Practical Personalisation

15th December 2022Website Admin

Practical Personalisation

Loni Bergqvist

Loni was a teacher at High Tech High before coming to the UK to support the REAL-Projects programme in 2014. Since then, as founder and partner of Imagine If, Loni has worked with schools around the world to re-imagine education. Her project-based learning expertise has been used in several international initiatives and yet she finds time to be a source of friendship and expertise to Gesher.

Differentiation is Not Personalisation…

Ditch the word differentiation. Never use it again. Forget it exists.

By default, using the term differentiation causes us to look first at and make assumptions about what’s different about students before designing assessment or a lesson. We weigh these differences against what’s seen as ‘normal’ and by doing so, we categorise without really properly getting to understand individual students. Differentiation is a quick and inadequate way to streamline the process of knowing or categorising our students. We assign them labels so that we feel as though we understand their needs… but do we really?

Personalisation, on the other hand, begins with the unwavering belief that all students are capable of excellence. All. But, in order really to live out this philosophy, it takes a commitment to dig deep into children who enter the walls of the classroom. Personalisation starts with deep understanding. It’s not a term that is used exclusively with students who struggle to read or have learning challenges, or who are identified as being gifted. Personalisation should be done for every single student, such that we can give all learners access to their gifts and mitigations for their challenges.

This is not an over-idealisation. In adulthood, people find, navigate and express their gifts – intellectual, practical, emotional, and spiritual. We identify with and gain respect for what we can do or enjoy doing. Schools have tended to emphasise, for many learners, what they can’t do.

Personalisation starts in a different and more optimistic place.

Idea One: Create a community of learners

Creating a community where everyone (regardless of perceived academic ability) feels included, valued and comfortable is essential for all students and especially necessary for students who may have been marginalised in the past and felt excluded. At High Tech High, for example, they have a simple mantra: We expect all learners to be successful and to produce beautiful work. It is the responsibility of the entire class to help them do that. THAT is a community of learners.

Things we can do to create these learning communities

Facilitative of Classroom Culture:

  • Knowing students individually
  • Allowing for student voice
  • Teachers openly being learners in the classroom, too
  • Mixed groupings – gender, experience, abilities
  • Encouragement of risk-taking and celebrating it publicly
  • One-on-one conversations with students
  • Celebration, recognition, and affirmation activities.

Techniques, Tools, and Activities:

  • Critique of work activities using peer feedback
  • Appreciations share-out at the end of a class
  • Individual reflection – and perhaps journal use
  • Use of protocols that scaffold learning and contributions
  • Question wall (a Parking Lot for questions and ideas)
  • Think-Pair-Share
  • Ice breakers and opportunities for students to share with each other (non-academic)
  • Show & tell activities that highlight student passions and interests
  • Variety of activities that necessitate different talents (Socratic Seminar, World Cafe)
  • Display of ALL beautiful work where students have invested, regardless of whether it’s ‘the best’.

Idea Two: Focus on what students CAN do, first.

It’s easy to start the year by looking at student deficits. However, any student who has struggled with school in the past, knows whether they’re perceived as being ‘good’ or ‘not good’ at school. The most important thing is to build confidence in students by examining and recognising what students can do, and what they’re already good at, to provide more access points to help with areas that need development.

Ways we can focus on what students can do:

  • Teacher/student interviews
  • Be flexible in the ways students show understanding (dictation, partner writing, pictures, etc.)
  • Take a ‘learning preferences’ survey and design lessons or learning pathways around different types of learners
  • Activate prior knowledge and related knowledge before new knowledge
  • Ask them: ‘What are you comfortable with? What do you struggle with?’ They know
  • Invite other students to celebrate what they value about peers
  • Some of the strategies in Idea One.

Personalisation begins with the unwavering belief that all students are capable of excellence.

Idea Three: Provide scaffolds for students to reach higher. Don’t lower expectations.

When creating scaffolds for students to complete a desired task, it is essential the support matches with the need of an individual student. Determine what the task is, what an individual student may need in terms of support to reach the desired task and provide resources accordingly. We do this instinctively when a student has a visible, physical barrier – a broken leg; a sight impairment – but we are less intuitive about more generic or subtle support strategies.

Ways we can scaffold learning:

  • Graphic organisers (give the option to all students, some will need them without ever officially getting support)
  • Modify assignments to do less if it’s the same skill
  • Allow dictation to a teacher or another student
  • Partner work
  • ‘Workshop Groups’ with a particular task as a theme. (Open these to all students who may need support! They can also be done after school.)
  • Chalk Talk (Protocol available here)
  • Think-Pair-Share (Resources available here)
  • Include visuals with text
  • Untimed Learning Stations, so that students can go at their own pace in a supported context. You can combine this with Daily Checklists.

