Overview of an English Unit

Refining English Units to Improve Literacy and Learning

English teachers, perhaps more than other teachers, are responsible for helping

students become literate citizens in Australian society. Indeed, the United Nations

mandates that all people have a right to literacy, defining a literate person as someone who

has acquired the essential knowledge and skills which enable him to engage in effective

functioning in his group and community (as cited in Anstey & Bull, 2004, p. 10).

Significantly, in terms of education, NSW also defines literacy broadly, so that it includes

communication and participation in society not just reading and writing (Snyder, 2008).

Additionally, government literacy policy advises that all Australians should develop

and maintain a level of spoken and written English which is appropriate for a range of

contexts, with the support of education and training programs addressing their diverse

learning needs (Dawkins, 1991, p. 4). Fulfilling this requirement is a particular challenge

for the NSW Bridgeport High School English teacher in 8C, because students have diverse

abilities and many students struggle with reading and writing. This said, the broad

definition of literacy offers an opportunity for teachers to focus on the communication and

participation aspects of literacy, at least initially.

With this in mind, the Storyteller and the Story lesson sequence has been refined to

meet the needs of specific students and improve the literacy outcomes of the unit.

Focussing on lessons 3 and 4 as prototypes for revising the whole sequence, three strategic

changes have been made to strengthen student learning and literacy. These changes are

focussed around making learning more significant, more practical and more differentiated.

This paper will discuss these changes in the light of contemporary research and judge the

quality of these changes (Ladwig, 2009) using the pedagogical lenses of the NSW Quality

Teaching model.

1. Making the learning more authentic

More relevant content

In lessons 3 and 4 a higher level of significance has been achieved because the

lessons draw on the Background Knowledge of the students and the texts are more

connected to their lives. For instance, at the start of the lesson 3, an interesting YouTube

clip of Benedict Cumberbatch voice acting Smaug the dragon presents students with a

contemporary expert while also strengthening Knowledge Integration by connecting the

focus of the lesson (storytelling) to the real world of acting. Lesson 3 also integrates

student Background Knowledge of sport and Harry Potter which supports outcome EN4-

3B. It is significant that teachers tap into students interests, and this class has a high

number of students who like sport and fantasy. By providing students with a contemporary

sport story as well as J.K Rowlings The Three Brothers, the teacher has a better chance of

maintaining interest in meaningful, contextualised and authentic ways (EN4-3B).

This is in line with Krauses suggestion that literacies in the classroom should

connect to the world outside if they are to be useful (2015). Importantly, this activity now

has far more significance for Daniel, Nathan, Junior and Tenille, because it draws on the

element of Inclusivity in an attempt to involve all students, connecting to students out-of-

school backgrounds, [and] recognising the rich and diverse array of experiences students

bring with them (Gore, 2007, p. 24). It is a well-known fact that ATSI students like

Tennille are regularly absent and disconnected from school processes (Sikora & Biddle,

2015), and that this is partly due to a privileging of white and middle class ways of

knowing and being (Keddie, 2012, p. 267). Importantly, the refined lessons give students

like Tennille more real (Mullins, Lawson, & Mootz, n.d, p. 12) reasons to engage. For

instance, telling a sports story verbally could be a good start to making learning more

relevant for Tenille.

Another key part of this strategy is that Cultural Knowledge is strengthened by

removing negative criticism from the lesson. Because the focus is on Engagement, Tennille

should not be penalised or teased for using grammar incorrectly when sharing her

analyses out loud. Researchers such as Eades (1993) urge that respecting, valuing and

understanding Aboriginal ways of using English is a significant step in respecting, valuing

and understanding the identity and self-esteem of these children (p. 6). This is an ongoing

challenge for the English teacher, because there is some level of inherent conflict between

preparing students for a predominantly white Australian society while also wanting to

respect and empower other cultural understandings.

An authentic storytelling environment

Giving the students an opportunity to perform a story for the class (lesson 3) is much

more significant than filling an organiser with written definitions of what makes a good

story. This new activity supports lesson outcomes EN4-1A, EN4-3B and EN4-4B as it

gives students experience in using metalanguage to discuss how the aesthetics of

storytelling shape meaning. It also gives students an opportunity to recognise the power of

language in communicating ideas, feelings and views.

