Inspired By… Profile of Another School

15th December 2022Website Admin

Inspired By… Profile of Another School

Julie Temperley

In each issue of The Bridge, we will be sharing stories from schools around the world where exciting new learning opportunities are inspiring and challenging us. In this issue, we take a look at Riverside School in India, which was created using a human-centred design approach and where exploring identity and what it means to be part of a diverse community helps learners develop a strong sense of self and agency.

This story is just one of many you can find in FutureSchool: How schools around the world are applying learning design principles for a new era, by Valerie Hannon with Julie Temperley, Routledge, 2022.

Riverside School, Ahmedabad, India

Kiran Bir Sethi, the founder of Riverside School in Ahmedabad, India, came into education with a designer’s mindset, determined to create an engaging and empowering learning environment for her young son, who was becoming disillusioned with school at an early age. Drawing on her design training, Sethi’s focus in conceiving her school was not: What is the curriculum and how should we teach it? but: Who are the learners and what do they need to learn?

A focus on learners — their strengths, interests and needs — led Sethi inevitably to contemplate the implications for learning of the unique challenges and opportunities that each learner faces and the diversity of experience of learners and their communities which follow them into school. Here too, Sethi drew on her own experience of arriving at design school where, for the first time, she met people whose lives and perspectives were vastly different from her own.

I was awed by the sheer diversity in religion, culture, demographics and sexuality on the campus. It was here that I began to believe in inclusion as a right and not the privilege of a select few. — Kiran Bir Sethi, 2018

Through their student admissions and teacher recruitment policies, and over a period of ten years, Riverside explicitly set out to create a ‘mini India’ amongst the 390 students in their school, ensuring representation from all communities, demographics, religious affiliations and gender and welcoming learners with special needs ‘beyond any labels and biases’.

With diversity and inclusion so prominent in the school’s design and ethos it is perhaps unsurprising that identity soon became an explicit focus for learning, and Riverside’s commitment to inclusion found expression in their Inclusive Campus Programme (ICP).

Awareness, compassion and engagement are at the heart of the Inclusive Campus Programme.

Centring on nine aspects of identity, the ICP is made up of a range of workshops and experiences that continue throughout a student’s time at Riverside. The nine aspects, categorised under the headings of mind, body and heritage are:

  • Mind — personality, gender and orientation
  • Body — ability, age and appearance
  • Heritage — religions and beliefs, race and ethnicity, socioeconomic class

Awareness, compassion and engagement are at the heart of the ICP. From stories that challenge gender stereotypes for younger children to intentional conversations between a gay teacher and older students; from a collaborative redesign by students of school spaces to accommodate a wheelchair when a disabled student joined the school to regular visits to heritage sites and culturally significant spaces around the city, the ICP explicitly and systematically engages students with alternative perspectives and experiences to challenge them to reflect deeply on their own identity and the role they might play in the world.

Learners are encouraged to think of themselves as individuals in the world; agents with skills and purpose and a will to change things for the better for others.

As learners progress through the school, the ethos of inclusion and the exploration of identity expands beyond the school walls and out into the real world, to support learners to contemplate what other people’s lives are like and how the privilege — not the entitlement — of an education might equip them as Riverside graduates to help others. Learners are encouraged to think of themselves as individuals in the world; agents with skills and purpose and a will to change things for the better for others. “Doing good and doing well” is the Riverside mantra.

Learners stay in rural communities where the relative luxury of city living — sanitation, technology, transport — is missing from everyday life. They immerse themselves in alternative realities, learning how agricultural workers and craftspeople make a living. And how a life without material wealth might be enriching in other ways.

In their final year, learners assume responsibility for leading a real and urgent change, becoming the CEO of a changemaker programme to make a positive difference in people’s lives. This leadership development is the final stage in growing their confidence and humility to take on ethical and practical challenges as adults and to become a force for good in the world.

None of the focus and time spent on identity comes at the expense of academic excellence. Riverside students have consistently outperformed the top 10 schools in maths, science and English and the school has been ranked the No.1 day school in Gujarat for several years.

FutureSchool: How schools around the world are applying learning design principles for a new era by Valerie Hannon with Julie Temperley

 

Professional Prompt Questions

  • What most attracts you in this mini-case study?

  • What most challenges you?

  • Could you use this as a think-piece with your staff?

Building From Passions and Interests

15th December 2022Website Admin

Building From Passions and Interests

Sam Dexter

In the first issue of The Bridge, we introduced Gesher’s Five Design Principles. These principles were developed by members of the Gesher community, friends and supporters of Gesher, and with input from members of the wider community. They are central to everything that happens at Gesher and as such, across the next five issues of The Bridge, we will look at how they are put into practice.

For this issue, we spoke to Monique Lauder, a Teaching Assistant in the Early Years/Year 1 Class about Gesher’s second design principle; personalised learning informed by young people’s passions and interests. Monique has spent twenty-one years working in Early Years settings and joined Gesher two years ago. In that time she has developed her own approach to personalising sensory trays and tuff trays.

