Wednesday, November 25, 2020

Structured Literacy with Caroline 26/11

Sound Wall:

  • sounds with words
  • vowels (all 22) with macrons and breves in a particular order which match the shape of your mouth (see Redcliff's Wall), from wide ē through to very small and narrow ū, displayed in a 'Vowel Valley"
  • also, note the schwa (Hebrew for 'empty)
Orthographic Mapping:
  • sounds --> blending/segmenting --> 'sit' s..i..t (but children often continue to segment and then blend over time, long after you would expect them to recognise by sight a word that they've been exposed to on multiple occasions); on average, we should gain sight words by seeing them from between 1 and 4 times, but these children don't have strong phonemic awareness - when playing sound swap they are the ones who struggle because the sounds actually don't hold any meaning to them yet. 
  • Because they don't have those sounds, they can't pin a letter (grapheme) to a sound (at this point C. showed us her 'tubes' - like finger puppets - with the letters written on them... 's', 'i', 't') 
  • We need to teach phonemic awareness really really well. It goes further than just: initial phoneme, final phoneme, medial vowel, and, e.g., to more advanced phonemic awareness, like "what's 'nose' backwards?" Zone.



Sunday, October 4, 2020

Play and the Learning Environment

 Link

TKI: Learning Through Play: What's It All About?

The 15 Best Activities For Children to Learn Through Play

Learning Through Play in the Early Years

Thinking about some of the essential resources and activities which we should have on permanent offer for the children in our Learning Through Play programme in the Koru team...

The following is taken from sitters.co.uk:

  • Sand
  • Water
  • Playdough
  • Dress Ups and Role Play
  • Dolls and mini-figures
  • Drawing and painting
  • Blocks
  • Music and Dance
  • Imaginative play
  • Running, Jumping, Climbing, Swinging
  • Play outside in nature
  • Sensory play
  • Board Games?
  • Cooking and pretend cooking (potions)
  • The cardboard box!
...and these ideas from nicurriculum.org.uk:
  • dramatic play
  • sand play
  • water play
  • dough and clay play
  • table top play
  • small world play
  • construction play
  • creative play

Saturday, October 3, 2020

Sarah's feedback, following her observations in the Koru team 16/09/2020

 Positives noticed by Sarah:

  • We have a dynamic environment with many different places in which children are able to play, and we are not battling with desks being in the way.

Points to note:

  • Watch the play, and exactly when to step in

  • Note that your assessment of play is the observation and the noticing. It is the tool to assess the LTP

  • Sarah will give us a template as a scaffold into what to look for. Temporary tool. 

  • Notice, recognise, respond

  • Sometimes to respond, is not to respond. This is a good look!

  • At Beckenham, we have strong indoor play

  • Outdoor play is going to be our next step

  • Use the community once we have outdoor resourcing 

  • Outdoors, we will see sides of the children that we don’t see inside

  • Next step - looking at specific teacher behaviours in play. We are ready for this.


Environment - we have got this. This is ongoing for resourcing. We have got the setup.

Timetable - going well with a good rhythm.

Teaching the theory of play - step in/back, direct, observe what unfolds.

Being intentional, and planned for teaching the social behaviours. Explicit teaching in behaviour and practice in play. Acknowledge this in the play (social commenting).

Work at class-based or team level. Over the course of the week, nothing dealing with, e.g., taking, and we would then create a plan for the following week. We are all going to learn to share, what might this look like, how are we going to deal with ‘no’, etc.

Have this after morning tea, e.g., Sesame Street has good clips on social problems. Use these for what we might do…. Get a shared understanding as a group. The key is to give a chance to practise then and there, e.g., practice the phrase “Can I join your game, please?”

This can be used with social problem-solving.

This age - it’s a problem - that triggers a logical, step approach to dealing with it.

Socio-dramatic play taking in data. When to drop it - how to do it, the language we use. It’s crucial to use positive feedback, as opposed to questioning.

It’s ok to leave and come back to it later.

Say, “I noticed…”

Play not sure about going in to is the one not to go in. Go back to it later - I noticed??


Assessment:

Once we have accepted that observation is our assessment tool, it’s important to make time for that observation. It’s ok during the week to take photos, record the student voice, the story of the play.