The Story Showcase activity in lesson 4 (see Appendix B) also raises the authenticity

(Reeves, 2011) of the learning sequence because students know that samples of their work

will be on display in the Library for the Story Week exhibition. This real world

Connectedness increases students commitment to producing good work (Gore, 2007, p.

25) because motivation to learn is strengthened in a learning environment that is situated

and holistic, and moves beyond specific tasks and functions (Wilhelm, 2006, p. 58).

Furthermore, allowing students to choose their own story to analyse should promote

ownership and raise the personal significance of the task as Student Direction has been

increased. This also strengthens outcome EN4-2A, engaging students in a range of tasks.

2. Making the learning more practical

Verbal tasks

Deep Understanding has been increased through practical, hands on (Hanlen,

2010) engagement with performing and critiquing stories. Because Junior and Daniel can

barely read, and Kenny, Nathan, Taylor, Mark and Tennille all have below average reading

and writing skills, verbal tasks have been increased to strengthen Engagement. This is

because these students often have different reading needs (Winch, 2007, p. 54) and little

motivation to read in the first place (Wooley and Hay, 2007).

Furthermore, research has shown that one way to start motivating these students is to

draw on what they can do (Bailey, 2009). Accordingly, lessons 3 and 4 feature more verbal

discussions and the formative assessment tasks in the Showcase activities give students the

option to record audio as well as write. This reflects Department of Employment,

Education, Training and Youth Affairs (DEETYA) research which recommends that

students with poor literacy benefit from practical activities where they experience success

easily (DEETYA, 1999, p. 16). For this reason, the Wikipedia research activity has been

replaced with the Showcase activities because they are less abstract and rely more on

listening and speaking than reading.

This is not to diminish the importance of reading or writing, but to recognise that

alternative modes of learning can make a good starting point for Engagement (Callow,

2010). Nevertheless, according to Howard (2009), mastering verbal communication should

be a priority in education, since students who can speak well are less likely to repeat a

grade or drop out of school (p. 4). Indeed, this focus on verbal literacy clearly increases

Substantive Communication and verbal Metalanguage, because students are directly

engaging with verbal analysis, elaborating on their responses (Gore, 2007, p.21) and

drawing on specialist language to discuss the elements of storytelling. Thus, strengthening

verbal literacy has not diminishing learning, because students are still engaged with the

learning outcomes of the unit. Rather, a verbal emphasis consolidates Deep Understanding

by engaging students in activities that require them to apply knowledge (p. 19).

According to Nuthall, these practical experiences are crucial for learning because

students require three or four experiences involving interaction with relevant information

for a new knowledge construct to be created in working memory (as cited in Hattie, 2009,

p. 242). Thus, the verbal interactivity that has been introduced into this sequence will

facilitate enduring understanding because information which is actively engaged with is

easier to recall (Willingham, 2011).

Dramatic Pedagogy

Importantly, the new focus on practical learning in the sequence encourages students

to perform as expert storytellers. This incorporation of dramatic pedagogy (Neelands,

1992) into student learning has the potential to produce deep understanding and higher

order thinking, learning that is holistic and experiential, not just cognitive (O'Toole,

Stinson, & Moore, 2009, p. 97). Significantly, research reveals that teaching English

through dramatic pedagogy can greatly improve literacy outcomes (Pitfield, 2013), because

physical enactment or embodiment of an idea or event, to visual and then written

representation, extends and develops childrens neural circuitry. Storytelling

[emphasis added] and imaginative writing have been shown to be greatly enhanced

through the use of process drama strategies. (Ewing, 2010, p. 40)

This embodied pedagogy fosters Engagement and incorporates Narrative into the learning

process. It motivates students to learn because it keeps their interest in the short term and is

also memorable in the long term (Woolfolk & Margetts, 2013). Furthermore, encouraging

students to adopt Heathcotes mantle of the expert and take on roles as storytellers and

critics, sends a message to students that their perspectives are both powerful and

valuable.

Moreover, this means that evaluating and creating now have equal priority in this

unit, which is a positive change because creating is the peak of Blooms revised taxonomy.

Higher-Order Thinking has been strengthened through the formative Showcase assessment

that involve students creating/performing their own stories, thus activating higher levels

of cognitive skills that lead to deeper learning (Adams, 2015, p. 153).