The decision about what to include in the trays is driven by her deep knowledge of the young people.

Sensory Trays and Tuff Trays

Sensory trays and Tuff trays are a regular  feature of many Early Years and Key Stage 1 classrooms.  They promote and support language development, gross and fine motor skills and support children to develop their problem-solving skills. They are typically large plastic trays filled with materials such as shredded paper, coloured rice, pasta, different types of lentils, couscous, shaving foam, or water. They also often include small-world play items or objects linked to a topic. When we sat down to chat with Monique, her latest sensory trays were full of small white stones, tweezers, and what looked to me suspiciously like old Weetabix.

… the personalisation of learning informed by young people’s passions and interests.

Planning and Creating the Personalised Trays

For Monique, the decision about what to include in the trays is driven by her deep knowledge of the young people she works with. ‘I try to get something I know will interest them, maybe someone is really into cars, so I would put cars in that tray… It’s mostly about looking at the children, seeing what they really like, asking them what they like and going from there.’

As well as knowing about the interests of the young people she works with, Monique also discussed how a young person’s individual targets feed into the personalisation of a tray. ‘A lot of our students have targets related to communication and interactions so I use the trays to encourage role-play… the students are seeing their friends or adults playing in a certain way or interacting with an object in a certain way and they’re able to do the same.’ Monique also told us how, if a student is working on a very specific target, that can be practised in the tray. For a student working on recognising numbers up to twenty, for instance, putting objects in the tray and asking students to find them, means the skill from a maths lesson can be practised throughout the day. The student’s Project-Based Learning (PBL) topic also helps Monique to decide how to personalise a tray. A PBL topic usually runs for half a term so one of the trays will also be linked to this.

Monique also shared with us how her approach to planning and setting up the trays has developed throughout her time at Gesher. ‘At first, I was doing two a week but I changed it because I felt that students needed more time to explore’. Now, Monique will change the trays once a week and this gives the students much more time to be curious and work out which different sensory experiences they like and don’t like. ‘The other thing I’m trying to do more is implement what the students are doing in the classroom into the trays.’ At this point in our chat, the young people Monique works with came charging in from the playground. After taking off their coats and putting away their bags, they headed straight for the trays filled with the white stones and Weetabix. One of them grabbed a picture of a mouth and the other immediately picked up the tweezers asking who wanted to be the first dentist to collect the teeth. Monique explained that their topic this term was healthy bodies and that specifically this week they were looking at how to keep healthy (and that I was correct, it was old Weetabix).

Monique’s Tips for Creating a Personalised Sensory Tray

Ideas

The vast majority of Monique’s ideas come from knowing the young people she works with really well, so her biggest piece of advice is to take time to build relationships with the young people. Once you’ve done this you can start including personalised objects in the sensory tray and build the process up from there. Knowledge of a young person’s targets and next steps will also ensure the tray can be further personalised to their needs, as can a broad awareness of the curriculum experiences they are having.

Resources

Monique told us how most of her resources come from things she would have usually recycled, like food containers and packaging, as well as natural materials from the garden like leaves, conkers and acorns. A store of these materials can be built up relatively quickly, especially if more than one person is contributing to it. The materials could then be shared between classes and reused for different topics. Finally, she said that shops like B&M, Tiger, Poundland and Wilko are great places to get inspiration (and often bargains!)

End Note

Whilst the work that Monique does is specifically related to sensory trays, this article is also about something much bigger — the personalisation of learning informed by young people’s passions and interests. The principles are the same whether it is six or seven-year-olds or much older learners — build relationships; know the learner well; involve the learner; connect to the real world; and design experiences relevant to their learning ambitions.

 

Professional Prompt Questions

  • We included this article because Monique’s sensory trays provide a highly accessible example of personalisation in practice. What is the best example in your school?

  • This example is built on relationships — and knowing students’ SEND needs, learning challenges and passions. Who in your school has this relationship with SEND learners?

Where Do Projects Come From?

15th December 2022Website Admin

Where Do Projects Come From?

HTH Unboxed

We would like to thank High Tech High for their generosity in allowing us to share in The Bridge project cards and the occasional article from their Unboxed journal.   

High Tech High in San Diego, now some 16 small schools serving over 6,000 young people K-12 across four campuses, is one of the most feted and influential school designs in the world. It is known for its commitment to a project-based curriculum, to relationships, to deep learning and to the development of students through the development of staff. More relevantly for The Bridge, HTH is also committed to sharing practices and learning in multiple ways. They have a graduate school supporting Masters degrees for their own staff and others; they host literally thousands of visitors to their campus each year; they facilitate a MOOC (Massive Open Online Courses) available internationally and, for the last 14 years they have published their own adult learning journal, making it available both in hard copy form and via the Unboxed website, which is a rich treasure trove of resources.