Idea Four: Honour student interests

This one is really important. Those old enough to remember Barry Hines’s novel (and film) “Kes” will remember the young boy who received no affirmation in school, but who kept, trained and flew a kestrel outside school.  When an empathetic teacher joined him in the fields near his house to watch, he was awestruck.

Our students have rich lives outside our classrooms – they fish, they look after siblings, they go to evening classes, they have collecting hobbies, they are masters at online games, they play the guitar… And the more we can do to bring these experiences into school, the better chance we have of honouring who our students are, what they are passionate about and what they are skilled and knowledgeable about.

Ways we can involve the interests of students:

  • Choice in assignments (what to write about, the theme of a project, etc.)
  • RAFT (Role, Audience, Format, Topic) Resources here: https://www.edutoolbox.org/rasp/840.
  • Conduct home visits and meet with students and their families
  • Have Show and Tell each Friday with different students presenting each time
  • Give open-ended projects where students can include their own ideas for products and exhibitions.

 

End Note: Personalisation, then, is basically about designing learning tasks and environments and classroom culture which optimise every student’s chances of success. It is both as simple and as difficult as that. And if the range of suggested ideas above seems daunting, remember two things:

  • Just as we need to know our learners well to optimise their learning, so we have to know ourselves — and what we feel confident about and where we need help.
  • Teaching is not an individual sport – or at least it shouldn’t be. Teaching with other teachers and/or with support assistants can create a context for dialogue. So, too, can the design and planning process, in which peer critique is as valuable for teachers as it is for students.

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?

Ron Berger: An Interview

15th December 2022Website Admin

Ron Berger: An Interview

 

Ron Berger is internationally recognised for his educational wisdom and insight. He was a public school teacher and master carpenter in his early career and those craft values now inform his educational leadership. He is Chief Academic Officer for Expeditionary Learning, which embraces over 300 schools across the United States, and he also teaches at Harvard Graduate School of Education.

This is the second instalment of our interview with Ron. He is a wonderful storyteller as well as a wise educator — might those things just be linked? Anyway, it is so rich that we are feeding it in small servings! Towards the end, he talks about a lovely project done by ten-year-olds. In the Resources for Teachers section, we have included a teaching guide to that project.   

Critique and multiple drafts

Rowan Eggar, Assistant Head: Curriculum & Assessment at Gesher

How can we best support kids to make critiquing and drafting a dynamic process, as opposed to them being basically annoyed because we are having to review again? So that’s my question: What ways are there to design drafting and critiquing so that you can get the best possible outcome for the students?

Ron Berger

Great question. I think the way I’m most known in the world is the Austin’s Butterfly video. And so people understand I am obsessed with kids polishing their work and doing multiple drafts, but it’s not easy, as you say. So, I can give a few reflections on that.

The first, I would say, is that it’s only useful to keep doing drafts if the work keeps improving, if kids can see improvement happening. After that, there is no need to make them do six drafts. There’s not a magic thing that says Austin did six drafts, so therefore everyone should do six drafts. Austin’s work actually kept getting better, and that’s why it made sense for him to keep pursuing that drafting process in the video. One of the things that we can see in the Austin’s Butterfly video is that Austin had a reason to do six drafts, which was, importantly, that there was an audience for that work that he really cared about.

The butterfly Austin drew went on a card. It was sold across the entire state of Idaho. Wow. And all that money was used for butterfly habitats. And so his drawing was supposed to be so good that people would be able to use it to identify the actual butterfly, which is a reason why his first draft wasn’t that useful because you couldn’t actually identify the butterfly from that draft. Some art teachers have critiqued me for making him do something that’s very mechanical but that’s because this isn’t an expressive art project. It’s a scientific illustration. And so there was a reason for him to care about getting it right. And the kids in the video also had that photograph that they were looking at. So they knew what it should look like and felt empowered to say, ‘I can see what’s different about your drawing from that photograph.’

There’s a couple of things to take away from that. One is just the motivational thing. When kids have a purpose for their work that’s beyond their classroom, a real social purpose, a purpose they care about, then they’re way more motivated to do more drafts. Is there a way that what they’re creating can be used for something that matters a lot to them and where they really want it to be good?