Ultimately, by focussing on students current verbal abilities, rewarding their

creative efforts and helping them integrate new knowledge strategically (Pressley &

Gaskins, 2006), Deep Understanding is strengthened, and the learning environment is

oriented towards mastery rather than performance (Schraw, 2001, p. 122).

3. Making the learning more differentiated

Choice over classwork and formative assessment

Differentiation has been incorporated into unit coursework and formative assessment

tasks so that students are given meaningful choices over their learning. This means that

students have multiple options for taking in information, making sense of ideas, and

expressing what they learn (Tomlinson, 2001, p. 1). This is in line with literature which

suggests that limiting English course work to just reading or writing is generally a bad

idea, particularly for students who struggle with literacy (Krause, 2015). In lessons 3 and 4

students now have a choice over the kind of stories they want to tell/analyse. This has

improved the Inclusivity of the lesson in the hope that a student like Daniel can now feel

success and be an active participant (Gore, 2007, p. 78) because he can choose modes of

response other than writing.

In a similar manner, the lessons Social Support is improved through a positive

learning environment where students encourage and support each other in taking learning

risks and where put-downs are not tolerated (p. 23). This is especially important for

students like Matthew and Kenny who are intimidated by public speaking. Clearly, it is

beneficial for teachers to support these students by selecting and modifying material

(Hibbert & Iannacci, 2005, p. 716), so that they can navigate their own learning in an

encouraging environment.

Not surprisingly, giving students more independence and greater control over their

work has a positive effect on learning. Indeed, according to Manual (2012), increasing

student autonomy is key to improving literacy outcomes: A wide variety of reading

material that is accessible and selected by the student [emphasis added] at least as regularly

as that selected by the teacher is a critical factor in ongoing reading achievement (p. 53).

Accordingly, the Story Showcase activities provide students with a range of challenges and

modes to engage with, which directly supports outcome EN4-2A.

Although students will eventually complete most of the activities, they can choose

which order they complete them in, and they can also choose their best three pieces of

work to put on display in the Library. This means that students can play to their strengths

and will not be considered in terms of their deficits (Hinchman & Sheridan-Thomas,

2014, p. 81). Furthermore, giving students like Matthew the opportunity to choose more

creative tasks like writing an original story significantly strengthens unit outcome EN4-1A

because it allows him to express his own personal feelings and ideas an opportunity

which barely existed in the original lessons.

Support for the challenged/bored

Lessons 3 and 4 now include a short support section with strategies to support

struggling students and extension activities for students who complete their work ahead of

the class. This differentiation is an important change because it recognises that learners

are not all the same (Killen, 2013, p. 107). Despite the teachers best efforts at

encouraging a student like Kenny to verbalise what he would struggle to write, it is

possible that he would still be resistant and refuse to participate. Thus, planning to provide

alternatives for struggling students in the classroom is important because the Board of

Studies equity principle 3.1, calls for teachers to promote learning that prepares all

students to participate (2015, p. 1), and even the students who struggle with reading

cannot be treated as a homogeneous group (Manuel, 2007, p. 49).

Furthermore, giving students more choice over their learning increases the chances

of creating a learning environment of Engagement. In this way, differentiation facilities

Student Direction and supports the strategies of significance and practical learning

described above.

Where to from here?

Ultimately, these changes have strengthened the literacy outcomes of the unit, and

provided authentic and practical lessons where quality learning can occur. The kinds of

changes that have been made to lessons 3 and 4 are prototypical examples of changes that

should be extended throughout the unit. By selecting more relevant content and increasing

the amount of verbal tasks, students are encouraged to become expert storytellers and

critics in a learning environment of mastery. Furthermore, by providing support for

students who struggle to keep up and giving all students choice over their classwork and

formative assessment, students can participate in work that is level appropriate and

engaging. Reading and writing skills will still need to be taught explicitly in this unit and

beyond, but these changes have put struggling students in a better position to receive such

instruction. Thus, these changes have brought students one step closer to what Sawyer

dubs a 21st century powerful literacy (2007, p. 46). There is still much ground to

cover, but the Storyteller and the Story is off to a running start.