Where Do Projects Come From?

by Angela Guerrero

On a cold October morning, my colleague Breawna and I carpooled to school together as we often do. I piled my bags into the back seat, hopped in the passenger side, handed over a cup of coffee, and settled in for a drive full of teacher talk. The topic of discussion, as it so often is, was how to make projects meaningful and still hit the content needed in the history standards. This is an odd question for us to ponder, since we teach at a school that alleviates some of that “standards” stress by asking teachers to teach what they are passionate about through projects. But there we were, without the pressure of a frustrated principal or a zealous department chair, agonising over our fear of not giving the kids enough content. This may be because we both started our teaching careers at traditional high schools, attended traditional universities, and attended traditional high schools where school looked very much the same; teachers lectured, students feverishly took notes, a test was given, an essay written and a grade awarded that measured proficiency on some standard. Breawna and I are both struggling to define what education is all about, and building the curriculum around projects requires a break from the past that is often difficult. But on that morning when Bre asked me, “Where do good projects come from?” I felt I finally had something to say.

Eleanor Antin, “The Tourists” from Helen’s Odyssey. Copyright Eleanor Antin. Courtesy Ronald Feldman Fine Arts, New York, www.feldmangallery.com

This question, and the struggle to meet standards, plagued my first year teaching at High Tech High Chula Vista. So much of my work in the first year was simply writing and reading a pretty standard English class by most accounts. As I entered my final grades and completed my first year of teaching, I made a promise to myself to create engaging projects that would also comfort me by hitting standards. But what were the projects going to look like? Where would I get the ideas? Where did projects like that come from? Thirty journal entries, ten morning walks, hours of reviewing the state standards and countless conversations with friends left me no better off with my query as the summer days slipped by. I decided to simply enjoy summer for a while and return to the burning question in August. But then something happened that answered my questions. And it happened while I was enjoying myself, no less.

My sister invited me to a local museum to see an exhibition called “Historical Takes”, by Eleanor Antin. I sauntered into the swanky evening exhibition expecting to be impressed by the art. Indeed I was, but it turned out to be a lesson planning adventure like no other. Antin had created a collection of photographic portraits depicting historical tales from ancient Greece and Rome with feminist spins on the events. Helen of Troy was a devious vixen slinging a rifle on her hip. Ancient Grecians strolled casually by the dying veterans of the Trojan War with shopping totes and sunglasses. Wealthy Romans dined in elaborate clothing while servants died in the wings unbeknownst to their masters. And next to each scene was an explanation of the artist’s “take” on it. I was fascinated and found myself wondering how the artist came up with her interpretations. Then I wondered how I would create scenes from different time periods from different perspectives, say, a nihilist’s perspective, or a child’s perspective on the French Revolution. As I gazed at more images, and wondered more about how to create my own, I felt my legs tremble with delight. I had reached a new understanding. “This is perfect!” I exclaimed, to the surprise of the museum docent. History, photography, costume design, set and scene design, research, literature — all these things were present in the work. And they could all be studied in a project modelled after this exhibition. It almost felt like cheating since the idea came to me, not when I was agonising over the state standards or feverishly writing up drafts at my desk, but rather while I was out looking at art and doing something I enjoyed. From this outing, my 35mm Revolution project was conceived. In this project, students choose a revolution to research and write about and then choose one scene to re-enact in a photographic portrait. We plan to unveil the students’ artwork at High Tech High Chula Vista’s 2009 Festival Del Sol.

After the “art aha moment” as I now refer to it, I started thinking about projects while doing all sorts of things I love to do. Checking out music at local venues, I thought about starting a local artist Rolling Stone magazine to teach writing, photojournalism, editing and advertising. Running through the city, I thought about “walking a mile” in the shoes of someone who was homeless. Hiking up in the Sierras, I thought about nature reflections, the history of natural parks and the preservation efforts in California. It seemed that every time I was doing something I truly enjoyed, a new idea for a potential project sprang into my head. Some of the project ideas had been done before, but somehow, this new revelation made them feel fresh, pristine.

Do what you love and let the project drive the curriculum. These are the mantras of my wise teaching partner, Rod Buenviaje. Rod would listen patiently as I voiced my concerns about my inability to come up with what felt like meaningful projects. At the end of each conversation, he would repeat these mantras. I would nod in agreement and stare blankly out the window. I could never fully comprehend what he meant. After viewing Antin’s exhibition, however, the mantras made sense. I was doing something I loved. I was passionate about it. I wanted the kids to see it. I wanted to teach it. It turned into a project that would guide the curriculum.

So, where do projects come from? My answer is this: they are born in the places we love to visit, the things we love to see, the tasks we love to lose ourselves in. They are the things we find exciting. They are the things we deem worthy of writing essays and graphing charts about. They come from teachers who fall in love with something and decide to share that something with their students.

To read this article online, and to see High Tech High’s full collection of project cards, visit:

https://hthunboxed.org/blog/unboxed_posts/where-do-projects-come-from/