For example, I went into a first-grade classroom where kids were working on letters, writing letters, and they were Y2, second years in the US. And they were still working on some of the basics of capitalisation and punctuation and ending sentences and writing legibly. They were young kids, they were six and seven years old, but they had visited the local fire station where they had met firefighters. And so instead of doing practice, they were actually writing a personal letter of appreciation to each firefighter and each student was assigned a firefighter.

A second thing is, do they have a model of what good looks like? If they have, then they can give critique.

So, if I were assigned Loni to write to, I would think, oh my goodness, I’d better get this letter to be perfect because I’m writing to this woman, who’s a firefighter, who’s protecting us, and she’s going to put it up on her locker and look at it every day. I want it to be perfect. I want my lettering to be perfect. I want my punctuation to be perfect. I want my spelling to be perfect. And so there was not a lot of pressure to say to kids, ‘You have to do another draft.’ It was like, ‘I need to keep making it better.’

A second thing is, do they have a model of what good looks like? If they have, then they can give critique.

So if I’m working on my thank you letter for Loni as a firefighter, and Ali is a peer of mine and she has a model of a thank you letter that we’ve all looked at together, a really good one, she can say, ‘You know, Ron, yours doesn’t have this actually. And notice how this one has it.’ And so it’s easier for her to give critique. And it’s easier for me to think, ‘oh yeah, you’re right, I didn’t do this. I didn’t do that’. And I know that we are often, as a culture, afraid to give kids models because we think, oh, what if they copy? But I have an entirely different attitude towards that, which is that copying is how we learn. So if we, as adults, want to learn to do something new like play guitar or speak Danish or do yoga, what do we do?

We go to a class or we go online and we watch somebody do it, and we try to copy them. And then we get critiques about what we’re not doing. Right? And then we try to copy them again. And we keep trying to copy them. We don’t start by improvising, right? We start by watching how they do a yoga pose, listening to how they pronounce something, watching how they do a chord on the guitar. And then we copy it. And then we critique ourselves and we get critique from others.

Modelling is how all of us as adults learn. We should not be afraid to show kids models of what a good letter is, what a good maths solution is, what a good anything is and to agree together why it is good. And then that empowers the kids to critique each other.

So I think it makes sense that kids get frustrated because they feel like ‘I just wanna be done. And you’re just delaying.’ The dynamic is totally different when you feel that this is what we’re aiming for. It’s about giving kids more power over it, by it not being us, the ones telling them it’s not ready, but them being able to see themselves.

Rowan

Amazing. Thank you. That’s really helpful!

How do we know our children well enough to understand what is relevant or right for them?

Ron

Teaching is about relationships. If you want to draw the best out of each kid in your school, in your class, in your group, it’s really about knowing that kid. It’s knowing what they’re proud of, knowing what they’re worried about, knowing what motivates them, knowing where their heart is. And if you want to draw them out, you have to know when it’s okay to tease them and what you can tease them about as a way of showing that you love them.

It’s all about relationships, but that doesn’t mean that we have to individualise what every kid works on. I think that’s a mistake we make, thinking that knowing kids well and loving them and caring about them means that I have to have a totally different task for Rowan, for Loni, for Ali and for Charlotte because one’s interested in dogs and one’s interested in cats etc., so they can’t do the same task as it’s not their passion. I don’t believe that. I believe sometimes kids should be able to write about their passion, read about their passion, do projects about their passion. But I think there’s a side of all of us that wants to do some good for the world.

So, it’s not just a question of passion. It’s a question of if you’re a human, you also want to do something appreciative for others.

I’ll share another story, a project from year fives (10 or 11-year-olds) in Moscow, Idaho, another rural community in the United States. All the kids were brought to an animal shelter and each kid was paired with an animal. Now, this is not an animal that they’re going to be allowed to take home. Their parents are not going to say: ‘You can take this stray dog home or this stray cat. But the kids learned the story behind each animal. What do we know about this dog? What do we know about this cat, her past, what she likes, what she’s afraid of — what do you know?

So they learned the story of their animal. They took a picture of their animal and then they went back and they did a portrait, an artistic portrait of their animal based on the photograph they had. And they did many drafts because there was a real purpose for this. The purpose was that they wanted their animal to be adopted. Oh, wow. Then they wrote a poem about the story of that animal, what they had learned about that animal’s past. Then they took the artistic portrait they had drawn and they took the poem that they had written about the animal, both of which had gone through drafts and they made a poster of it and they laminated those posters and they put them up all over town.