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APPENDIX A: Modified lesson sequence

Key to changes made:

Lesson 1: Storytelling: What makes a good story? Date:

Syllabus Outcomes:

EN4-1A

explore and appreciate the aesthetic qualities in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints

EN4-2A

use a range of effective strategies for organising information, ideas and arguments, eg clustering, listing, compare and contrast, semantic chains, graphic and diagram

outlines, and mind maps

EN4-4B

explore and analyse the ways purpose, audience and context affect a composer's choices of content, language forms and features and structures of texts to creatively

shape meaning

Introduction

Settling routine

Storytelling: What makes a good story?

Teaching Activities

Teacher Activities:

Brainstorm students impressions about what makes a good story. Make sure kids know answers can be

wrong/different etc.

Discuss the responses and cluster and prioritize into a list. What are the connections between the

different parts? Mine, organize, and prioritize. Each student, using an app, must prioritize the list

themselves-make their own mind map

Organise students in pairs and ask them to recall a story they have either heard or read and to retell it to

their partner each student in turn explains to their partner why they remembered and enjoyed the story.

This is too open, has lots of chances to be made naughty/inappropriate - also not specific enough.

Student Activities:

Students use bubbl.us to build whole class map.

Use hierarchy function to prioritise ideas.

Work in pairs.

Purple is making learning more significant and authentic

Red is making the lesson more practical, hands on, experiential

Blue is giving students choices and direction (including verbal options)

Green is general changes

Students reflect individually in their Moodle Journal. Respond to learning scaffold about their own and

partners story. What if they cant access Moodle?

Teacher plays a selected audio story and leads a class discussion. Class discussion on what?

synthesise the responses to the story using the following headings: purpose, plot, structure (such as

engaging openings), language features (including descriptive language/imagery), characterisation,

narrative point of view.

Explain why the storyteller is important.

What is the place of oral storytelling in the modern world?

Students draw some conclusions from these activities about the qualities of a good storyteller. This may

be done as a class discussion, think/pair/share, or journal writing.

Complete journal entry.

Students listen to a selected audio story and participate in a

class discussion about the purpose of the story.

Closure:

Teacher explains that the story will be the focus of an analysis in the following lesson. The whole class will build an agreed description of what makes a good story.

Assessment:

Prioritised mapping of class ideas.

Participation in class discussion

Lesson 2: Storytelling: What makes a good story? Date:

Syllabus Outcomes:

EN4-1A


EN4-2A

use a range of effective strategies

for organising information, ideas

and arguments, eg clustering, listing, compare and contrast, semantic

chains, graphic and diagram outlines, and mind maps

EN4-3B

engage with the language and structures of texts in meaningful, contextualised and authentic ways

recognise and use appropriate metalanguage in discussing a range of language forms, features and structures

EN4-4B


shape meaning

Introduction

Settling routine

Storytelling: What makes a good story? Teaching Activities

Teacher Activities: Student Activities:

Teacher replays the story from last lesson and gets students to draw up an organizer with the following

categories:

Purpose

Plot

Structure

Language features

Characterization

Narrative POV

Teacher asks students to spend 5 minutes in pairs recalling points from last lessons class discussion.

Surely this is a bit cold?

Teacher calls on individual students to offer up points from last lesson class discussion, asking students

to name the category they think it belongs in. After three to four ideas have been discussed and placed in

categories, students are asked to work on in pairs but individually complete their organizer.

Students asked to reflect individually in their Moodle Journal. Respond to what they have learnt about

matching ideas about a good story with the categories. Is this too early to reflect on what theyve learnt?

Teacher leads students in building a definition of what makes a good story. Whats the point of a

definition? Are the students aware?

Students create a mind map or graphic chart using a web

2.0 tool of their own choosing

Students work in pairs to recall ideas from last lessons

discussion.

Some students share their points with the whole class and

teacher assists students to correctly categorise the points

raised.

Students work on in pairs.

Students complete journal entry.

Some students contribute ideas, some students are asked to

offer alternative words to complete the definition.

Closure:

Teacher points out the need to have this starting point about what a good story is and asks them to think about what conditions might need to occur to change their

minds about their definition. Foreshadows that they will be coming back to the definition at the end of the study.

Assessment:

Individual organizer with students use of evidence from the story to support their decisions.