Narrative assessment is the only way.

It can be presented in various ways - for individual children, small or large groups of children...

Two individual assessments per child a term would be achievable and appropriate.

The way to start this would be to practise taking photos and then to start to make links to the curriculum. 

This will affirm that rich learning is going on and will validate what is taking place in the play.

A copy of the curriculum can be laminated and used to show coverage of the various AOs.

The important thing is that the children have been exposed to the curriculum and that this is what happened, or not.

The KCs can be tied into the curriculum areas.

Using an overall sheet, any gaps can then be used to investigate provocations.


Planning

Is planning to respond?


Assessment data - notice the urges that children are displaying first. That’s in line with…. “What can I do with this environment for planning for play?”

Interests.

Types of play language, explorative, inside, etc.


Once we have got our data, we can then look at our invitations to play. We should have our core resources (what are these going to be?), and then provide 1-2 invitations which will be specific to what we are seeing.

Planning is more how to resource the play until that play dies a natural death.


We should be gifting our kids language during their play. The language can and should be specific to particular areas of the curriculum and can be quite advanced and challenging for the children, e.g., in experimenting and playing with ramps, the children should be hearing us use words like momentum, forces, weight, rate of speed, etc.


Solitary or parallel players - these children need to be supported as you would a toddler in a playgroup.


Thursday, September 17, 2020

Learning Through Play with Sarah Aiono 16/09/2020

 The Role of the Teacher

"If they're playing, what do I do?" (this is what Sarah's research is about)

What is constructivism?

  • a theory about learning 
  • a theory about how we learn (rather than about teaching)
  • it's about constructing knowledge not about how we receive it
  • think of a brick wall (each will look different); is this the right brick, right size, right shape, will it adhere to the other bricks, for my wall?
  • it's about understanding and applying rather than repeating back
  • active, not passive; active thinking, not passive thinking; we mustn't do the thinking for our children
Play is constructivist by its very nature. Play is how we make sense of our world. The free play 'life style' is very rare these days, where there are no adults present (e.g., building huts down at the Scenic Reserve).
Intentional Teaching as opposed to Free Play.

Primarily, play is:
  • self-chosen and self-directed
  • process rather than product-driven (what are you thinking rather than what are you doing? need to move away from arts and crafts, to I wonder what you are going to do with that when you've finished?); we don't want our children to be performance-driven
  • contains structures or rules established by the players themselves: softball example in the school grounds opposite school where a neighbourhood softball game can take place with negotiable rules; there's a big difference between play and sport
  • imaginative, non-literal and removed from reality: it puts children up into the prefrontal cortex area of their brains - complex executive functioning skills are developing during this type of play (e.g., February deco dress ups in Napier)
  • occurs between those who are active (not hyperactive), alert (ready for learning) and non-stressed (adjust expectations for play for the children who are in a stressed, fight or flight state).
If we have the above then we know that learning is happening.

What is Creativity?
Play shows us creative thinking more than you will ever see in traditional classrooms. We need to look for it more, and celebrate it. 'Practising' creativity leads to positive self-identity as a learner.

N.B., the Piaget's Cognitive Developmental Stages handout.
On the whole, our wee ones will be in the Pre-operational cognitive stage.
Sensory Stage: things go into the mouth at this stage
Pre-op: 3 years to 7 years (most critical at this stage is language development); incredibly egocentric at this stage; restorative practice doesn't work at this stage; 
Concrete operational: 7 years to 12 years
Beyond that, Formal operational, but children will revert if they're tired, hungry, etc.

The Importance of a Developmental Approach:
  • LTP environments reflect a dev approp response to students learning needs
  • research identifies a fundamental need for Ss to learn through play defined as 3-7 years
  • children same chronological age cand ve at very different stages socially, emotionally, and developmentally
  • some children pre-op intermix fantasy and reality; unable to understand the rules of the game or temperamentally cannot wait and take turns
  • others in the concrete operational stage are obsessed by the rules finding it difficult to see others perspectives or think flexibly outside the rules for creative thought.
The Environment as the Third Teacher:
We gather assessment data through observation.
The second most important thing in a classroom is the environment. We might manipulate the environment to ensure that children can explore further. ur resourcing in play is absolutely critical. 

