performance criteria to be demonstrated separately for assessment purposes. Rather, assessors should adopt an integrated or holistic approach to assessment. This means that a number of elements of competency or even several units of competency are assessed together. This method of assessment is encouraged in line with the concept of competence as the integration of a wide range of skills, knowledge and attitudes.

Jean Piaget and Lev Vygotsky\

Vygotsky approached development differently from Piaget. Piaget believed that cognitive development consists of four main periods of cognitive growth: sensorimotor, preoperational, concrete operations, and formal operations (Saettler, 331). Piaget's theory suggests that development has an endpoint in goal. Vygotsky, in contrast, believed that development is a process that should be analyzed, instead of a product to be obtained. According to Vygotsky, the development process that begins at birth and continues until death is too complex to to be defined by stages (Driscoll, 1994; Hausfather,1996).
Vygotsky believed that this life long process of development was dependent on social interaction and that social learning actually leads to cognitive development. This phenomena is called the Zone of Proximal Development . Vygotsky describes it as "the distance between the actual development level as determined by independent problem solving and the level of potential development as determined through problem solving under adult guidance or in collaboration with more capable peers" (Vygotsky, 1978).

Other sites of interest. L VYGOTSKY,
http://tip.psychology.org/piaget.html
Characteristics of Constructivist Learning & Teaching
Piaget's Theory of Cognitive Development.
Piaget power point

Relationships

"These moments of true disturbance are great gifts"

Margret J Wheatley Bringing Schools Back to Life.
I feel one of the greatest qualities Margret Wheatley expresses is her ideas about community is the listening to the differences, allowing the disturbance to be a gift. Facing changes with love and respect.
"What if we were to willingly listen to one another with the awareness that we each see the world in unique ways? And with the expectations that I could learn something new if I listen for the differences rather than the similarities? We would be together, brought together by our differences rather than separated by them."
http://www.margaretwheatley.com/articles/lifetoschools.html


We do have to have programs that do address the multiple intelligences in our students, engage and enrich the individual experience as well as the whole class and is active in the world audience,

Creative education means the individual, the class, and the greater school community can access higher and deeper understanding in education.
Subjects become doable, amendable, assessable Research, collaboration, evaluation, reflection, and presentation.
Creative education means the ability to inter weave, layer learning, in a scaffolding of sounds, Visuals, links, connections, that take a subject and the learner beyond Research to deeper understanding, gives Relevance and takes the student into other subjects, to many other areas of education and Life Skills. Subjects and the learning experience become alive and tangible.

Encouragement


Encouragement also referred to as ‘positive support’.
What is encouragement?

Encouragement is:

1. to give hope or confidence to
2. to urge
3. to stimulate
4. to help and to develop

Why use encouragement and what are its benefits?

There are many reasons why encouragement should be used. Some are:

1. It creates a bond of trust between teacher, student and entire class.
2. It gives students confidence. – i.e. they appreciate their own behaviour and accomplishments, while separating their work from their worth.
3. Students, who know that they are in a safe environment and will want to learn, engage and grow.
4. Students achieve high result and greater develop better – i.e. better in attitude, values and socially.
5. It increases student self esteem, and as result they will develop with more confidence – they will trust in challenging and testing theories – they will move out of their comfort zone – growth will occur.
6. It models ways of interacting with one another. ‘Put downs’ decrease and ‘build up’ increase.
7. Parents want their children to enjoy learning. It gives them confidence in you as a professional teacher.
8. You become much more approachable. Hence, students and parents will come to you to share problems and concerns.
9. It establishes a tone for your class.
10. Behaviour problems diminish dramatically and classroom management becomes easier.
11. Other students who you do not teach will look forward to you teaching them.
12. Your reputation, your self esteem and your confidence to handle situations increases.
13. You enjoy teaching more because your students want to give you more. More contact in class and more contact out of class.
14. It is one of the most effective strategies that you as a professional must use.
    

MOTIVATION

Intrinsic and Extrinsic motivation. Ch 3 in Marsh.

Extrinsic – it is the motivation to act that comes from the external environment, outside of the person.

Intrinsically motivated learners want to learn because they are curious, they want to improve, they seek knowledge, and learning gives them satisfaction.
McKeachie (1999) notes that this form of motivation nurtures and encourages the habit of life-long learning.

I call on Tony"s prayer to take us beyond with Love.

Just a little prayer for us struggling teachers on the road to becoming experts.

May I be brave enough to embrace a new world view as
Espoused by Margaret Wheatley.
May I develop the wisdom of recognising Gardners Nine Intelligences
In my students.
May I gain true insight in teaching Glasser’s six basic needs of Survival;
Power, Love, Belonging, Freedom and Fun.
May I have the strength and courage to incorporate Hatties guide for expert teachers
Into every class, every day.
May I develop awareness of the full scope of the Constructivist approach
To education.
And may I develop the selflessness to recognise that students need to be encouraged to be creative in their approach to their own education and
Empowered in making decisions in relation to their lives