Blue is giving students choices and direction (Differentiation)


Lesson 3: Having a go at storytelling and critiquing Date: Syllabus Outcomes:

EN4-1A explore and appreciate the aesthetic qualities in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints

EN4-2A use a range of effective strategies for organising information, ideas and arguments, eg clustering, listing, compare and contrast, semantic chains, graphic and diagram outlines,

and mind maps

EN4-3B engage with the language and structures of texts in meaningful, contextualised and authentic ways. Recognise and use appropriate metalanguage in discussing a range of

language forms, features and structures

EN4-4B explore and analyse the ways purpose, audience and context affect a composer's choices of content, language forms and features and structures of texts to creatively shape

meaning

Introduction

Settling routine

Gain attention through an icebreaker Youtube clip for the class: Benedict Cumberbatch voice acting as Smaug.

Explain that the way story is told is important, noting the explicit connection to drama (storytelling is a theatrical activity).

Teaching Activities

Teacher Activities:

Write the following elements on the board, asking the students to copy them into their workbooks:

Voice

Body language

Rhythm

Tone

Emphasis

Pause

Music / sound effects

Play the Smaug clip again, but this time ask students to write down how he used his voice, body language, rhythm

etc. to tell the story effectively. Conduct a discussion afterwards, asking students what they found particularly

effective, or what elements didnt quite work for them as an audience. Encourage them to participate as much as

they can with as much detailed as possible.

Model (visually and verbally) a quick written analysis of Cumberbatchs storytelling on the board, letting students

know they will soon have to do a similar analysis themselves and that I expect a similar standard.

Storyteller and Critics:

Draw students attention to the fact that stories can be quite different, and that they can take many different forms.

Then split students into groups of 3 or 4, and give them a story to rehearse from the following options:

* Extract from the Odyssey

* Sports commentary

* Stranger than fiction transcript

* The Three Brothers Story (Harry Potter and the Deathly Hallows)

One student becomes the story teller and the rest become critics. The storyteller then reads (performs) their story

(3 min) in front of the critic/s, while they take notes on the elements. The critics then share their brief analysis of

the storytelling elements that were used. Students then swap over parts (and stories) and repeat the activity. Make

sure students know that this activity is about having a go and analyzing storytelling elements, not criticizing each

Student Activities:

Students asked to listen and respond to various story tellers.

Students view clip and discuss how different elements were used

to create an effective story.

Note taking

Students discuss what elements of storytelling they found

effective in an example. This is a good opportunity to bring in

problematic knowledge by noting that effective storytelling is

somewhat subjective to personal taste.

Students view a model on how to do an analysis of a storytellers

work on a text.

Students choose and rehearse a story together and take turns

speaking out loud using story telling elements to enhance the

story. Note: It is likely that students with poorer literacy will not

want to be the first storyteller in their groups. This is fine,

because students going before them will give a level of

familiarity with the text, and help them to judge words in a

familiar context.

Watch out for Kenny and Matthew who dont like group work

and are afraid of public speaking.encourage their efforts

verbally and put them at ease humour?

other. Foreshadow that they will have to show back their performance and analyses to the class.

Showback: Groups then show back their best performance to the class.

The critics then form an expert hot seat panel that I will interview, asking them to explain their evaluations of

the story verbally. After they have given their thoughts, open it up for class for feedback too. Invite students to

justify their responses, letting them know there is no wrong answer if they can find evidence to back it up.

Draw attention to the fact that different students use of the elements shaped the way the text was received the

storyteller is also an author and shapes the text accordingly.

Make sure talk is positive. Thank storytellers and critics for their efforts. Make sure that they feel good about the

learning risks they took.

Students perform a story for the class and use verbal

metalanguage to engage in critical evaluation of each others

storytelling performances.

Support for struggling students

If a student is really struggling or refuses to participate in the group activity I can ask them to watch instead, and

ask them inferential questions about they think is working and isnt. I can also give them an audio recording of

The Three Brothers to listen to on their headphones with the following recorded questions:

What did you like about that story?

Choose 1 element from the board that you noticed being used in the story and tell me how Hermione used it to

make her story more interesting

Extension support activity

If students finish their group work early, they can reflect in their

journal answer the following questions:

What elements did you struggle with most as a storyteller? Can

you think of reasons for this?

How could you get better at telling stories?