Loose Parts:
  • never underestimate the value of these
  • particularly large loose parts in the outdoors
  • they're really important to get creative going
  • critical to have large and small loose parts
  • when hunting for loose parts, don't prethink what the various parts might be used for
  • loose parts need to be as real as possible (they need real teasets for example... ones that break; real hand tools, etc. This is how children learn to respect)
  • the loose parts themselves don't change (no matter the age of the child), just how they will be used)
  • the example of filling, pouring and tipping (the marbles and on to the 'chocolate milk'
  • view the scrapstore playpod video; great ideas for storage
The Urges:
We know all about them but how much or often do we provide resources to support them in their urges. Play, within particular urges, helps us to make sense of our world.
Children have no idea about their urges! They just do what feels good. It's a biological wiring. Each of the urges relates directly to survival. We don't need to catch fish or build shelters any more, but we're still programmed to display these urges. The urges guide our decisions as to what we have in our rooms. From there we see play, and from there we see the curriculum.
Observe the urges first.
Note, the handout on: if your child is doing this, then they're displaying this urge.
Functional Types of Play:
  • Physical
  • Language
  • Exploratory
  • Constructive - the building of things as well as ideas
  • Fantasy/socio-dramatic - this is one of the highest forms of play
  • Social play - look out for the art of conceding!
Most play that children engage in is exploratory.

How to be more intentional...?
  • teaching through play and instructional teaching opportunities - how to find that balance; this is an art - achieving an appropriate balance between direct instruction and self-directed exploratory learning
  • we have been trained to question children to the point of interrogation; this is a habit we have to break; questioning breaks the flow of creativity and asks them to perform and give an answer
  • instead, commenting is more effective in teaching; this is called descriptive commentary
  • a child can be supported in play by a more knowledgable other, adult or child (Vygotsky)
  • we need to remember to give more wait time; we tend to give only 2 seconds and to then answer the question we asked ourselves! Wait, wait, wait (remember Jeremy and his Maths assessment).
See the Integrated, responsive model of teacher-child play interactions handout.
Note that you don't have to be in every child's play. The flowchart helps to know where you need to be. 
Responding to your learners (see Sarah's handout):
  • teacher assessment of play
  • teacher teaching through play
  • teacher planning of the play
  • teacher resourcing of the play
Repetitive play is OK, but only if it's not actually avoidance. Note that a lot of girls will sit in very low-level play, like colouring. How do we recognise this and then help to develop the play, by taking risks? The teacher might come in beside and parallel play with the child and support them to join in with other games and play.

Pennie Brownlee's list of urges.
Mitchel Resnick, The Lifelong Kindergarten
Peter Grey, The Decline of Play and the Rise of Mental Disorders, TED Talk
Sarah's shared documents stored in Longworth PD 16/17 September2020 on Google Drive.

Jo's notes from the feedback meeting with Sarah
Teacher Tom's Blogpost: He Didn't Like to Get Dirty

Wednesday, May 13, 2020

Guidelines for Induction and Mentoring and Mentor Teachers

The Guidelines provide a shift away from a view of induction as ‘advice and guidance’ to one of skilled facilitation of ‘learning conversations’ focusing on evidence of teachers’ practice. Rather than just providing ‘advice’ and emotional support, the mentor teachers co-construct professional learning, where often the learning is reciprocal.


Newly graduated teachers need high quality and well-structured induction in order to:
  • become accomplished and effective teachers who can improve the learning outcomes of diverse ākonga
  • progressively demonstrate that they meet the Registered Teacher Criteria
  • be able to contribute fresh ideas and approaches that rejuvenate teaching workplaces
  • build a strong foundation of self-reflection and on-going professional learning
  • enjoy teaching and stay a positive member of the profession.

WHAT MAKES A GOOD INDUCTION PROGRAMME?