Now, if you’re in the laundromat, and if you are in the motor vehicle registry where you get a driver’s licence, or you’re in the doctor’s waiting room, there are posters of all these animals with poems and portraits. And once those went up all over town, guess what, people started adopting those animals. Because how much can you look at these beautiful animals on these posters without thinking’ I’ve got to adopt that one right there’.

So there was a tremendous reason for kids to care about multiple drafts of their poems and multiple drafts of their drawings and to get critique from each other and from the teacher and from experts. But we didn’t have to think, oh, that’s not a kid who likes dogs, or that’s not a kid who likes cats, therefore we won’t bring her on this trip. We just assumed, correctly, that every kid would understand the human quality of ‘we can save these animals’ lives — if we’re really good at this.’

… my students would be so motivated by that project.

Rowan

Yes. Purpose and agency. I’m just thinking already, my students would be so motivated by that project. That sounds like a dream project. Absolutely amazing. Love it.

Ali Durban, Gesher Co-Founder

It also emphasises the connectedness to the real world which, especially for our students, makes learning much more tangible — rather than knowledge that floats around that doesn’t actually mean anything.

 

Editor’s Note

A Project Card to support this project has been included here in the Resources for Schools section.

How can a Life Skills Curriculum Support Children to Access Learning?

15th December 2022Website Admin

How can a Life Skills Curriculum Support Children to Access Learning?

Danielle Petar

‘More than just practising daily tasks…’ Gesher’s new life skills scheme

The idea of teaching life skills in schools as part of a young person’s education has been formalised since the late 1990s when the World Health Organisation (WHO) introduced its ten core life skills principles. They defined life skills as ‘a group of psychosocial competencies and interpersonal skills that help people make informed decisions, solve problems, think critically and creatively, communicate effectively, build healthy relationships, empathise with others, and cope with and manage their lives in a healthy and productive manner’. Before that, it was a core mission of the scouting movement (since the 1920s) and the Duke of Edinburgh’s Award (founded in 1956). We have long known that life skills are an essential thing to have. For specialist schools like Gesher, they are crucial to school success, future life chances and emotional well-being.

Despite this, what the student experience of life skills learning means for day-to-day teaching can be difficult to picture. Is it discrete individual lessons about part of the WHO’s definition? Is it traditional lessons like maths, literacy, and science which implicitly teach these skills? Is it practising skills that young people will need for daily life in their classrooms and beyond? Is it something which teachers teach, or should this learning be happening at home?

What the student experience of life skills learning really means for day-to-day teaching can be difficult to picture.

These are some of the problems that Gesher’s Inclusion Team, (Danielle Petar and Matt Summers), grappled with when they first set out to develop Gesher’s own life skills scheme at the start of 2020 — and they are sharing their experience in the hope that it will be of value to others. Two years on, this scheme, called Bridges: Foundation, has been launched to Gesher’s students and will shortly also be introduced to parents. In anticipation of this, we sat down with Danielle and Matt to find out more about the journey they went on to design the scheme as well as some of its features.

Setting Up The Scheme

‘The notion of creating something which meets all of the WHO definition of life skills was exciting but also rather daunting. In the first stage of the process, we looked at the four key areas in the Government’s ‘pathway to adulthood’ guide. These are employment; independent living; good health; and friendships, relationships and community. However, we quickly realised that we’d need some more focus and to break these down further’. After going through various combinations of themes, the team decided on eight child-friendly themes.

Within each of these themes, there are eleven badges for the students to work towards achieving. In the ‘My Home’ theme, for example, the badges range from ‘Clearing the Table’ to ‘Preparing for Social Occasions’. ‘While each badge is very different they are all designed to focus on developing creativity, critical thinking, problem-solving, decision-making, the ability to communicate and collaborate, as well as commitment to personal and social responsibility.’

The approach is driven by the student’s motivation to learn new skills,  explore their areas of interest and develop their independence, as well as encouraging them to think about their future. Therefore, they have some autonomy in choosing their badges.

‘We were also eager to ensure that the young people themselves were included in the design process and it’s safe to say their feedback was refreshingly honest… It ultimately had a huge impact on the way the scheme looks from a visual perspective. Given that it’s the young people themselves who will be using the scheme, this is exactly what we wanted.’

The final stakeholder group that Danielle and Matt sought views from while in that crucial design phase was parents from the Gesher community. ‘The scheme was designed as an exciting journey that would foster a partnership between home and school, with students completing badges both at home and at school. As parents were going to be a vital part in implementing it, then it was equally important to get their input in the design process.’