What elements did you enjoy using the most?

Closure:

Finish by congratulating the students for their work and asking them to think about what they found most challenging about telling the stories.

Ask all Students to find a story that they enjoy and post an evaluation (300 words OR 3 min audio recording) on the class discussion board about how the narrators voice worked to

make that story come alive for them. Let them know I expect a high quality response that references all elements discussed in class today.

Finally, tell the students to bring the recording of their chosen story to class next lesson. Foreshadow the possibility that they could study this text in the assessment instead of a school

text. If they dont bring it, theyll have to study a school text.

Assessment:

Participation in group discussion and analysis

Engaging with a short story and performing it dramatically for an audience.

Extension: Students reflect on their own experience of telling stories and identify possible weaknesses and strategies which could help them improve.

Lesson 4: Building the field on a story Date: Syllabus Outcomes:

EN4-1A explore and appreciate the aesthetic qualities in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints

EN4-2A use a range of effective strategies for organising information, ideas and arguments, eg clustering, listing, compare and contrast, semantic chains, graphic and diagram outlines,

and mind maps

EN4-3B engage with the language and structures of texts in meaningful, contextualised and authentic ways. recognise and use appropriate metalanguage in discussing a range of

language forms, features and structures

EN4-4B explore and analyse the ways purpose, audience and context affect a composers choices of content, language forms and features and structures of texts to creatively shape

meaning

Introduction

Settling routine

Show an extract from one of the students chosen stories -It needs to be fun and engaging.

Ask the student to explain why they liked it, thus connecting stories to the real world.

Teaching Activities

Teacher Activities:

Give class general feedback on the quality of their discussion board analyses. Tell them which areas they need to

improve.

Choose one (good) written analysis from the discussion board (after getting student permission). On the

smartboard/whiteboard, write and explain verbally why the analysis is a good response, identifying correct use

of quotes and techniques that the student has used as supporting evidence.

Discuss with the class how the analysis might be strengthened even further. Model a modified response with

input from the students.

Story Showcase Hand out the Story Showcase sheet (SEE APPENDIX B). Explain how this sheet is directly related to their

assessment and get students started on the activities.

Tell them I expect them to complete two activities at the same kind of quality as the modelled paragraph on the

board, but that they can choose to do whichever activities they like.

They may use the text that they brought to class (if they check it with me first). Explain that they eventually will

have to do all the activities on the sheet, but that their best 3 activities will be selected to go in the Story Week

exhibition in the library.

Resources:

Computers or phones for recording.

Skype headphone/mic sets.

USBs with the different story recordings on them.

Student Activities:

Students listen to feedback on how to improve their analyses. Note:

If there is no exemplar analysis then Ill need to model one myself.

Students receive a model on how to improve an evaluation/analysis.

Students discuss with class how to strengthen an analysis. Note: try

to include all students here, using the 3 levels of questioning.

Students engage in a range of activities ranging from sharing their

opinion to offering an evaluation of storytelling techniques. Students

may choose which questions to answer, and whether they write or

record a verbal response. Note: If one of the very literate students

like Jean Paul wants to record, try to persuade them that writing is

good practice for the assessment task. Conversely, if one of the

students who struggles with literacy actually wants to have a go at

writing, Ill need to be ready to support them too.

If all else fails, I can blue tooth the recordings to students phones.

Support for struggling students

Tell the students I have 6 skype headphone/mic units for anyone who really doesnt want to write. As students

are completing this activity, check that everyone has a suitable text. Check that Daniel, Nathan, Junior are

engaged. If they are struggling to engage, I will get them started on the simplest activity in the Story Showcase

plan, making sure they have Skype mics (or phones) to start recording.

Extension activity

If students finish 2 activities from the sheet quickly, I can ask them

to start on a third. This will go towards their homework for next

lesson.

Closure: Ask the students to reflect for a minute on what they learnt today. Ask them to compare the work they produced in their chosen activity with the model from the beginning of the lesson.

Do they think it is of a similar quality?

Congratulate all students whove put in effort this lesson and ask all students to have completed 3 (in total) activities from the storyteller sheet before next lesson, at the same quality as

the model.

Foreshadow that next lesson will be on the origin of storytelling.

Assessment:

All students choose a suitable text to study, which they can use for their summative assessment task.