An induction and mentoring programme may look different depending on the context and setting, school, early childhood or kura and whether it is urban, rural, large, small, isolated, part of a cluster etc. There are some essential features that should be included when developing effective induction programmes for Tōmua teachers. Induction and mentoring programmes should:
  • be tailored to individual needs and agreed with the Tōmua teacher, mentor teacher and professional leader;
  • include regular observations of teaching practice and opportunities for the teacher to observe their colleagues, including the mentor teacher;
  • have time for ‘learning conversations' where the mentor provides feedback and facilitates critical reflection by the teacher on their practice;
  • be part of wider professional development and learning available to all staff;
  • include access to external networks and professional development opportunities;
  • provide opportunities to use the Standards | Ngā Paerewa in evidence-based conversations that demonstrate the teacher’s progress towards meeting these;
  • be resourced appropriately and meet the contractual obligations of the employer; and
  • have a record documenting professional discussions, observations and feedback, critical reflections on information and data by the teacher and any other professional development.

Key Principles for a high quality induction and mentoring programme:

High Quality Induction:

  • needs to be comprehensive, educative and evaluative
Comprehensive means:
  • welcoming and introducing a new teacher to the context in which they will work
  • on-going professional development and support from a range of sources
  • access to external professional networks
  • high quality educative mentoring
  • standards-based, evidence informed evaluations of professional practice against the Registered Teacher Criteria.
A comprehensive induction programme should not be the responsibility of one or two people acting in isolation. Instead it requires employers, leaders, the school, kura or ECE professional learning community, and the wider profession to be engaged.
Educative means:
...induction should be focused on enabling PRTs to be exposed to, learn and practise the particular skills, attitudes and attributes they need to become accomplished, fully registered teachers who can improve the learning outcomes of diverse ākonga.
Evaluative means:
providing opportunity for formative and progressive feedback to the PRT on their professional learning as well as leading to a final assessment as to whether the PRT is ready to gain full registration. 
  • Records must be kept of what activities occur as part of the induction programme, what feedback and support has been provided to the PRT and what the PRT’s own reflection and learning has been.
  • Records must also be kept of evidence of the PRT’s progress towards meeting the Registered Teacher Criteria. When an application for full registration is received, the Council will be seeking evidence of both the above elements i.e. that the PRT has undertaken an appropriate induction programme and that the PRT has been assessed as having met all of the Registered Teacher Criteria.

High Quality Mentoring:

  • educative and based upon a relationship of trust and collegiality
A high quality mentoring programme is relationship-based, focused on educative mentoring, and resourced and recognised.
Relationship-based means:
  • A mentor should be able to work comfortably and supportively in a co-constructive relationship with the PRT
Focused on Educative Mentoring means:
  • dedicating time to guide, support, give feedback and facilitate evidence-informed, reflective learning conversations
  • the mentor is playing a highly skilled and highly valued role
Resourced and Recognised means:
  • mentor teachers need support and dedicated time and PD to fulfil the role (more than) adequately.

Essential components of a programme for support of PRTs:


  • Commitment to the Vision Statement: how will it be interpreted and applied within our context, and how will we show we are committed to it?
  • Institutional Commitment and Leadership for the Programme: structural support including dedicated time provided for the mentoring and other PD; the learning community embraces families and other professional colleagues; and work conditions should recognise the PRT's novice status
  • Quality Mentoring is a Central Component: mentors need high quality PD, support and dedicated time to carry out the role; the PRT will be supported to access learning from the wider learning community, including observations and structured PD
  • The programme is based on the Registered Teacher Criteria to guide the learning and formative feedback to the teacher: shared understanding of the characteristics of the RTC
  • The programme is focused on the daily practice of PRTs with their ākonga: the programme is focused on the daily practice of PRTs with their ākonga, ---> systematic reflection ---> learning; focus on individual needs and aspirations, reciprocal relationship --> PRT to take increasing responsibility for identifying own next steps for professional learning.
  • The programme will provide the support and processes needed so the PRT can move towards gaining full registration: formal documentation of the induction programme and documentation of evidence of the teacher’s progress towards achievement of full registration (including the Registered Teacher Criteria.)