Taking Ownership

The design of the Bridges scheme was very much focused on ensuring that students can take ownership of their learning. Within each life skill, there are four ‘steps’ to achieve along their journey that reflect an increasing level of independence and in this way students can see their progress.

As you journey through the different life skills badges, there are different steps along the way that you can take; each step leading you to be more independent.

 

 

 

Each step has a number of success criteria provided, which are visible and accessible to students. These were created by extensive research from the Inclusion team and in consultation with a wealth of other educational professionals (Occupational Therapists, Speech and Language Therapists, Educational Psychologists, Art Therapists, Teachers, Teaching Assistants and Dramatherapists).

The different steps are not age-related but rather based on a child’s own stage of development at any given time. Both the approach and the journey navigation are highly personalised.

‘Unlike the way that learning is normally structured, both the approach and the journey navigation are highly personalised. The different steps are not age-related but rather based on a child’s own stage of development at any given time and based on their individual skills and needs. We did this to reflect the fact that a young person’s journey to adulthood is not linear and they will navigate their own winding path.’ Put another way, both the approach and the journey navigation are highly personalised.

Beyond Practising Daily Skills and Student Ownership

Unlike more traditional life skills schemes, Gesher’s reach is broader in terms of the themes it covers and has a greater focus on softer skills like decision-making and critical thinking. ‘We wanted the scheme to be aspirational, more than a means by which to practise daily tasks.’ This is evident in the inclusion of themes like ‘My Imagination’ and ‘My World’, which encompass skills like ‘Making a gift’ and ‘Learning about a religion’.

This breadth means that young people don’t just work on their life skills badges in the classroom but in a home context as well. ‘The success criteria for each level have been designed to include language that is accessible for students as well as the adults in their lives.’ To further promote this, students work on a minimum of three badges at a time. The idea is that one is chosen by their teacher to work on in the classroom and relates to their project-based learning; one is chosen alongside the adults at home; while the last is selected by the young people themselves. This badge they will work on both at home and at school. ‘Obtaining these badges at home and at school should be both meaningful and fun and will hopefully open up new experiences for students as they navigate their own journeys to adulthood. It’s also important to say that there is no limit on how many badges a student can be working on at any one time. The scheme is designed to give them the opportunity to explore and to be ambitious.’

Hiding in Plain Sight

The eight themes ensure that the life skills curriculum is incorporated across the school from the Early Years class to the students in Year 8. This will allow students to become familiar with the skills they need for adulthood as early as possible in their education journey. Each class has one discrete life skills session a week where they work on their chosen badges. This is led by the school’s ‘life skills champion’ and the class teacher. In addition, for students at Gesher who are less likely to graduate with traditional academic qualifications such as GCSE and may follow a more vocational route, life skills sessions are taught daily in small groups.

As well as this dedicated time, the school’s holistic approach to learning means that badges can be worked on during students’ therapy sessions or in-class sessions through project-based learning. What will be obvious is that the approach (student ownership, personalisation, real-world tasks, school and community, etc) has many features in common with the project-based learning approach to the wider curriculum.

Next Steps

Whilst the Bridges scheme is very much underway, it will evolve and the team is already planning to create further resources to support the teaching of each life skill. They are also in the process of creating the next stage of the scheme, Bridges: For Life. This will expand on the four areas of preparing for adulthood and ensure that the students build on the life skills they’ve already developed through the Foundations scheme. This article offers a window into an important aspect of our work, one of which we are proud — both the scheme itself and the process through which it was developed. If you want to know more, please contact Gesher.

Legacy

Gesher is both privileged and humbled that this scheme has been made possible by working in collaboration with the Daniels family in order to honour the extraordinary life of Sonya Daniels, their wife, mother and grandmother.

 

Professional Prompt Questions

  • We all know how important life skills are for young people. How well established is (a) your curriculum for life skills; (b) your assessment processes?

  • In particular, how coherent is your life skills work with SEND youngsters?

  • Does the idea of badges have any merit for you?

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/

World Cafe

15th December 2022Website Admin

World Cafe

World Cafe is a protocol to discuss a ‘Question that Matters’.

This is what it says it is – a key question that matters to participants.