Students engage in a discussion on how to improve an analysis

Students begin work on analyzing their chosen story (at least 1-2 activities completed at least a C level).



Blue is giving students choices and direction (Differentiation)


Lesson 5: Early traditions of storytelling Date:

EN4-1A


EN4-3B

engage with the language and structures of texts in meaningful, contextualised and authentic ways

recognise and use appropriate metalanguage in discussing a range of language forms, features and structures

EN4-4B


shape meaning

EN4-6C

explain the similarities and differences in meaning and language between texts created for different purposes or audiences

EN4-7D

draw on experience to consider the ways the real world is represented in the imaginary worlds of texts, including imaginative literature, film, media and

multimedia texts

EN4-8D

recognise and explain differing viewpoints about the world, cultures, individual people and concerns represented in texts

Introduction

Settling routine

Students reminded that we are beginning the journey of trying to decide what makes a great storyteller, what qualities are essential. Our first step is to look at oral

storytelling since it came first and that students this lesson will make sure they have accurate information about oral storytelling before we look at some examples

that are considered great by world standards.

Teaching Activities

Teacher Activities:

Students are provided with 3 URL addresses. Each site has the potential to either prove their answers

correct or to challenge the information derived from Wikipedia. This is a very full text based lesson!

The focus on Wikipedia also seems quite dry. How are Daniel and Junior supposed to compare

websites if they struggle to read?

Teacher introduces the first example and gives the background context of this ancient oral story and

its traditions.

Students are asked to open worksheet 2 in their Edmodo folder. The questions for reflection are:

What is the story about?

How does the writer/storyteller engage the reader/listener?

Teacher plays an excerpt from The Iliad.

Teacher plays the excerpt again.

Student Activities:

Students verify their information for each answer. They

complete a short statement of the value of the Wikipedia

information based on their research.

Students open worksheet 2.

Students listen.

Students take notes

Teacher shows a scene from the movie Troy to invoke the context of the story.

Teacher leads a class discussion about the first question.

Teacher gives students time to complete the two questions.

Teacher introduces the second example and gives the background context of this Australian oral

story and its traditions.

Teacher plays The Man From Snowy River

Teacher shows the scene that captures some of the action of the poem

Teacher leads a class discussion about the first question. Boring!

Teacher gives students time to complete the two questions.

Students contribute ideas.

Students listen.

Students take notes

Students contribute ideas.

Closure:

Teacher discusses that an important question for them to think about for next class is:

Why have these stories endured through time? The reason they need an answer to this question is to determine what qualities are essential for a good story teller. Assessment:

Completed questions and reflective statement about the value of Wikipedia. Why the focus on Wikipedia?

APPENDIX B:

Your opinion: Is this story

told well? Explain in 200

words or 2 min recording)

First of all, choose a

story that youd like

to study!

Akiras tale (Anime) Football rags to

riches

The Oddyssey

(Ian Mckellan)

A story of your choosing.

(Remember, if you want to study a

story of your choosing you MUST

get permission from the teacher first)

The Man from

Snowy River

Why is this story valuable

to us today?

(300 words or 3 min

recording)

Second, listen to

your chosen story

once, then choose a

new activity to work

on. Activities are the

blue boxes.

Draw a mind map of the

authors main purpose in

writing this story, including

at least 10 possible

motivating factors

(50 words)

Evaluation: Do the forms and features

(above) support the authors purpose?

(500 words or 5 min recording)

Evaluation: Overall, how effective was

storyteller was in captivating the audience

using the story telling elements? (500 words)

The Storyteller

Elements:

Voice Body language

Rhythm Tone

Emphasis Pause

Music / sound effects

The Story

Forms and Features:

Purpose Plot

Structure Language

Characterisation

Narrative POV

Your opinion: Is this a good

story? Explain in 200 words

or 2 min recording)

Draw a table with the strengths

and weaknesses of this

storyteller (300 words)

es

Plot out the structure

of this story on a

timeline. Identify the

major plot points and

identify the climax of

the story.

Can you think of another

way this story could be

told? Explain your idea in

200 words or 2 min

recording)

All of these activities are related to your assessment,

and they will help you build the field around a story! Story Showcase

web of activities

Documents

Overview of an English Unit