Expectations of Mentor Teachers:

Vision Statement for Mentoring of PRTs
An effective mentor is a reflective practitioner focused on inquiry into their own and others' professional practice and learning - based on a clear understanding of outstanding teaching. 
An effective mentor has a significant educative leadership role, dedicated to growing the professional capability of the colleagues they support.
An effective mentor has a sound knowledge and skill base for their role and can establish respectful and effective mentoring relationships.
An effective mentor does not work in isolation.  Mentors can only be effective if they are providing mentoring as part of a comprehensive induction programme and are well supported by their employer, professional leader, and professional learning community. 
The required key skills, knowledge and attributes and the professional learning and development needed by mentor teachers to fulfil this role adequately:

The role of a mentor of a PRT includes:

  • providing support to the PRT in their new role as a teacher with full responsibility for their ākonga
  • demonstrating effective teaching
  • facilitating learning conversations with the PRT that challenge and support them to use evidence to develop teaching strengths
  • assisting the PRT to plan effective learning programmes
  • observing the PRT and providing feedback against specific criteria and facilitating the PRTs ability to reflect on that feedback
  • assisting the PRT to gather and analyse ākonga learning data in order to inform next steps / different approaches in their teaching
  • guiding the PRT towards professional leadership practices that support learning in the unique socio-cultural contexts of Aotearoa New Zealand
  • supporting the PRT to become part of the wider learning community
  • providing formal assessment of the PRT’s progress in relation to the Registered Teacher Criteria
  • suggesting suitable professional development for the PRT
  • advocating for the PRT if needed, particularly in relation to accessing high quality induction and mentoring
  • listening to and helping the PRT to solve problems.
Key areas of knowledge, skills and dispositions needed for high quality mentoring:
Mentors know about teachers, teaching and teacher learning
  • contextual knowledge about Sophie's cultural background; pedagogy; knowledge of the teaching system, the education system, and the RTCs; leadership and change management
Mentors know about ākonga and learning, knowledge such as:

  • contextual knowledge of the ākonga the PRT is teaching, including cultural background of individuals and of the communities the ākonga are from
  • pedagogical content knowledge relating to curriculum area/s
  • research into learning e.g. Best Evidence Synthesis reports from MoE
  • collection and interpretation of evidence of learning
Mentors are able to use mentoring skills and dispositions, such as the ability to
  • facilitate constructive but challenging professional conversations with PRTs and maintain their enthusiasm
  • demonstrate for the PRT effective teaching for diverse ākonga
  • use effective observation skills and strategies
  • analyse and reflect on evidence of learning
  • negotiate and advocate on behalf of the teacher
  • demonstrate professional leadership and understanding of the potentiality of effective teaching to influence equitable outcomes for ākonga
  • provide and/or seek cultural advice to support development of te reo me ona tikanga

            Wednesday, November 13, 2019

            DMIC observation by Monique 13 November 2019

            Monique's feedback:
            In the case of unfocussed behaviour, remind children of the norms. Remind them about the story - give them something, like 'draw 4 tents.'
            Try not to preload too much during the launch.  Resist sharing a strategy at this point.
            Use the time to notice and give social coaching.
            Raising the status/mana is crucial.
            Who is over participating and who is under participating? How to redress the balance? e.g., physically give the pencil to the other buddy, or do some social coaching (e.g., Savannah and Skye)

            Share (scaffold from simplest to more complex)
            • start with materials or a picture first 
            • repeated addition and
            • skip counting
            • multiplication
            • always if there's someone who isn't much of a participator if they've done anything give it 'ari time' to raise their status
            Connect (teaching at the end):
            • Compare strategies (same different), e.g., repeated addition vs. Multiplication
            • Address any misconceptions/confusions
            • Do a generalization, e.g., a big understanding like when adding the numbers will always get bigger and when subtracting the answer will always be smaller
            • Teach them something new
            Choose one of these and do this at the planning stage. Plan something for each but at the connect stage, choose the one which is most appropriate.

            What's going well:

            • The use of the Talk Moves
            • The children's use of the Norms and their routines
            • Good level of challenge in the problem
            • The children are being prompted to ask if they don't know or understand, e.g., "Pause, please. Can you repeat because I don't understand."
            • Children selected the best materials themselves

            But try to make the problems really appropriate and relatable. This helps the children realise the Maths doesn't just happen at school.

            Literacy PD 22 June 2021

              Dyslexia and Cognitive Load : Overview: Ashraf Samsudin; Mandy Nayton both spoke at the Sounds-Write Symposium 2021 which Lisa 'attend...