The Basic Format or Protocol

  • Groups sit at round tables, where all participants have a felt-tipped pen
  • One person, who has been briefed, hosts and facilitates the conversation and stays at that table throughout
  • Each group discusses and attempts to answer the ‘Question that Matters’ posed by the host – they come up with ideas
  • In the first round, each group has a blank paper tablecloth or flip-chart paper in front of them  They engage with the question and make notes or jottings or diagrams on the tablecloth that record key issues that emerge in the discussion. It can be either the speaker who writes down their own point, another table member who does so, or both – the important thing is those good ideas find their way onto the tablecloth. An alternative is to have a scribe as well as a facilitator.
  • Tables rotate after a set amount of time (15 or 20 minutes)
  • The host stays at the table. He/she welcomes the new group, repeats the ‘Question that Matters’ and shares the essence of the previous conversation, the insights that have started to emerge — where the previous group got to. That might include the beginnings of some categorisation of issues or lines drawn between points. (No more than 3- 5 minutes.)
  • The new discussion then builds from the previous conversation(s)
  • With each new rotation, the room might also be asked to consider a particular aspect of the question:
    • Within that question, what about x?
    • Who do you think is best placed to do this work and why and how?
    • What key recommendations would you make?

Key Protocol Rules

  • Keep introductions short
  • Everyone should contribute – all voices matter
  • Everyone has the right to write on the tablecloth.

Feedback At The End – From The Table Hosts

Avoid ‘This is what was said on this table’. Better is ‘The four key things that I would synthesise from this table…’ or ‘The most original two ideas that emerged on this table were…’

This group feedback can be publicly recorded, in writing or graphically.

Humane Society of Palouse

15th December 2022Website Admin
Editor’s Note: This project was the project mentioned in Ron Berger’s Interview.
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The fourth-grade crew at Palouse Prairie Charter School hosted an evening of art, poetry, and inspiration to benefit the Humane Society of the Palouse (HSOP). At this Celebration of Learning, students presented their final product for the EL Education curriculum “Poetry, Poets, and Becoming Writers” (ELA, Grade 4, Module1). For this module, students read Sharon Creech’s free verse novel Love That Dog and studied the art of poetry along with Jack, the main character who is inspired to write poetry about the dog that he adopts from an animal shelter. As a crew, they were inspired to “adopt” animals from their local Humane Society, make coloured pencil sketches of them, and write poems in their voices to inspire others to adopt animals.

Students engaged in fieldwork at the HSOP to learn about the organisation’s mission, meet all of the animals in need of adoption, choose an animal to “adopt” for their project, and hear stories about the animals’ lives to inspire their work. Several experts helped students study and practice the arts of poetic writing, coloured pencil sketching, and poetic reading. Experts helped students develop a poetry and artist’s toolbox, both of which we turned into co-created criteria lists for high-quality work. This work clearly reflects students’ attention to craftsmanship and responsibility for their learning.

At the fundraising event, students read their poems, displayed their art, and sold posters and greeting cards showcasing their work. The crew raised $942 for the Humane Society of the Palouse and was awarded a “Humane Society Hero Award” for their extraordinary work of service and compassion to promote our local organisation and inspire the adoption of animals who dearly need a home.

Teacher Reflection

  • Beautiful high-quality drawings that draw the reader in
  • Shows a project that could be replicated at different grade levels in both rural and urban settings
  • Inspirational model of a project that involves service work
  • Excellent idea for a fundraiser for a nonprofit organisation.
View all project cards

Here Now, Gone Tomorrow

15th December 2022Website Admin
With thanks to High Tech High for allowing us to share their student’s beautiful work.
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As a collaborative project between the Chula Vista and North County campuses, students created and published a children’s book detailing their chosen endangered species challenged with the impacts of climate change. Students created a watercolor illustration of their endangered species which was included in the children’s book. Our created children’s book is now being used to help educate other students and the public, on how human impact has become problematic for our wildlife. This project was aligned with the Next Generation Science Standards.

Teacher Reflection

This was such an impactful project dealing with a very important issue, not only in our country, but worldwide. Students were able to be scientists, researchers, artists all in one through this project. To have the students create their own learning around this issue by exploring this phenomena really allowed for them to want to become activists. Also, the cross-school collaboration allowed for our schools to come together. We feel literacy is very important and we wanted to find a fun way to incorporate it in a math and science classroom. We saw students step out of their comfort zone, and we teachers did too. We had no experience using watercolors, and it was great learning experience, which we shared with our students.

Student Reflection

I feel good about helping the earth, because now I know ways to save the environment in the future.

—Rishi

I didn’t know I could paint. My animal looks really cool!

—Leo

The best part was seeing my book on a website. People can buy it and my name is there.

—Illeana

To see or purchase the book, visit http://www.blurb.com/b/7640975-here-now-gone-tomorrow

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